Surfing about Music

Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others.

Surfing about Music

The publisher gratefully acknowledges the generous support of the Music in America Endowment Fund of the University of California Press Foundation, which was established by a major gift from Sukey and Gil Garcetti, Michael P. Roth, and the Roth Family Foundation.

Surfing about Music

Timothy J. Cooley

UNIVERSITY OF CALIFORNIA PRESS

Berkeley    •    Los Angeles    •    London

University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu.

University of California Press

Berkeley and Los Angeles, California

University of California Press, Ltd.

London, England

© 2014 by The Regents of the University of California

Library of Congress Cataloging-in-Publication Data

Cooley, Timothy J., 1962–

Surfing about music / Timothy J. Cooley.

pages cm.

Includes bibliographical references and index.

ISBN 978-0-520-27663-5 (cloth : alk. paper) — ISBN 978-0-520-27664-2 (pbk. : alk. paper) — ISBN 978-0-520-95721-3 (ebook)

1. Surf music—History and criticism. 2. Surfing—History. 3. Music—Social aspects. I. Title.

ML3534.C662 2014

781.5'94—dc232013027393

Manufactured in the United States of America

23    22    21    20    19    18    17    16    15    14

10    9    8    7    6    5    4    3    2    1

In keeping with a commitment to support environmentally responsible and sustainable printing practices, UC Press has printed this book on Natures Natural, a fiber that contains 30% post-consumer waste and meets the minimum requirements of ANSI/NISO Z39.48-1992 (R 1997) (Permanence of Paper).

Contents

List of Figures

List of Online Examples

Acknowledgments

Introduction

1. Trouble in Paradise: The History and Reinvention of Surfing

2. Surf Music and the California Surfing Boom: New Surfing Gets a New Sound

3. Music in Surf Movies

4. Two Festivals and Three Genres of Music

5. The Pro Surfer Sings

6. The Soul Surfer Sings

7. Playing Together and Solitary Play: Why Surfers Need Music

Notes

Bibliography

Discography

Filmography

Index

Figures

1. Only a Surfer Knows the Feeling ad featuring surfer-musician Donavon Frankenreiter

2. The liminal zone of surfing

3. Drop-It-All Sessions ad campaign by surfing brand Protest

4. Surfers in Lake Superior waiting for the right wave

5. Engraving from 1825 of a domestic scene in Hawaiʻi

6. Man holding a papa alaia surfboard at Waikīkī Beach, ca. 1890

7. E. J. Oshier and George Peanuts Larson, San Onofre, 1937

8. San Onofre music and hula session, 1939

9. How to Ride a Surfboard, by Harold Coffin

10. Duke Kahanamoku in King’s Book of Hawaiian Melodies

11. Barefoot Adventure film poster featuring Bud Shank, c. 1960

12. Signed handbill for The Endless Summer

13. Box cover for the video release of The Innermost Limits of Pure Fun

14. George Greenough riding a kneeboard while filming

15. Cover for Blue Crush DVD

16. Cover for Thicker Than Water soundtrack CD

17. The Pipelines on the main stage at the Surfer Joe Summer Festival, 2009

18a. Surfer Joe trademark

18b. Untitled (Murphy Surfin’ around the World), by Rick Griffin

19. Ex Presidenti, 2009: Gian Maria Vaglietti and Francesco Peloso

20a–b. Surfer Joe Summer Festival 2009 poster

21. Pollo Del Mar onstage at the Surfer Joe Summer Festival, 2009

22a–b. Relentless Boardmasters 2009 poster

23. Watergate Bay from the Boardmasters music festival site, 2009

24. Fistral Beach during the Relentless Boardmasters surfing contest and festival, 2009

25–26. Frontline audience at the Relentless Boardmasters Beach Sessions concert, 2009

27. Ben Howard performing at the Relentless Boardmasters Beach Sessions concert, 2009

28. Pua Kealoha, Chick Daniels, Bing Crosby, and Joe Minor at Waikīkī Beach, 1936

29. Duke Kahanamoku playing guitar at a swimming pool in Chicago, 1918

30. Kelli Heath on a solid wood hot curl surfboard at Waikīkī, 2004

31. Tom Curren performing at the Concert for the Coast, 2009

32. Bamboo Room Philharmonic, San Onofre, 2007

33. Manhattan Beach surfing musicians, 2006

34. Cover of Kaʻau Crater Boys’ 1996 CD Making Waves

35. Eddie Kamae and Mike Kaawa at the Waikīkī Elks Club, 2008

Online Examples

The audio and video examples discussed in this book are available at www.ucpress.edu/go/surfing.

AUDIO

He inoa no Naihe (Name Chant for Naihe), also known as Deification of Canoe for Naihe. Text collected by Mary Kawena Pukui and housed at the Bishop Museum Archives, Honolulu, Hawaiʻi. This audio example is a compilation of all four fragments of this long mele quoted in chapter 1, but in the order they appear in the original. Here it is chanted by Kalani Akana in the kepakepa (rhythmical, conversational) style and recorded by Aaron J. Salā, 2013, exclusively for use with this book.

He Nalu no Emmalani (Surf Chant for Queen Emma). Text collected by Mary Kawena Pukui and housed at the Bishop Museum Archives, Honolulu, Hawaiʻi. This audio example is a compilation of both sections from this long mele quoted in chapter 1. These sections of the mele are chanted by Snowbird Bento in the olioli (joyful) style and recorded by Aaron J. Salā, 2013, exclusively for use with this book.

My Honolulu Hula Girl, by Sonny Cunha, 1909. Recorded by Horace Wright and Rene Dietrich, with accompaniment by Louise and Ferera on Hawaiian guitars and ukulele. Victor Record 18159-B, 1916.

Pirati, music and lyrics by Gian Maria Vaglietti, performed by Ex Presidenti and released on their album Pirati, Surfer Girl Records, 2005 (www.expresidenti.com). Used by permission of Vaglietti.

The Wolves, lyrics and music by Ben Howard. From These Waters (EP 2009). www.benhowardmusic.co.uk. Used by permission of Owain Davies.

H2O, music and lyrics by Kelli Heath, performed by the Girlas and released on their album Now or Never, Kototama Productions, 2006, (www.myspace.com/thegirlas). Used by permission of Heath.

Little Brown Gal (1935, by Don McDiarmid, Lee Wood, and Johnny Noble). Arranged and performed by the Manhattan Beach Crew (Mike Goodin, Gene Lyon, Al Lee, and Laurie Armer). Field recording by the author, 2 December 2006. Used with the permission of the performers.

Makaha, by Troy Fernandez, performed by the Kaʻau Crater Boys (Troy Fernandez and Ernie Cruz Jr.) on their Making Waves album. Use courtesy of Roy Sakuma Productions, Inc. 1996 (http://roysakuma.net/).

Golden Orb Weaver, from the Life Like Liquid soundtrack, written and performed by Low Pressure Sound System, 2006. www.lowpressureproductions.com. Used with permission.

VIDEO

Slippery When Wet, Bruce Brown, 1958. Opening scene and credits with music by Bud Shank. 2:58. Courtesy of Bruce Brown Films, LLC (www.BruceBrownFilms.com).

The Endless Summer, Bruce Brown, 1964. Opening credits with the Theme from Endless Summer by the Sandals. 2:14. Courtesy of Bruce Brown Films, LLC (www.BruceBrownFilms.com).

The Innermost Limits of Pure Fun, George Greenough, 1969. The Coming of the Dawn excerpt. Music by Farm. 0:59. Used by permission of Greenough, Dennis Dragon, and Denny Aaberg.

Storm Riders, David Lourie, Dick Hoole, and Jack McCoy, 1981. Segment about pro surfer Mark Richards, accompanied by Big City Talk, by Marc Hunter, Polygram Records. 2:39. Used by permission of Jack McCoy.

Momentum, Taylor Steel, 1992. Segment featuring Kelly Slater surfing and God Song, by Bad Religion. 1:32. Used by permission of Steel, Greg Graffin, and Warner/Chappell Music.

Blue Crush, Bill Ballard, 1998. Surfing in Mexico segment, featuring Amel Larrieux singing Towa Tei’s Time after Time. 2:04. Used by permission of Ballard, Billygoat productions.

Litmus, Andrew Kidman, 2003. Opening scenes from the film, with Rain, music by the Val Dusty Experiment. 4:37. Used by permission of Kidman.

The September Sessions, Jack Johnson, 2000. Segment accompanied by Jack Johnson’s F-Stop Blues. 2:56. Used by permission of Johnson.

Acknowledgments

This book is a collaborative effort, and I owe many individuals and institutions a debt of gratitude. I am especially grateful to the individuals who took the time and effort to read and comment on drafts of parts of this book. Jane Schmauss, staff historian at the California Surf Museum, read early versions of several chapters and offered insights based on her years of activity in Southern California’s surfing community. Then she dipped into her deep well of contacts when I was struggling to find a few key individuals to request their permissions for illustrations and examples. Ricardo D. Trimillos, Professor Emeritus in Asian Studies and Ethnomusicology, University of Hawaiʻi at Mānoa, read several versions of the introduction, and chapters 1, 3, 4, and 7 (over half the book), and then fielded frequent questions throughout my writing and revision process. Patrick Moser and C. D. Kaʻala Carmack read chapter 1 concerning historical Hawaiian surfing. Kaʻala continued to entertain my many questions about Hawaiian music throughout the book. My colleague David Novak read and engaged me in a fruitful conversation about chapter 2 on California Surf Music. A special thanks to Lauren Davies, the writer for several recent films about surfing, who selflessly provided valuable comments about my chapter on surf movies even though I do not profile her films. Finally, my wife and fellow academic, Ruth Hellier, read the entire book, some parts multiple times. Though I cannot claim to have been successful in satisfying all of their concerns, nevertheless the comments, corrections, and criticisms from these generous readers made this book much better that it would have been had I been left on my own.

While researching and writing this book, I was very fortunate to have opportunities to present my ongoing work to groups of keen students and faculty in several states and countries, some with strong surfing communities such as in Ireland and Portugal, but others for whom surfing is somewhat exotic, like Germany and the Netherlands. Without fail, however, students and faculty provided valuable perspectives on my work. Campuses where I presented my work include the University of California, Riverside, where Deborah Wong provided especially helpful comments and critiques. I also aired early versions of my work at the University of California, San Diego; San Diego State University; and UCLA. Sonia Seeman and Veit Erlmann provided critiques and encouragement when I presented my work at the University of Texas, Austin. At the University of Hawaiʻi, Mānoa, professors Ricardo Trimillos, Fred Lau, Jane Freeman Moulin, Jay Junker, Victoria Holt Takamine, and Barbara B. Smith were especially helpful with their knowledge of Hawaiian cultural practices and history. I am grateful to Jonathan M. Dueck, who invited me to present a virtual lecture to the Franklin Humanities Institute Faculty Working Group on Sports at Duke University. Jonathan also organized several paper panels on music and sports for the Society for Ethnomusicology’s annual meetings in which I was privileged to take part. Presenting my work at my alma mater, Brown University, at the invitation of Kiri Miller and in the company of some of my faculty mentors, Rose Subotnik and Jeff Todd Titon, was a distinct honor.

In continental Europe I was invited to present my research at the Ethnography Museum of Neuchâtel, Switzerland; Groningen University and Utrecht University, the Netherlands; Universidade Nova de Lisboa, Portugal; and at the Hochschule für Musik und Theater, Rostock, Germany. I am especially grateful for the encouragement and helpful suggestions of Yann Laville in Switzerland, Barbara Titus and Kristin McGee in the Netherlands, Salwa Castelo-Branco and Frederick J. Moehn in Portugal, and Britta Sweers in Germany. In the United Kingdom, I presented my work at Oxford University; Sheffield University; Goldsmiths, University of London; City University, London; and Queens University, Belfast. At these universities, my key interlocutors were Martin Stokes, Anna Stirr, Jonathan Stock, Barley Norton, Stephen Cottrell, Keith Negus, Laudan Nooshin, and Suzel Ana Reily. The Republic of Ireland has a lively and growing surfing community, and I had the pleasure of presenting my work there on three different occasions: at University College, Cork; at the main campus of the University of Limerick; and later, as the keynote speaker for the International Council for Traditional Music, Ireland, held at Mary Immaculate College, University of Limerick. I benefited from the comments and observations of several keen surfers on these Irish campuses, as well as faculty colleagues Juniper Hill, Colin Quigley, Helen Phelan, Mícheál O’Súilleabháin and Tony Langlois. All of these scholars and their students added depth to—and helped me identify the limits of—my understanding of surfers as an emerging global affinity group.

My home institution, the University of California, Santa Barbara, granted me a sabbatical to work on this book, which I took in England. This may seem like an odd move for someone researching and writing about surfing, but have a good look at a map. The United Kingdom encompasses several islands that are washed by north Atlantic swells. There I had the great pleasure of meeting Brian Page and Turbo Tim, who showed me the surf spots in southern England, and Scotty and Aaran Williams, who taught me about surfing on the Isle of Wight. In Cornwall I had the pleasure of interviewing British surfing musicians Ben Howard and Neil Halstead, as well as Roger Mansfield, author of The Surfing Tribe: A History of Surfing in Britain. My spirit benefited from the camaraderie that I experienced in these British surfing scenes.

At the University of California, Santa Barbara, I am very grateful to Dean David Marshall for supporting my sabbatical leave, and for providing research funds. The Interdisciplinary Humanities Center on campus provided the first forum for me to present my early research on the topic, and subsequently granted me release time from teaching so that I could focus on research and writing. The Academic Senate also generously provided me with travel funds for several fieldwork trips. This project would not have happened with their support. Here at my home campus I also received sustaining intellectual support from my departmental colleagues, notably Stefanie Tcharos, who help me theorize notions of genre. I also wish to acknowledge Dick Hebdidge and Holly E. Unruh, former director and associate director, respectively, of the Interdisciplinary Humanities Center, who offered support and insightful comments about popular music in California; and sociologist Jon Cruz, who was a sounding board for ideas throughout the process. Finally at UCSB was a posse of surfing professors, staff, and graduate students who formed a core group with which to share ideas: Kip Fulbeck, Hank Pitcher, Stuart Sweeney, Michael Petracca, Judy Bauerlein, Ali Bjerke, John Lee, and Malcolm Guart-Williams. Thanks to you all for creating an intellectually stimulating and supportive community.

Other institutions that became important locations in my research include the Surfing Heritage Foundation and Museum, San Clemente, California, which welcomed me to their well-stocked library and archives. Barry Haun, Curator and Creative Director, was particularly helpful. The Bishop Museum Archives in Honolulu is a key source for any project involving surfing culture and history. I have already mentioned the California Surf Museum, Oceanside, especially Jane Schmauss. The International Surfing Museum, Huntington Beach, California, was always a welcoming site; I am especially grateful to JoAnn Beasley, who up until her death welcomed me and thousands of others into the museum every year. Goldsmiths, University of London, became my research home when in England.

I am very pleased that the editors and Editorial Board of the University of California Press saw some merit in this project and agreed to publish it. I am especially thankful for the editorial guidance of Kim Robinson, the Regional Editor, who first provided substantial comments on my book proposal; Mary C. Francis, the Executive Editor of Music and Cinema Studies, who took the book on; Kim Hogeland, the Editorial Coordinator, who was both efficient and personable; and Rose Vekony, the project editor, who appears to have read every word of the book; as well as copyeditor Carl Walesa and indexer Carol Roberts. Editors put up with a lot, and rarely get the credit due them. I feel very blessed to have had such an excellent editorial team. I am also grateful for the anonymous peer-review and Editorial Board readers for UC Press, who provided challenging and ultimately supportive comments on the book manuscript.

I wish to acknowledge a core group of individuals who were invaluable links to significant communities of people. I thank David Weisenthal, for introducing me to key members of the San Onofre Surfing Club, including Craig Ephraim, three-time president of the club. Both David and Craig helped me sort out who was who in various photos, and they did their best to keep my facts in order. I also thank Bob Jake Jacobs, Honeybaby Gwen Waters, and Fred Thomas, who each sat with me for long interviews about the history of the San Onofre scene. Dennis Dragon, member of Farm, a band discussed in chapter 3, as well as the infamous Southern California band Surf Punks, has been for years now an affable correspondent fielding many questions, and even guest-lecturing in one of my university classes—much to the delight of my students. Gaston Georis of the Sandals met with me several times to talk about his music since the early 1960s and also graced my university classes. Zach Gill facilitated a number of key introductions, fielded countless questions about some of today’s most popular surfing musicians, and gave generously to me and my students with several guest visits to my classes. Andrew Kidman and Andrew Crockett became essential links to surfing communities in Australia. Finally, Aaron J. Salā, Assistant Professor of Hawaiian Music and Ethnomusicology at the University of Hawaiʻi at Mānoa, generously organized audio recordings of Hawaiian mele for this book that illustrate key themes in chapter 1.

Finally I wish to acknowledge individuals who contributed to this project by allowing me to interview them formally, or informally, on the beach, in the surfing lineup waiting for waves, or wherever we may have exchanged ideas, but whom I have not for various reasons named in this book. It is indeed unfair that so many people made this book possible, but that my name alone is found on the cover. Thank you, co-researchers, named and unnamed. All that is good in this book is due to your efforts, while the mistakes and misconceptions remain solely my own.

Introduction

Riding a wave—surfing—is a cultural practice. Surfing is a deeply experiential act of playing with the power of wind that has been transferred to water to form ocean swells. Sliding down the face of a moving aqueous mound that is forced upward as it approaches shore, a surfer engages with the forces of gravity and water tension. Using techniques handed down through countless generations of coastal dwellers, the surfer harnesses the wave’s energy to move over water in a dance across that liminal zone between open ocean and wave-lapped land. Surfing is a balancing act on a watery tightrope stretched between a silently rising swell and a thundering breaking wave. Yet no matter how much skill, strength, and grace the surfer displays, no matter how small or large the wave that propels the surfer, in the end surfing leaves no trace on the water’s surface. Wave riding creates no lasting product save a memory, a kinesthetic impression.

In this way surfing is like music, for sound waves vanish the instant they are heard. Both surfing and musicking¹ are ephemeral cultural practices that have no quantifiable results or functions other than the feelings they may engender, and the meanings given to them by people. Surfing and musicking require much more time and energy than is reasonable if their purpose is to achieve basic material needs. We clearly engage in them for other reasons. Yet even if we believe passionately that surfing and music are imbued with great meaning, we may not always be able to articulate what that meaning is. Let’s sing another song . . . I’m going to catch one more wave . . .

This book is about surfers and the types of music that they create and associate with surfing. But I need to be clear about which surfers I am attempting to interpret and represent. Surfers form a global affinity group, but as with any group of people, no statement or claim can be true for every individual in that group. We could conceive of surfers forming any number of distinct affinity groups globally. The stories I tell here are illustrative of surfing communities that I have access to: primarily cosmopolitan surfers from California, Hawaiʻi, Australia, Italy, and the United Kingdom, with much more limited input by surfers from other points on the globe. These surfers are global—collectively they have surfed at the best surfing beaches around the world—but they still represent relatively affluent cosmopolitanism from North America and Europe more than the cultural sphere on any given beach in Indonesia, for example. To put it another way, dozens of surfers—some of them very influential in my posited global surfing affinity group—have contributed to this book, but that still leaves millions of surfers worldwide whose voices are not represented here.

This is a deeply personal book. I have aspired to ride waves and to make music since I was a child, and being a surfer and a musician has been an important part of my self-identity since my early teen years. Therefore, readers will notice that my authorial voice changes from time to time from that of writer-scholar to that of surfer-musician. In particular, I shift to the first-person plural pronouns we and us occasionally and talk to the in-group tribe of surfers—a community I invite you to join if only for a moment. Come in . . . the water is nice.

The critical scholar in me knows that the I and we here have very limited experience in the context of globalized surfing. I grew up surfing in Virginia and Florida before moving to California. I also spent about a decade living in Illinois, where I would surf in the chilly waters of Lake Michigan. Once I encountered another surfer at my local Chicago-area break, but only once. Beyond the mainland United States, I have had the pleasure of surfing in Mexico, Hawaiʻi, Australia, and the United Kingdom. Yet my experience with surfing—and with musicking—is individual. My experience is also highly mediated. As with every surfer-musician I interviewed for this book, my experiences are influenced by commercial interests. By this I mean that even the private pleasure of riding a wave is not pure and unaffected by the entertainment industry and other commercial concerns that use surfing as a marketing tool. For example, I am told what I should feel when catching a wave by an old Beach Boys song, just as I am reminded by the latest issue of Surfer magazine that I would look much better in a new pair of boardshorts.

This book asks two interrelated questions: First and foremost, how is music used to mediate the experience of surfing? And second, how does surfing, and changing notions of what a surfing lifestyle might be, affect surfers’ musical practices? Through my interviews and analysis, I find that music is necessary for making sense of surfing, for communicating important information about surfing, and for creating a collective space where surfers communicate together something of the experience of surfing. All of these uses of music by surfers help to form and define surfers as an affinity group.

WHAT DOES MUSIC HAVE TO DO WITH SURFING?

In a feature story in Surfer magazine, Brendon Thomas wrote, The connection between music and surfing is undeniable, and Surfgirl Magazine editor Louise Searle described how [s]urfing and music go hand in hand: like Fred Astaire and Ginger Rogers, strawberries and cream, and vodka and tonic—they’re all better together.² Surfing has even been (incorrectly) called the first sport with its own music.³ The notion that music and surfing somehow naturally go together seems to be gaining traction.

Four recent films offer very interesting takes on the topic of surfing and musicking.⁴ The first is Pounding Surf! A Drummer’s Guide to Surf Music, produced in 2006 by musicians Bob Caldwell, Paul Johnson, and others. Though this film was first envisioned as a primer on playing drums for instrumental rock, it evolved into an elaborate filmic history of early 1960s California surf music and its ties to Southern California surfing culture. Also released in 2006 was Australian surfer Dave Rastovich’s Life Like Liquid, consisting entirely of footage of surfers improvising music together, interspersed with clips of the same people surfing and musing about the relationship between musicking and surfing. In 2008 two additional films were released on the subject. Live: A Music and Surfing Experience, produced by California-based surfing film maker David Parsa, is a wide-ranging look at music and surfing that contains brief comments by leading professional surfers, surfing industry icons, and popular musicians. The fourth film, Musica Surfica, by Australian surfer and filmmaker Mick Sowry, is a curious and at times perplexing meditation on Australian Chamber Orchestra director Richard Tognetti’s genre-expanding violin playing interspersed with Derek Hynd’s quiver-expanding challenge to design and ride finless surfboards. Taken together, these four films spin an intriguing tale about the interweaving of the human performative practices of surfing and music-making. The first sticks close to the named genre Surf Music and captures