I’d
hated 1968. I’d hated the blues, and power trios, and my own sense of intense
alienation, familiar as a twin though it might have been. I’d hated my two
roommates, but continued to share an apartment (a different one, on picturesque (about as picturesque as its name!) Federal
Avenue) with one of them. But things had begun looking up at year’s end. I was
writing about music for my university newspaper, and, to my astonishment,
people seemed to like it.
I
reviewed a Kinks album that I really loved, and their record company was so
impressed that it asked if I might wish to work for them. I wrote a letter the
LA Times’ excellent music critic, Pete Johnson, and he not only didn’t ignore
it, but was actually very encouraging. Atlantic Records sent me reviewers’
copies of new releases by two British acts, Cartoone and Led Zeppelin. I liked
Cartoone better, but didn’t like either very much at all. I found myself
writing for both the LA Times and Rolling Stone. Figuring that after four
years’ diligent labor (I might have attended class barefoot and in love beads,
but I always attended, and did the recommended reading) I deserved to
relax a little bit in my final quarter, I’d signed up for a physical education
class, whose instructor turned out to fancy himself a sociologist, and to
require a paper about some aspect of local amateur athletics. I made mine —
about beach volleyball — up out of whole cloth. The guy bought it. Instead of
attending my graduation ceremony (with literally thousands of others), I
interviewed Pete Townshend at the Continental Hyatt House, which I can see out
of my bedroom window as I write this a million years later.
I
couldn’t decide whether to work for the Kinks’ record company or remain
unsullied in the eyes of the Times. I decided to try to do both. TKRC was
embarrassed and deeply undelighted when I wrote an unflattering review of the
UK folk group Pentangle. Folk music was hardly my area of expertise. After
three months, TKRC said they’d keep paying my salary, but that they wanted to
install in my office someone who wouldn’t get bored senseless by 3:30 every
afternoon and sneak out the back door, mumbling something about hoping to beat
the traffic. I did have an awfully long drive in the VW microbus my parents had
given me as a graduation gift — from Burbank all the way to Venice, where — can
you guess? — I felt terribly isolated and lonely, surrounded as I was by
ancient Jewish widows and junkies in equal proportions.
A
pair of brothers to whom I’d been known to grunt, “How you doing?” at the university
invited me to be the drummer in their band, then called Halfnelson. I rehearsed
with them maybe three times, and annoyed them by suggesting they not try so
hard to be cute ‘n’ whimsical. They invited me to find another band to join,
but my brief association with them would follow me around no less tenaciously
for the rest of my life than the fact of Led Zeppelin having cursed me from the
stage of the Anaheim Convention Center.
The
Kinks’ record company sent me to New York to offer their sympathy when they
returned to perform in America for the first time in four years. I
hero-worshipped Ray Davies shamelessly, and even badgered him into inviting me
up on stage with his group at Fillmore East, a plan a brusque stagehand
unceremoniously thwarted, and thank God for small mercies. He (Ray, not the
stagehand) was a sensationally good sport, except when depression swamped him.
Who would know better about that than I?
I
returned to Los Angeles feeling both quite a hotshot — I, the personal friend
of rock superstars! — and worse than ever, as I was returning to nothing at
all. But then I moved to West Hollywood, into a huge flat spanning the whole
third floor of a house widely thought to have been haunted since the original
owner’s daughter hanged herself out of my front window, and felt a little better,
as I always do anyway when the days start getting short.