Surfing about Music. Timothy J. Cooley
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In colonial Hawaiʻi (the late nineteenth century and first half of the twentieth), the typical protagonist of the emerging New Surfing beach-tourist narrative was a relatively well-heeled white man, as seen in English-language popular Hawaiian songs from the first half of the twentieth century. Though some early images promoting California beach tourism were similar to those from Hawaiʻi, important differences began to appear. In Hawaiʻi, the centuries of indigenous beachside civilization remained part of the allure, even if only in the form of the female Hawaiian hula dancer and the Waikīkī Beachboy. By contrast, in coastal California indigenous peoples and sacred sites were less visible, sometimes literally paved over.4 California’s beaches were treated as blank slates on which developers could exercise their imaginations. The Los Angeles County attractions of Venice Beach and the Pike amusement area of Long Beach exemplified manmade urban pleasures, middle-class affairs that forever teetered on the edge of respectability.5
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