Now to he songs: "Surfin Safari" was the Beach Boys first national hit, released in the fall of 1962. Mike Love was the tour guide with a broken-nosed twang that millions of flatlanders interpreted as a "California accent." Mike Love was the spokesman for the Southern California paradise from the get-go.

The very first verse evokes California as a paradise, the kind of place where guys get up early in the morning and are so happy they sing. Beautiful girls accompany them to their "job," which is surfing. They love this job so much that they do it for free - it is untainted by the stench of commerce (kind of like blogging). Also, in the Beach Boys' version, the occupation is open to everyone, "Let's go surfin' now, everyone is learning how, come on a safari with me." This does not correspond well to reality.

The social structure of surfing is built upon the concept that not everyone can do it. It is difficult. It is physically demanding. It requires more time than golf to master. It requires great patience. It requires the ability to swim very well and it requires an ocean. If these impediments weren't enough to prevent "everyone" from surfing, then the open hostility of the "locals" to invading flatlanders, would be. The turf wars of surfers have been as intense, if not as deadly, as those of street gangs.

Even on the Boys' first hit, symbolism and metaphor superceded reality. Surfing wasn't a reality for the vast majority, it was a symbol of a magical ever-youthful place. Surfing brought good health through exercise and sea air. It brought popularity through its mastery. It brought success with the opposite sex, who were driven to hormonal overdrive by the sea air, surfing prowess, and lots of skin.

These were things that anyone would wish for, and anyone could partake of these delights through the music of the Beach Boys and through the attitudes and dress of the beach. No real surfers would have spread the gospel with the evangelical zeal of the Beach Boys. No real surfer would want the competition for precious wave space.

The rest of "Surfin Safari" is a travelogue of choice surf locations and techniques: "They're anglin' in Laguna," "They're kicking out in Doheney too." These were codes to learn and use.

"What are the choice surf spots as delineated in Surfin Safari, Poindexter?"

"Gee, I don't know Miss Crabfish."

"Just as I suspected, you haven't done your homework."

"Don't Worry Baby" (1964) is where Brian established himself as a production, as well as songwriting genius. He out-walls Phil Spector without the bombast, just plush layers of shag carpet vocal, chugging guitar and drums. Some say that this is where Brian began to let the dark side show, but the essence of the song isn't the foolhardy braggadocio that gets the singer's character in trouble, it's the encompassing and omnicient love with which girlfriend comforts him.