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
1 “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.
2 “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.
3 “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.
4 “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.
5 “The Wolves,” lyrics and music by Ben Howard. From These Waters (EP 2009). www.benhowardmusic.co.uk. Used by permission of Owain Davies.
6 “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.
7 “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.
8 “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/).
9 “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
1 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).
2 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).
3 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.
4 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.
5 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.
6 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.
7 Litmus, Andrew Kidman, 2003. Opening scenes from the film, with “Rain,” music by the Val Dusty Experiment. 4:37. Used by permission of Kidman.
8 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
