I’m still polishing the manuscript for my novel, “Swamis.” A lot of what I am doing is trying to cut out pages, lines, even words that don’t progress the story. The story.
THE STORY has changed considerably since I started the project. THE TRUTH is that this project, realsurfers, was an attempt to tell the larger story of surfing in a particular time, the late 1960s, Southern California; the draft, Vietnam, various revolutions in music, surfboard design, human rights; there’s a lot to cover. NOW I have a story and I’m trying to make all the parts, all the characters and plot twists seem REAL.
I don’t want to post pages that I cut because I rewrote them, improved upon what I am offering you. Rather, I will only post outtakes because they no longer fit in the trimmed-down, story driven manuscript. ACTUALLY, there are still sidetrips I will not be able to cut.
In rereading this passage, I do have to admit that it’s Joseph DeFreines channeling me. The fiction part is that his father was a cop, killed in a mystery among mysteries. SO:
Sure. Surfing is sexy, coolness illustrated; pirate/rebels washed clean.
Coolness, hipness; we adapt our lives, change our speech patterns, make different choices in clothing and music and attitude as we discover new, and, if not better, more modern things, newer new things; trends, fashions.
The very word, fashion, describes its temporary nature. Subtext. That fashion goes in and out is given to the user of the word for free.
We steal, borrow, incorporate. The strands are pretty obvious; like blues to jazz, blues to rock and roll, blues coopted by popular AM music. If you were born in the 1950s, you heard Sinatra and Chuck Berry on the same AM station; experienced the Beatles, then Dylan. No, you probably got Dylan through Dylan covers, Peter Paul and Mary, the Byrds; then Dylan, then… whatever was fashionable. Temporary.
THE REAL DYLAN
We, my Fallbrook contemporaries, suburban teenage males, isolated from the big cities, behind the times; we were Doors fans. Of course. My friends bought the albums. Garage bands played extended versions of ‘Light My Fire’ at sock hops and VFW dances. When tape players came out, some of my friends had them installed in the cars their parents handed down to them. Or bought for them. Four trac, then 8; Three Dog Night and Jimi Hendrix.
Somehow, I held on to the songs from the 78s my parents owned, surprisingly varied, with jazz, husband and wife duos, black torch singers, Nat King Cole. I remembered tunes from musicals in my mom’s LP stash, “Oklahoma” and “South Pacific.” They had LPs, 33 1/3rd, Johnny Mathis and The Everly Brothers. I didn’t want doo wop or bubblegum pop, I wanted to hear the real Dylan. Dylan was in the magazines, angry young man, voice of a generation; why wasn’t he on the radio?
Dylan was certainly not on KCPQ, the station my friends in Junior High went on about. KCPQ advertised pimple cream and played Beatle songs for portable radios, songs sung in the hallways by hormone-strained voices, guys suddenly affecting English accents. There were sanitized versions of Dylan; but no Dylan. I didn’t want more Chad and Jeremy, more Herman’s Hermits.
Someone dropped a clue, something heard by overhearing an older brother. There was a station from San Diego, KPRI, FM (for god’s sake), that played whole albums; radical, underground music. I could barely get it, but I tried, over in the corner of my bedroom, while I studied, wrote; edited and typed-up other people’s term papers (for a fee); another detached, isolated, suburban (almost rural, really) teenager.
KPRI, as close to tuned in as I could get it, still had that grainy, scratchy, ringing-in-the-ear background. I tried. I persisted. I listened. That it was difficult to tune into made it better. Way better. FM, for god’s sake.
Channel 9, from Santa Barbara, was a similar, hard-to-tune-in mystery. With Ray on the roof moving the antenna, Phillip at the window, and me at the TV set, we tried to get “Surf’s Up.” It was listed in the Fallbrook-specific TV Guide; and, at best, we almost saw, or barely saw, some footage of Trestles, a legendary break, peeling. The only audio we could hear was, “peeling like a washing machine.”
That barely-there-ness only added to the appropriateness. “Peeling like a washing machine” became, briefly, our phrase for a perfect wave on an imperfect day. Rare, peeling…
“We’re going,” the slow-speaking voice (opposite of am radio) of a possibly-stoned KPRI disc jockey would say, “to go in the back room and get our heads together (background chuckles); so, here’s Dylan’s “John Wesley Harding.” Sound of inhalation, extended version.
Appropriate. Black-and-white, scratchy-grainy TV, whispered songs with tinnitus backgrounds.
When I got my first tape player, 4 plus 4, capable of playing four and eight trac tapes; and stolen, as previously mentioned, traded for fifteen bucks and some homemade sandwiches (and a promise for more) in the school parking lot, installed (rather, wired) by a guy (can’t remember his name) who told me I, my dad being an asshole and a cop and all, should have known it was stolen. I bought some on-sale tapes at the Buy-and-Save market: Laura Nyro, Leonard Cohen, “Aerial Ballet” by Harry Nilsson.
“What’s that shit?” One of my friends would ask.
“Good music,” I would say.
Yeah, I had some Doors, Hendrix; often wondered if I really liked them more than the Moody Blues. When Led Zeppelin came out, I just avoided it. Or tried. Orgasmic rock. All these years later, KPRI is probably sports or talk or playing new age country/western, and there is no classic or hardrock station that can go an hour without playing something from Led Zep.
Orgasmic rock I called it. Hated Led Zeppelin, but I still know most of their songs.
Somewhere in those years, I lost my California coastal accent. Or, maybe I just thought I had. It comes back sometimes. “Oh, I see; you don’t like a-vo-caaa-do.”