Monday, February 24, 2025

Surfing Year 1957

Aloha and Welcome to 1957 !!!

The years 1956-58 were pivotal in the further development of the modern surfboard – the board that Bob Simmons first ushered in, then refined by Joe Quigg and others. These were the last years for balsa being the primary material for boards. Meanwhile, experimentation with polyurethane foam was underway. The use of “foam“ and fiberglass would replace balsa and fiberglass; just like balsa had replaced redwood/balsa planks; just like redwood and balsa strip combination boards had replaced redwood which had replaced koa.

This chapter in the LEGENDARY SURFERS series was originally written in the late 1990's. It was slightly edited in 2025. Hope it stokes you !!!



Kimo Hollinger, Waimea Bay, 1960's

"I talked my mom into buying my first board… a nine-foot, six-inch Velzy and Jacobs balsa board with thirty-two ants in the glass job.  Velzy told me the ants wouldn’t hurt anything and I believed him.  I remember my mom’s words: ‘This board is probably just like everything else you want.  You’ll use it for a week and throw it away.’


“I showed her!  We still laugh about it.  Mom painted a totem pole on that first board and later I sold it to the real Gidget for fifteen bucks...”

-- Mike Doyle



“Nobody taught me.  Does anybody teach anybody?  It’s kind of like learning how to ride a bike.  Somebody gives you a push, then watches you crash into a pole.”

-- Pat Curren



“There’s no way to express the look on the owner’s face when he came the next month to collect the rent.  Needless to say, Meade Hall was short lived.”

-- Fred Van Dyke



“I named Velzyland when I first began making movies in ‘58… I also named Pipeline, and Severson came along and renamed it Banzai Beach.  As a compromise, it became Banzai Pipeline.  Now it’s Pipeline again.”

-- Bruce Brown



“In the fifties, the North Shore was a dream.  It was all so new.  And so cheap to live there.  You’d find every way you could to stretch a hundred bucks.  The deal was, who could get the cheapest house and get the most people in it?  You could rent a house then for sixty to seventy dollars a month.  With twelve guys sharing the rent, that hundred bucks went a long way.”

-- Bruce Brown



“It used to be that all the guys who rode big waves were good watermen -- good swimmers, sailors or paddlers who knew the ocean, the currents tides.  You could get into a lot of trouble, get sucked to the wrong side of Waimea Bay, if you didn’t know what you were doing…”

-- Bruce Brown



“There was fierce competition -- on a friendly basis, of course -- among the big-wave riders: Peter Cole, Pat Curren, Mike Stange, Jose Angel, Ricky Grigg, Buzzy Trent, George Downing and myself.  This was the nucleus of guys during my time who really enjoyed riding big waves.  Each guy had his own personality and his own deal.”

-- Greg Noll



“‘Yeah.  Got any wax?’“

-- Mike Stange



“I’d love to say something heroic.  I’d love to say we made history.  But basically it was a bunch of guys parked around the Bay there, and somebody grabbed a board and went surfing, and it looked so good the rest of us guys said, ‘Hey, we got to get in on this.’“

-- Greg Noll





The year 1957 was the last official year of the balsa era. Even so, it is good to keep in mind that much of the technological advance with foam and fiberglass occurred somewhat clandestinely while balsa still reigned. Sure, we can say that 1956-58 was the development of the polyurethane foam board. At the same time, we have to keep in mind that the rest of the tribe didn’t catch up to these changes until a year or two after it was a fait accompli – a done deal. That puts it more at the beginning of the 1960s than the end of the 1950s.


Although foam did not immediately replace balsa, by late 1958 and 1959, it became evident to most of those on the inside that this was the way surfboard manufacturing was to go. Leaders in this new technology included Doug Sweet, Hobie Alter and Grubby Clark.


No one knew, during 1957, that the year would mark the end of an era and that surfing would change radically because of foam. The primary technology on most minds that year might have been rocket and satellite science, as it was then that what was the U.S.S.R. -- the Soviet Union -- successfully launched Sputniks I and II, the first artificial earth satellites. The fact that the Communist Russians had done it first was threatening to western democracies.


By the time the year was over for surfers, the big news was Waimea. Since Dickie Cross‘s death there in 1943, there had been a voodoo associated with the place. Not to say that people no longer surfed the spot; just that those who did were few and far between. It took transplanted Californians like Greg Noll and Buzzy Trent to add Waimea to the list of big wave surf spots. It was in November of that year that the old spell was broken and a new one begun.


Meanwhile, in the Land Down Under...




Down Under


A year after Americans Tommy Zahn, Bob Moore, Mike Bright and Greg Noll left their “Malibus“ behind in Australia, Ampol Oil films of the Americans’ surfing demonstrations were still being shown throughout the urban areas of Australia.  The viewings at surf lifesaving clubs Down Under caused a revolution in Australian surfboard design and marked the beginning of contemporary Australian surfing. In addition, Greg Noll’s movies of the trip helped spark interest in Oz. As testimony of the impact that the Americans made in Australia in 1956,  longboards in Australia are still often referred to as “Malibus.”


Several of the Australian surfboard manufacturers wrote to companies in Equador in attempts to import the necessary balsa wood. “They were instructed to contact Arthur Milner,” wrote Nat Young, “who came to Sydney to discuss exactly what size timber was required for the expected boom. Business arrangements took a long time in those days and it wasn’t until the summer of ‘58 that their first shipment arrived.”


The local shapers then began to learn the unique properties of balsa wood. “The lightest planks were the whitest,” continued Young, “with flecks of dark gray grain running through them; the hardest, but heaviest, were the greener, darker ones.  Selection of the planks was an intricate part of the process; you used the lighter ones down the center, the heavier, more durable ones towards the rails. A scarf joint to give lift was the same as Simmons had devised 10 years earlier. As most of South America’s good quality balsa was going to the USA, Australia was sent some pretty scratchy shipments.


By 1958, the established manufacturers had moved out of Sydney’s densely-populated eastern suburbs to the northside and the recently opened industrial suburb of Brookvale. At one end of Brookvale was Barry Bennett; at the other end, Gordon Woods; and in the middle, Bill Wallace. Bill Clymer was in a garage in Manly where he and Joe Larkin did some beautiful work, using stringers, nose blocks and tail blocks made from cedar and redwood to set off the blond balsa.


“Gordon Woods remembers the days of the bad balsa shipments only too well; he made it a rule to always inspect the load on the truck.  On one occasion he found it all to be greenish, heavier style.  He turned the shipment straight around, realising that one heavy board could ruin his reputation.”




The USA Mainland


What would become a surf music standard in the beginning of the 1960’s, 1957 produced a song by the Champs called “Tequila.” It is still heard, today.


This year, Dale Velzy introduced the “7-11“ series. Named for their length, these boards caused a minor sensation for a couple of years and then disappeared.


Wetsuits were still under development, although dry suits had been available in kit form since after World War II. Bev Morgan is generally credited with first introducing surfing wetsuits via Buzzy Trent in 1953.


To deal with the cold factor involved in surfing California waters, fires were generally made on the beach to warm bodies between go-outs. “Typical burnables at Malibu,” wrote C.R. Stecyk, “included boards from the big fence; flotsam and jetsam like boxes, automobile tires and tree branches.”


On a foggy March 8, 1957, a burning “mistake” was made when “Dale Velzy is horrified to find Mickey Dora burning his new wooden camera tripod, carrying case and several reels of just-shot movie films. Dora ran from Velzy, claiming innocence. ‘Jesus, Hawk, I thought the stuff was just driftwood.’“


Another Malibu incident occurred several months later, on September 30th:




Velzy-Jacobs


“Ever since the days of Simmons and his aggro bicycle race challenges, the sporting life has flourished at Malibu. Today’s combatants are the ever humble Miki Chapin Dora, driving his clean Iron Mountain-bodied wood 1949 Ford station wagon, and Hap Jacobs, who will pilot his brand new premiere issue 1957 Ford Ranchero. The course will be the Malibu drag strip (which to outsiders might be better known as Highway 101). Side by side, the drivers sit waiting for the start signal. Many observers wonder if Miki has any chance against Hap’s newer, sleeker car. Local lore relates that the stakes are two cases of Dundee Scotch against a new Velzy-Jacobs surfboard. As they come off the line Hap lunges ahead, but as he slams into second, the old woodie screeches into the lead leaving Jacobs in the dust. No contest. Later, Dora’s car provides a couple of clues as to just how this upset victory was accomplished. Velzy notices that as Miki revs up the engine, there is such immense power transfer and torque that the entire car twists and flexes. This bending of the old woodie is so severe that the half inch bolts which hold down the specially treated phenolic resined wood panels are actually coming loose during acceleration. A pop of the hood confirms all suspicions, for grafted into the engine compartment is a new Briggs Cunningham prepped V8 392 Chrysler Hemihead, featuring over 400 horses of brutal acceleration.”


“A television mogul wearing a stiff, pin-striped suit barges into the shaping emporium of Velzy and Jacobs,” wrote C.R. Stecyk of another incident that year.  “The stranger’s aggressive behavior and peculiar speech mannerisms instantly launches Hap into hysterical laughter. Dale, always ready for a good joke, pumps the interloper for info. An executive from a popular TV show says, ‘Babe, the man Steve-O Reeno needs a hep cat surfboard custom built immediately, it will make you both famous.  The guys and dolls will break down your door begging for boards just like it.’


“Jacobs is now incredulous. ‘You mean Steve Allen surfs?’ he asks. Velzy is no longer amused. (Being more famous than he cared for already, and being 80 board orders behind... well). The TV man, realizing that he’s being shut out, quickly changes tactics. He begins sobbing, ‘Come on, guys. It's my job. I'll pay anything!


“Hearing these words, Dale, ever the humanitarian, especially if you’ve got the cash, says, ‘OK, maybe we can work this out.’ Hap and Velzy now spend days trying to figure out how to construct a surfboard that can be ridden in a TV studio by a kook that cannot even stand up. Their ingenious answer -- a full sized balsa, South Bay shape, complete with hidden roller skate wheels allows Steve Allen to ‘surf’ across a sound stage pulled by a rope. The bit will be exhibitioned 35 years later by the Museum of Broadcasting as art. Velzy and Jacobs don’t recall ever being paid for this job. Later, some wag was heard to ponder whether this was truly the first televised occurrence of skateboarding?”




Mike Doyle’s First Surfboard


Mike Doyle‘s first board was bought around 1956.

“I talked my mom into buying my first board then,” recalled Doyle, “a nine-foot, six-inch Velzy and Jacobs balsa board with thirty-two ants in the glass job.  Velzy told me the ants wouldn’t hurt anything and I believed him.  I remember my mom’s words: ‘This board is probably just like everything else you want.  You’ll use it for a week and throw it away.’


“I showed her!  We still laugh about it.  Mom painted a totem pole on that first board and later I sold it to the real Gidget for fifteen bucks.  At the time, my father was in the Navy at Point Mugu.  He drove past Malibu every day -- a great deal for me!  I became ‘Malibu Mike’ and was at Malibu during the sixties, during the renaissance era of surfing, when Mickey Dora, Gidget, the Beach Boys and all the excitement of surfing was coming on strong.  In those days, when the Big South started pumping, every hot surfer on the coast would come to Malibu, the true proving grounds.”





Coast Haoles Takeover the North Shore


By 1957, surfers surfing the North Shore were predominantly visiting Californians and California transplants.  “In the winter of 1957,” wrote Nat Young, “the Californian surfers in Hawaii included Greg Noll, Mike Stange, Mickey Muñoz and Del Cannon.  Some Californians had already made the move permanently:  Ray Beatty, Bob Sheppard, Jose Angel, Fred Van Dyke, Pat Curren, Peter Cole, John Severson, Bruce Brown, Jim Fisher, Buzzy Trent and a few others...”  Yet more waves followed as “Still more Californian surfers began leaving the mainland, with a dream of riding giant island waves:  Kemp Aaberg, Mike Diffenderfer, Al Nelson, Little John Richards...”




John Severson’s Patriotic Waves


“Both John Severson and Fred Van Dyke had come to the Islands through their enlistment in national service,” wrote Young.  “‘Silvertongue’ Severson had been clever enough to persuade the army to let him start a surf team of which he and Van Dyke were the first enlistments.  On strict orders to go out and surf for their country, they proceeded to ride waves all over Oahu.”


“An unknown but aggressive surfer, John Severson, appeared in 1957,” wrote Fred Van Dyke.  “I think he was one of the first to hot-dog big waves…


“He was in the army, an artist, and salivating profusely at the thought of riding Hawaii.  As a hobby, he took 16mm surf films and painted watercolors of island seas, especially abstract surf impressions.  John used to sit at Waikiki on weekends, and sell a watercolor of a surf scene for two dollars.  It paid for film to shoot surf and for gasoline from Waianae to the North Shore.”


“Severson remembers his first brush with big waves only too well,” Nat Young continued.  “He paddled out at Makaha on perhaps the first big swell of the year.  Perfect ten to twelve feet, glassy bowl surf with no-one out.  After pushing back all the adrenaline induced by steady doses of Fred Van Dyke‘s scrapbook and Fred’s stories of Waimea Bay closing out, being sucked into a lava tube, and being dragged out to sea by rip tides, John finally found the line-up.  A big blue glassy peak showed about half a mile out and he paddled around to a take-off position, trying to keep his appointment with his first big-wave experience.  Without knowing about the infamous Makaha bowl, John stood up just as the wave was leaping up to form the bowl.  The board and John parted company, John falling through space until he hit the wave again and was pitched over the falls.  Eventually he came up very alone and a long way from shore.”




Pat Curren’s Meade Hall


“Pat Curren was a classic character as well as an amazing surfer,” credited Nat Young.  “He camped on a vacant lot near Pipeline so he could go surfing whenever he wanted to.”  But Curren was a surfer long before the North Shore.  He had begun in Mission Beach and later La Jolla:


“I grew up bodysurfing and belly boarding in Mission Beach,” Pat Curren told Steve Yarbrough in 1993.  “In World War II guys started with balsa-redwood boards.  In the early ‘50s I moved to La Jolla and got really serious about it.  At Wind ‘n Sea Buzzy Bent, Towny Cromwell, Buddy Hall and the Eckstrom brothers were riding 10-11 foot planks.  Buzzy was one of the first to ride the Quigg chip, a fiberglass and balsa surfboard nine feet long, 22 to 23 inches wide, turned-down rails, trying to get rocker with a pretty flat bottom.”


“To be a La Jolla surfer in the ‘50s,” wrote Bruce Jenkins, “meant you never held back:  in your drinking, your partying or especially your surfing, where the test of skill was a double-overhead day at Windansea.  Nobody savored that life, or typified it more, than Patrick King Curren.


“Everyone... in California knew there was something different about the La Jolla guys:  Curren, Mike Diffenderfer, Wayne Land, Al Nelson, the Eckstrom brothers, Ricky Naish, Buzzy Bent, Tiny Brain Thomas, Billy Graham, Butch Van Artsdalen.”


“The most rebellious group of people I ever met,” said Fred Van Dyke.  “I’m sure some of them came from rich families, but they rejected that kind of life, ridiculed it.  If a guy made some money, he’d go out and buy everybody food and drink, and the next day he’d be scrounging for a cup of coffee.  They were like wild animals.”


“With the Mexican border beckoning,” continued Jenkins, “groups of them would go on blind-drunk Tijuana rages for days, waking up on some roadside without a clue where they were.  Pranks and daredevil stunts were the very essence of their lives.


“They all surfed big Windansea -- out of sheer determination, if not raw talent -- and when the first films and still photos arrived with big wave images of Hawaii, nearly all of them made the pilgrimage.  Curren didn’t even start surfing until 1950, the year he turned 18, but by 1955 he was among the first serious wave of California surfers to take on Makaha and Sunset.”


“Nobody taught me,” Curren said.  “Does anybody teach anybody?  It’s kind of like learning how to ride a bike.  Somebody gives you a push, then watches you crash into a pole.”


“Curren was a little older than the rest,” wrote Jenkins, “and with his lifestyle honed by the La Jolla days, he set the tone for North Shore living.”


“He molded it into a state-of-the-art lifestyle,” recalled Greg Noll.  “He had this terrible old ‘36 Plymouth, probably the shittiest car of all time, and the cops gave him a bunch of crap about having the front windshield knocked out.  Pat always had this way about him, getting from Point A to B in the shortest distance, without getting real complicated.  So he just jerked out one of the side windows and wedged it onto the driver’s side, and he got away with that for a couple months.  That was his idea of a windshield.”


The North Shore was mostly just farmland back in those days, “and you basically had a bunch of local people growing food, raising pigs and chickens,” recalled Noll.  “When Pat and I went on patrol, there wasn’t a chicken or a duck that was safe.  I can still see us running down the beach at Pupukea with a big fat chicken in each hand, calves burning in the soft sand with a couple of pit bulls on our ass.  We’d barbeque ‘em up later and have a hell of a dinner.  Pat was also a pretty decent fisherman and a great diver.  So between the ocean, the chickens and the ducks, he got along pretty good.”


“I started shaping boards in 1956-57,” Curren said.  “I was walking down the beach at Waikiki and a guy at a rental board place asked me who had made the board I was carrying.  I said I did.  He asked me to make 20 rental boards.  So I rented a shop in Haleiwa and got into it.”


“They lived out of cars and panel trucks,” surf writer Bruce Jenkins continued his description of North Shore surfer life in the mid-1950s, “slept on the beach when all else failed, and occasionally got to rent an actual building.  In a truly inspired moment, Curren created a surfer’s palace that came to be known as Meade Hall.”


“It was mostly Pat and the La Jolla guys -- maybe 10 guys altogether,” said Fred Van Dyke.  “It was a three-bedroom, fully furnished place for $65 a month across from Ke Iki Road.  Pat went in there like always, checked it out, didn’t say anything.  Then he lined up everybody for a meeting and the plan unfolded.  Two days later, they had completely gutted the place.  Just tore the insides out of it.  With the leftover lumber they built surfboard racks along the side and a giant eating table down the middle.  Pat got the Meade Hall idea from the old King Arthur books.  That was the meeting place for all valiant gladiators.”


“Ala King Arthur,” Van Dyke wrote, “the Knights of the Round Table and the meeting place known as ‘Meade Hall,’ Curren proceeded to convert [the] place in like fashion.  He took on a number of roommates, mostly surfers from La Jolla, California, like Mike Diffenderfer, Al Nelson, Wayne Land and others.  They razed all the inside separating walls, except the bathroom.  With the lumber, they constructed surfboard racks from ceiling to floor, and built a huge rabble with connected benches on both sides.  It stretched the length of the one big room.


“When it was finished, Pat stood back.  ‘I think this will do; I’m going surfing.’  With that, he strolled into the backyard, picked up a machete, and hacked a couple of branches from a Hale Koa tree.  He tied these to the top of his battered car and secured his board to the new rack.  Pat disappeared in a cloud of fumes, headed toward Sunset.”


Ricky Grigg said Curren would sit at the head of the table, often wearing a mock Viking helmet, “and he’d pound on the table, going, ‘Ahh!  Eat!  We hungry!  Gotta surf big waves tomorrow!  Take wife and pull her by hair into room!’  Just totally joking around.  I mean, the most Pat would ever say in a day was about eight words, and I just said all eight of ‘em.”


“There’s no way to express the look on the owner’s face when he came the next month to collect the rent,” wrote Van Dyke.  “Needless to say, Meade Hall was short lived.”




The Challenge of Waimea


“I named Velzyland when I first began making movies in ‘58,” Bruce Brown -- surfer and surf photographer -- said.  “Velzy sponsored me and made my boards, so I named this spot on the North Shore after him.  John Severson, who founded SURFER magazine, was also making movies at the time and named the same place, only used a different name.  But Velzyland is the name that stuck.  I also named Pipeline, and Severson came along and renamed it Banzai Beach.  As a compromise, it became Banzai Pipeline.  Now it’s Pipeline again.


“In the fifties, the North Shore was a dream.  It was all so new.  And so cheap to live there.  You’d find every way you could to stretch a hundred bucks.  The deal was, who could get the cheapest house and get the most people in it?  You could rent a house then for sixty to seventy dollars a month.  With twelve guys sharing the rent, that hundred bucks went a long way.


“As Greg developed as a big-wave surfer, he’d work on all these schemes that were supposed to help a guy survive a wipeout in big surf -- miniature aqualungs, tiny breathing devices.  No one ever tried them out, but we all talked about it a lot.  You weren’t sure what would happen in an extreme situation, other than that you would most likely drown.  Getting out into the lineup during big surf was a big part of the battle.  No one would have thought of using a boat to get out, or a helicopter to get in.”


“It used to be,” Bruce Brown continued, “that all the guys who rode big waves were good watermen -- good swimmers, sailors or paddlers who knew the ocean, the currents tides.  You could get into a lot of trouble, get sucked to the wrong side of Waimea Bay, if you didn’t know what you were doing.  If you get caught in a rip at Sunset Beach you can almost do laps trying to get in.  The rip runs along the beach, sucking you with it.  If you know what you’re doing, you can aim your board out to the break and the rip will propel you out there towards it.


“At Waimea, the surf would come up fast and make real serious sounds.  I remember one night when it made the windows in our house rattle.  That same night, the surf covered up the telephone poles with thirty feet of sand.  This tells you Waimea is closing out.


“A lot of people have surfed big waves once or twice, then ended up preferring smaller waves.  Greg became such a dominant big-wave rider that I can’t even remember how he surfed little waves... even if no one had been buying boards or shooting pictures, Greg still would have been out there.  The same holds true today among big-wave riders.  Their enthusiasm never dies.  They’re eternally stoked.


“Surfing won’t ever die, because people get too stoked on it.  I worry about the guy today who starts surfing later in life.  Like a kid, this older guy wants to surf every single day.  Pretty soon, he’s got no wife, no kids, no job.  He’s living out of his car.  Every surfer seems to go through those first couple of crazy, devoted years, like we did as kids, surfing every day because you never get enough of it…


“I don’t think Greg Noll is aware of the legend he created.  A few years ago he called me after he had taken a trip back to the North Shore.  He said, “Guess what?  People remember me!”  I said, “Noooo shit!”


“There was fierce competition,” wrote Noll, “on a friendly basis, of course, among the big-wave riders: Peter Cole, Pat Curren, Mike Stange, Jose Angel, Ricky Grigg, Buzzy Trent, George Downing and myself.  This was the nucleus of guys during my time who really enjoyed riding big waves.  Each guy had his own personality and his own deal.”




Waimea Bay, November 5, 1957


In Greg Noll‘s DA BULL, Life Over the Edge, Noll recalled the first time Waimea Bay was “successfully” ridden by surfers following the Hot Curlers of the 1930s and ‘40s.  It was November 5, 1957. It was the beginning of Pat Curren’s enduring reputation as “King of The Bay.”


“Downing and Trent had helped establish Makaha as the No. 1 big-wave or any-size-wave spot in the Islands,” Noll wrote. “Up to this time, the winter of 1957, no one had ever ridden Waimea.” This was not entirely correct. Waimea had been surfed by the Hot Curl surfers in the late 1930s and beginning 40’s, but after Dickie Cross’ drowning there in 1943, the spot was considered voodoo and rarely -- if ever -- surfed.


“For three years I had driven by the place,” continued Noll, talking about Waimea, “on my way to surf Sunset Beach. I would stop the car to look at Waimea Bay. If there were waves, I’d hop up and down, trying to convince the other guys, and myself, that Waimea was the thing to do. All the time, I was trying to build up my own confidence.


“At that time the North Shore was largely unexplored territory. We were kids who had heard nothing but taboo-related stories about Waimea. There was a house that all the locals believed was haunted. There were sacred Hawaiian ruins up in Waimea Canyon. And of course, the mystique of Dickie Cross dying there. We’d drive by and see these big, beautiful grinders... but the taboos were still too strong.”


“The forbiddenness of the place is what made Waimea Bay so compelling. I wanted to try it but didn’t have the balls to go out by myself. So I kept promoting the idea of breaking the Bay. Buzzy Trent, my main opponent, started calling me the Pied Piper of Waimea. He said, ‘Follow Greg Noll and he’ll lead you off the edge of the world. You’ll all drown like rats if you listen to the Pied Piper of Waimea Bay.’


“One day in November, we stopped at Waimea just to take a look…” What the crew saw intrigued them, but Noll and company continued on to check Sunset, only later to return when they heard it was being ridden.


It was “Harry Schurch, a mild-mannered history teacher [and lifeguard] originally from Seal Beach,” Steve Pezman reminded me, who “actually rode the first wave that day. The story goes, he was maybe 10-15 minutes behind the Noll/Stang group that had stopped, checked the Bay, and then drove on to check Sunset. He, too, stopped to look at the Bay, but he had to get to work, and instead of leaving, he decided it looked doable and paddled out, rode a couple, came in and left. Didn’t think that much of it. “The guys at Sunset heard someone was out at the Bay, from someone who had driven by, and hurried back, arriving just as Harry left. The rest has become history.”


“I was following Noll, Stange, Curren, Al Nelson, Mike Diffenderfer... and Mickey Muñoz...” wrote Fred Van Dyke, about the group that returned, after Schurch had left. “We always checked it because it looked so glassy and clean, but then [usually] drove on to Makaha. That day we stopped and got out of our cars. ‘Neat break, but a board racker,’ said Nelson.


“Muñoz mumbled, ‘It didn’t look too big anyway.’


“‘Too peaky, no wall,’ said Curren. Noll was jumping up and down. His wife, Bev, was trying to calm him.


“‘I’m going to paddle out and just look at it,” said Greg. Noll was always the stoker, the initiator, and Stange usually followed suit.


“‘Yeah,’ said Stange. ‘Got any wax?’”


“Mike went with me,” continued Noll. “We were the first [of our group] in the water. I was the first to catch a wave. I had paddled for one outside and missed it, so I took off on a small inside wave. By then the other guys had come in too. Pat Curren and I rode the next big wave together. And that was it. It was simple. The ocean didn’t swallow us up, and the world didn’t stop turning. That was how Waimea got busted. By me, Mike Stange, Mickey Munoz, Pat Curren, Bing Copeland, Del Cannon and Bob Bermell.”


... and Harry Schurch.


Van Dyke recalled of the Noll/Stang group, “They all hit the water and Munoz was first to paddle by the deep spot where the point swings in on top of you and it looks like a mountain ready to break, and then it heads back to the point because of the deep spot. Munoz practically fainted when he saw the size of that first wave up close. What had appeared as a small peak from half a mile away now loomed as a gigantic 20 plus wall. Munoz went off first on a 20 footer and dug a rail half way down.


“Greg screamed. ‘Jeez, it looks like a mountain.’ Curren ended upside down on a late takeoff. Stange and Noll got the wave of the day, Stange taking a cannonball spin out from inside of Greg, coming up 100 yards inside of where he wiped out.”


To Curren’s recollection, no one really made a wave successfully that session. “We thought it was maybe 12 feet. We got a big surprise when we got out there. I don’t think anybody made a wave.”


“Within minutes,” wrote Greg Noll, “word spread into Haleiwa that Waimea Bay was being ridden. We looked across the point and saw cars and people lining up along the road watching the crazy haoles riding Waimea Bay. There must have been a hundred people -- a big crowd for that time.”


“I’d love to say something heroic,” Noll admitted in Surfers, The Movie, “I’d love to say we made history. But basically it was a bunch of guys parked around the Bay there, and somebody grabbed a board and went surfing, and it looked so good the rest of us guys said, ‘Hey, we got to get in on this.’“


The guy who first grabbed his board this November 5, 1957 was Harry Schurch. Next, it was Greg Noll and the “rest of the guys.”


“The irony of it all was,” Greg Noll remembered, “it wasn’t a very big day by Waimea standards. Just nice-shaped waves. I spun out on one wave and wrenched my shoulder. It’s still screwed up from that first day at Waimea. We were using ridiculous equipment, boards that we had brought over from the Mainland. Definitely not made for big waves. We had a long ways to go in big-wave riding and big-wave-board design.”


“When we first surfed Waimea,” Noll continued, “we weren’t conscious of making history, other than on the level of that particular time. For me the excitement came from competing with the other guys and from riding as big a wave as I was capable of riding... The irony was, at the end of the first day, when we were all sitting together rehashing our rides, everybody wondered, ‘Why the hell have we been sitting on the beach for the past three years?’ It wasn’t a huge break that day. Waimea was just trying to be itself. Later we were introduced to the real Waimea.


“To be Waimea, the waves have to break fifteen to eighteen feet before they start triggering on the reefs. To be good, solid Waimea, it has to be the type of break that rolls around the point, with a good, strong, twenty-foot-or-bigger swell. A lot of big-wave riders disagree on a lot of things, but I don’t think any of them would disagree about this: to be good Waimea, it has to have more than size. It has to have a certain look and feel. A little bit of wind coming out of the valley, pushing the waves back, holding them up a bit.”


Fred Van Dyke remembers the waves that day being much bigger and went on to write about surfing Waimea Bay back in the late 1950s, in general:


“Even though I love ‘The Bay,’ I admit, deep down, the best part of surfing Waimea on a huge day -- one over twenty feet, which is not very often -- is when you are walking up the beach, thinking back over the waves, the wipeouts, the rip that takes you toward the huge boulders and threatens to smash you upon those boulders if you don’t make shore before the other side of the rock the kids dive from in summer. Yes, for me, walking up that beach, safe for another day -- alive -- is the payoff.


“Many years ago, when Sunset Beach closed out, we packed up our boards and headed for Makaha. I remember that we would drive by Waimea Bay, stop, and look at the wave breaking off the point. The consensus, since nobody had surfed ‘The Bay,’ was that it wasn’t big enough, and who would want to surf such a narrow peak? Besides, it looked as though it broke exactly on the rocks, a definite board racker.


“Greg Noll was the first to paddle out [from the group that had returned after Schurch left]. Whenever a place was tried for the first time, Greg usually stoked us to go out. On this particular October day in 1957, ‘The Bay’ was challenged for the first time by a group of Californians. Al Nelson, Pat Curren, Mike Diffenderfer, Mike Stange, Mickey Munoz and later, after school, by me.


“‘The Bay‘ won, but a new surf spot was opened for exploration. The takeoff was nearly impossible, jacking up ten feet after you dropped in, and the wipeout in deep water so thick that you were held down long periods and pushed along for a hundred yards in thick soup.


“One thing we found out on that first day -- it being over twenty feet -- was that when you lost your board most of the time it popped out in the rip and drifted right back to you. We also found that our boards were totally inadequate. A new design had to be created to handle ‘The Bay.’”


“After that first day in ‘57,” Greg Noll concluded, “Waimea Bay joined Sunset Beach, Noll’s Reef and Laniakea as accepted North Shore surf spots. Pipeline, at that time, was still a ways down the road. All the great spots that are still the great spots today were established within our first four years in the Islands. After that, surfers surfed and named every ripple along the North Shore.”


And that was how the thirteen year old tabu associated with surfing at Waimea was broken in mild (by Waimea standards) 12-to-15 foot surf. But, as Noll declared many years later, “There were some hairy days to come.”


Greg Noll is most often given credit for being the first one to ride Waimea after Dickie Cross died there and Woody Brown nearly ate it there. This is in good part because Bud Browne was there to film Noll’s crew riding Waimea and crowds of people watched from the road. Similar to how Phil Edwards is credited for being the first to ride the Banzai Pipeline because it was shot on film. Steve Pezman is quick to point out that the generally recognized history of that first day is “not the real story. What Greg and Harry’s versions do agree on was that it wasn’t a big deal. Maybe a 15’ day, just beginning to crumble on the outside. The real heroics there would come later —- with a lot of the same players, except for Harry, who after riding it first in the modern era, got out of the service, went home and never came back. Until... 


“On one of the years I was introducing the invitees to the Eddie at Waimea, I invited Harry to join me on the trip (at Quiksilver’s expense) and introduced him at the opening banquet to all the current day heroes. After he told his story they stood and gave this older scholarly looking gentleman a standing O, then the evening wound down, the crowd went home, and that was that.


“Except that for Harry, who had been overlooked all those years, it was closure. He didn’t care about the act itself, called it overrated, no big deal, but, being a history teacher, it bothered him to hear the inaccurate versions go into the books.


“It was Munoz who answered, ‘Actually, it was a guy named Harry Schurch!’, when I long ago asked him who took off first. Knowing Mickey, that figures.”


“For many years Waimea was surfed only on those few days of the year when everywhere else on the North Shore was closed out,” Fred Van Dyke wrote, bringing the story of The Bay up to present day.  “Now, the cord [leash] makes it possible to surf it from hot dog size all the way up the scale.  This creates a false impression, by some, that they have ridden ‘The Bay.’


“... [big wave rider] Ken Bradshaw put it succinctly.  A young kid came into Karen Gallagher‘s surf shop across from Kammie’s market and bragged to Bradshaw and others that he’d just ridden Waimea.


“Bradshaw looked at him and said, ‘Waimea hasn’t broken in four years.’“



Wednesday, November 13, 2024

Surfing Year 1964

 

“In ‘63 when I won the contest at Makaha (then recognised as the unofficial world title), people’s attention focused away from the [Australian] surf club and onto the actual riding of the wave with a surfboard...”

-- Bernard “Midget” Farrelly



“Whatever that [1963 Australian] world contest did for me doesn’t matter.  It just does not matter. What happened was that it took surfing from the back stalls [in Australia] to the front stage in one fell swoop.”

-- Midget Farrelly



“It was unbelievable -- we even outdrew the Beatles.”

-- Bruce Brown talking about The Endless Summer



“Those people at that contest [1964 Makaha International] -- Doyle, Curren, LJ, Joey, Dewey and even some guys I still know today like Donald Takayama -- were special people because they were guys who went out and did it for reasons that weren’t written down somewhere. They were really unique people.”

-- Midget



The year 1964 contained key elements that would determine the course of the remainder of the decade. The U.S. involvement in the civil war in Vietnam escalated to the point of no return; the Ranger VII space probe returned close-up photographs of the surface of the moon from moon orbit; race riots in a number of cities were sparked in reaction to enforcement of civil rights laws; Martin Luther King, Jr. received the Nobel Peace Prize; and dances that were varieties of the Twist -- the Watusi, Frug, Monkey, Funky Chicken and others -- drew many young people to discotheques popularized by go-go girls.


Surfing was taking off all over the world. Surf music was popular. More importantly for the emergent culture, “Surfing films and magazines spread the good word,” wrote Nat Young, “about Baja in Mexico, Jeffreys Bay in South Africa, Rincon and Steamer Lane in California, Waimea and Sunset in Hawaii, Bells Beach and Byron Bay in Australia.”


Beginning the year, in February, a three-day spell of strong east winds created a freak day of 18-foot surf at Sandy Beach. “A photo of Leroy Achoy taken this day,” noted Surfer magazine in 1992, “is still used on Bank of Hawaii checks.” That summer, Midget Farrelly won the International Championship at Manly, Australia. Also, The Endless Summer was first shown and would quickly make an impact on the sport to both surfers and non-surfers alike. In the fall, Joey Cabell won the Makaha International and Da Bull first rode Outside Pipeline. It was a momentous time.



Australia Emerges


Although equipment and riding styles stayed the same for a long time in the early decades of Australian surfing, Australian surfers started to make an impact on world surfing after the introduction of the Malibu Board in the mid 1950s and a gestation period leading into the early 1960s. Their influence continues to present day.


Before stand-up surfing, Australia had its wave riding roots in bodysurfing, dating to the beginning years of the Twentieth Century. Surfing standing up on wooden boards got underway a decade later, in 1912, after a visit to the Hawaiian Islands by Australian C.D. Patterson. He returned to Manly Beach, outside Sydney, with a Hawaiian redwood surfboard.


Yet, Australian surfing really didn’t get going until Duke Kahanamoku came to to the Land Down Under in 1914-15, giving surfing demonstrations at Freshwater Beach. At one point, he made a tandem demonstration, choosing a 15-year-old girl named Isabel Latham. She went on to become the country’s first women’s surfing champion.


As time went on, the Australian surf lifesaving movement harbored a special place for surfers, joining it at the hip with lifeguarding.


In 1926, C.J. “Snowy” McAllister emerged as Australia’s first great surfer, winning the men’s surfing championship that year and the year following. In 1928, at the Australian championships at Newcastle, Snowy’s headstand surfing during the final heat made local headlines after the move locks him in for his third straight title win. Australia saw other champions to follow, like Frank Adler in 1934, riding a Tom Blake style hollowboard.


That same year, Dr. G. A. “Saxon” Crackenthorp invented the first “surf ski.” It was an 8’ long by 28” wide by 6” thick plank of cedar designed to have its rider sit on the deck to propel and steer with a paddle.


After Duke’s introduction of stand-up surfing to Australia, the next internationally significant surfing milestone in Oz occurred during the Melbourne Summer Olympic games in 1956. American lifeguards and surfers Tommy Zahn, Greg Noll, Mike Bright and Bob Burnside brought their Malibu Boards with them, demonstrating the union of balsa and fiberglass to a country still riding Blake-style hollowboards. Riding between Avalon and Torquay, the Americans got the attention of surfers in the area, inspiring the sudden switch from hollowboards to balsa/fiberglassed Malibu-style boards.


Shortly thereafter, that year, Roger “The Duck” Keiran became the first Aussie to start building boards after the Malibu Chip model – some of which were left behind by the visiting Americans. Quick evolution was soon to follow, as documented in a brief rundown of Australian history written by Ryan Smith for a 2000 issue of Longboard magazine:


“1958. Filmmaker Bud Browne travels from California to Australia to shoot the happenings of the growing surf boom. Browne meets a local surfer, Bob Evans, who agrees to show some of Browne’s movies at select theaters. The foreign footage of the popular hot-dog style now en vogue in Hawaii and California wows the crowds, and soon everyone in Oz is trying to imitate it.”


Ryan Smith continued:


“1958. The first shipment of custom-ordered balsa wood blanks from Equador lands in Australia… Some of the early manufacturers to specialize in balsa are Barry Bennett, Bill Clymer, Joe Larkin, Bill Wallace and Gordon Woods. The next year, over 1500 Malibu-style balsa boards are produced…


“1959. American Bob Cooper – a one-time employee of Dale Velzy – arrives in Australia to blow foam for Sydney board-builder Barry Bennett, and eventually settles in Manly. While a part of the local scene, Cooper recognizes the raw talent of one of the young surfers, Bernard ‘Midget’ Farrelly. Cooper encourages Farrelly to refine his skills, and is instrumental in bringing the California beach style of dress to Midget, and then Australia.


“1961. Midget Farrelly, Charlie Cardiff, Dave Jackman, Bob Pike, Owne Pillan, Mike Hickey, Mick McCann, Tank Henry, Gordon Simpson, Nipper Williams and Graham Treloar head to Hawaii aboard the Oriana, becoming the first Australians to surf The Islands. Some of the Aussies enter the 9th International Surfing Championships at Makaha, but lack of Hawaiian experience keeps any of them from doing well in the contest.


“1961. A few surfing members of a Torquay boating crew discover the wrapping, perfect waves of Bell’s Beach in Victoria.”


The poor showing of the Aussies in the 1961 Makaha Championships changed radically the next year:


“1962. Midget Farrelly wins the 10th International Surfing Championship at Makaha is small surf, becoming the first Australian to win a major surfing event, and is considered the Australian champ.


“1962. In September, Bob Evans releases the first issue of Surfing World, two years after John Severson prints The Surfer in California.


“1962. Cutting-edge shaper/surfer Bob McTavish and David Chidgey stow away to The Islands aboard the Orsava with help from some other Hawaii-bound surfers. After weeks of dodging the ship’s crew and hours of waiting while the Orsava docks, the two finally sneak off to experience Hawaii; unfortunately, the pair get deported back to Sydney after word of their disappearance makes newspaper headlines.


“1963. The Australian Surf-Riders Association becomes the umbrella organization for a series of smaller, local clubs along the coastlines.


“1964. The first official World Contest is held at Manly Beach, and are organized by Bob Evans. Close to 65,000 spectators – the largest gathering in surfing history – flock the sand and see Midget Farrelly hot-dog his way to the men’s world title.”



Surfers vs. Surf Clubs


“To get it right,” Australia’s first world champion Bernard ‘Midget’ Farrelly clarified, “a few things happened in surfing simultaneously to make it suddenly popular around the time of the contest. It came from nowhere almost.


“Prior to ‘63 there were surf clubs and a few breakaway surfers who’d left the surf clubs and they’d gone surfing and had a little bit of fun, but they were sort of just a fringe group. At that stage the surf club was seen as the institution at the beach. The real hard core surf club guys were living one of the only alternative lifestyles that was available to them.”


“The clubs were an intriguing phenomenon,” wrote John Grissim in Pure Stoke. “By the mid-50s they had evolved into elaborate organizations with their own clubhouses, social functions, fund-raising, and an elite membership of enthusiastic watermen who trained hard for position on club teams which would compete against each other in regional and national surf carnivals. During these much ballyhooed events squads of ‘clubbies’ wearing uniform bathing caps, Speedo trunks, and club jerseys would parade barefoot by beach reviewing stands carrying flags, then test their mettle in such skills as paddleboarding, belt-and-line retrieving, and launching rescue dories through big surf. The whole ritual was paramilitary in character, shot through with patriotic overtones and steeped in the tradition of clean living, discipline, and good order (except during parties when the suds flowed). For many a young man in Australia, membership in these ranks was a cherished goal.


“In ‘63 when I won the contest at Makaha (then recognised as the unofficial world title),” Midget Farrelly recalled, “people’s attention focused away from the surf club and onto the actual riding of the wave with a surfboard, which more or less didn’t exist in people’s minds before that.


“They saw surf club life -- the paddling, the swimming, the boats -- as it. But the focus turned away to a sport that ‘Joe Blows’ might be interested in -- surfing.”


“Yet, the authorities still looked on surfing with skepticism,” emphasized Nat Young, a later Australian champion. “The conflict between surf club members and surfboard riders was intensified by the introduction of a system which allotted different parts of each beach to the different surfers. The local municipal councils had strong connections with the surf life saving movement and forced board riders to register their boards and pay a fee; the lifesavers were instructed to police the system. Surfers who rode waves in the ‘wrong’ area ran the risk of having their boards confiscated; this led to real confrontation when some riders refused to let surf club members take their boards. There were also a few isolated brawls between surfies and ‘rockers,’ who were basically bike riders from the landlocked western suburbs; media publicity about the conflicts helped give surfies a bad name. This got even worse when two of Australia’s finest surfers, Bob McTavish and David Chidgy, stowed away on the Orsova while saying goodbye to some other Hawaiian-bound surfers. With so much flak hitting them the surfers decided to form their own association, and in 1963 clubs were created all along the east coast and banded together in the Australian Surfriders’ Association.”


“Because surfboards were down to 10 feet,” Midget Farrelly pointed out, “readily available and cost about a week’s wages then -- sort of still do for some -- suddenly a door opened and surfing reached the masses and that contest signaled the major point of that occurrence... a lot of people took up surfing and it boomed.”


“Just prior to the world contest,” Midget continued, “surfing had become so popular that the people who had always had control of the beach -- the surf club, the beach inspectors, the council -- they saw us as an aberration and wanted to control the sport.


“You know, ‘Why weren’t we in the club?’ ‘Why weren’t we members of something?’ ‘How come we were just people out there doing it purely for selfish reasons?’


“And to a certain extent we suffered because we were free and the authorities of the time went out of their way to curtail what we were doing. They tried to make us register our surfboards. [Then] They tried to ban us altogether...


“Having to register your board is an embarrassment! Imagine someone coming from another country and he can’t go surfing because his board’s not registered! (laughs) Our image to the rest of the public was very strong... they saw us as glamorous.”


“The surf clubs were behaving out of jealousy and frustration and we needed to defend ourselves and that’s basically what we did. We had an event that shook up the surfing world [the 1964 world championships at Manly].”


“In the previous decade or so,” Mike Doyle wrote in Morning Glass, “surfing in Australia had grown to a level of importance it has never reached in the United States, and the Australians took their role as hosts for the contest very seriously. Australia is a water-conscious country; almost everybody there lives along the coast, everybody swims, and almost everybody surfs or at least bodysurfs. The Australians were very proud of their watermen, and hosting a world surfing contest was an opportunity for them to show the rest of the world what Australia was all about. An American equivalent might be a baseball world series, but with every baseball-playing country in the world invited to compete.”


“When Hawaii and California saw us have the first world championship here,” Midget said, “can you imagine what they thought? They went, ‘Can you believe these Australians!’ The very next year the Peruvians went, ‘We’re having a world title!’ and it was wonderful, we were all off to Peru.


“Whatever that world contest did for me doesn’t matter. It just does not matter. What happened was that it took surfing from the back stalls [in Australia] to the front stage in one fell swoop.”



World Championships at Manly


Midget Farrelly followed his Makaha win of Fall 1963 with another dramatic win at Manly Beach, N.S.W., Australia, on May 17, 1964. It was the first year Australia hosted an international surfing event and -- counting Makaha -- the second time an Australian won a world surfing title.


“It’s difficult to explain to people the excitement that event caused,” wrote Mike Doyle, one of the contestants. “Today there are major surf contests held almost every week somewhere in the world, but at that time, there was only the Makaha, held once a year in Hawaii. So when the Australians announced they would be hosting a world championship, we were thrilled. This was going to be the first truly international surf contest.”


The 1st Australian International Championship was organized by Bob Evans and sponsored by Ampol Oil, a major Australian corporation. “They not only covered the costs of organizing the event,” Doyle pointed out, “but they paid for the hotel accommodations for all the foreign competitors. The contest was covered live by three Australian television stations that had helicopters hovering above the water.”


“Because of the judging problems which had been experienced in Hawaii a judge was flown in from each participating country,” wrote Young, “and this helped make the contest a fantastic success.”


“‘Bloody good!’ they would yell,” Phil Edwards, an American judge at Manly, wrote of the scene at Manly that First World Contest, “and ‘Crack the corner!’ they would yell -- meaning, by translation, Shoot the Curl.”


“I had climbed off the plane and been met by a band of local surfers,” Edwards recalled. We had adjourned to a kind of garage-like building somewhere downtown; there was a keg of Australian superbeer sitting in the middle of the room. The Aussie beer is about twice -- maybe three times -- more powerful than American beer. And it was warm, which delivers the message considerably quicker.


“In about one hour I had no idea where I was.


“‘Edwards,’ they would say, ‘how do you like the Australian surf?/


“So far I had seen the airport and this garage. ‘How do you like it?’ I would say. And they would clap me on the back and shout, ‘I knew you’d agree! It’s bloody marvelous, that’s what it is.’


“And it was, at that, a cross between southern California and Hawaii -- and on contest day the line of people stretched for more than a mile along the Sydney waterfront.”


“On the first day [May 17, 1964] there was a crowd of 65,000 watching,” wrote Nat Young, “the biggest crowd ever assembled in the history of surfing [at that point]... Midget Farrelly won, proving that what had happened in Hawaii two years earlier was no fluke.”


In the final, Midget was up against Californians Joey Cabell, Mike Doyle and Little John Richards, and Aussies Mick Dooley and Bobby Brown.


“They were all excellent surfers,” Midget credited, acknowledging that even though Joey Cabell made an impressive showing by coming in third after he hadn’t surfed for six months previous; only snow skiing, “...Doyle would have been the winner. Cabell dropped in... but Cabell couldn’t ‘walk‘ anyway... if you can’t ‘walk’ you can’t surf. See a longboard has two extremes. It’s what you do on the front of the board and what you do on the back of the board. Cabell couldn’t walk. He shuffled. You must step one foot ahead of the other.


“If you think about it you’d have to take at least three steps to get from the back to the front of a 10 foot board. If you’re fading a left, snapping a top turn and you’re going to follow that with a hang ten then you’ve got to run at least three steps to the front.


“Cabell didn’t. He turned from the middle of the board and shuffled to the nose. But he had great ability, a natural athlete -- but he didn’t ‘walk.’“


Addressing the boards of the day, Midget rhetorically asked:


“Why ride a longboard on a wave that you’d be better off riding a shortboard on? The real answer is that a longboard always went good from one foot to head high.


“Over head high they become uncontrollable! The design was so bad then, I mean, look at all the old movies of guys riding longboards at Sunset and Waimea, it’s a joke. How did they do it?


“That contest in 1964 was a pure state-of-the-art small wave surfboard riding event. The head judge was Phil Edwards, who at the time had the ultimate repertoire.”


“So what it came down to that day was Doyle could have won because he had all the manoeuvres and could walk. L.J. Richards could have won because he was an excellent walker. Dooley could do it and so could Bobby Brown, so they could have won.


“I knew the full repertoire. And it’s sort of like I knew what I had to do to win. If you do get those waves and then you do what has to be done then all the buttons are pushed.”


Later on in the year, Bob Evans wrote in the brand new Australian surf mag Surfing World, that Midget’s approach was “functional and to use only the critical part of the swell then, demonstrating mimimum effort, to manoeuvre only as much as these rather unchallenging waves suggested.”


“I think it’s accurate for how he saw it,” Midget acknowledged thirty years later. “Once again, Bob was a guy who couldn’t ‘walk‘ a board. He grew up through the hollow board period where you stood on the tail with your knees locked and your arms in the crucifix position and you looked graceful.”


“Manly at two to four feet is not about taking the drop and surviving the hold down!” Midget laughed at the image. “Riding a two to four foot wave on a 10’6” longboard is almost about a dance.


“There are a set of manoeuvres that form a repertoire and if you get the right wave, and your board works, and you’re good, you can perform all those manoeuvres in harmony and pull off a perfect score.”


Midget won the contest in the final minute, catching a good one on the inside.


Thirty years after winning the title, Midget maintained high praise for Mike “Ironman” Doyle, “probably the best waterman surfing’s ever seen... He could ride any ocean...


“I’ve seen Doyle ride one foot waves on a longboard. I’ve seen Doyle ride closeout Waimea on a gun. I’ve seen Doyle win tandem. Doyle could bodysurf Pipeline. I know Doyle can paddle and I know Doyle can swim. Now, if you think about what that all means it’s that he’s complete.


“Even Eddie Aikau [later on in the decade and on into the 1970s], who could ride giant Waimea, bodysurf anything, wasn’t that great on a shortboard, didn’t do tandem and may have not been a paddler. You can take any world champion since 1964 and it’s the same. I mean, it’s going to be a long time until you see another Doyle...


“You have to look at the bodysurfing, the paddling, the swimming. Doyle was a lifeguard. It’s really hard for young guys [in the 1990s] to accept what I’m saying, but I wouldn’t even claim to be 25 percent of what Doyle was. No one had the versatility that Doyle had.”


“After the main competition was over,” Doyle wrote, “Linda Benson (the top woman surfer in the world at that time) and I put on a tandem demonstration that was covered on national television. Many Australians had never seen tandem surfing before, and they were fascinated by the grace of the sport. In fact several Australians told us later they thought our tandem demonstrations had been the highlight of the contest.”


Asked what he remembered most about May 17, 1964, Midget Farelly responded: “Probably the crowd, the huge number of people. Conservatively 60,000. At the other end of the scale 80,000 -- it was a lot of people.


“We didn’t have a lot of sports then. The prominent sports were cricket, football, swimming, some athletics and tennis. The population of Australia was pretty small at that time and there wasn’t that much to do... people were interested in anything new and surfing was a new sport.”


Asked about what Manly Beach was like in 1964, Midget said, “It wasn’t much different. It was a little more dowdier, it looks heaps better now, but it was sort of a centre of surfing because the beaches north of here hadn’t filled out with little groups of surfers. They weren’t there.


“The surfing population was still relatively small and whereas today every beach has its locals who know it back to front -- that wasn’t the case then.


“The water was still relatively clean then. The North Head sewerage works hadn’t really polluted it that badly. The population of Sydney was smaller, it was a reasonably good place to be in 1964.”


“In a country that was said to have a lot of cultural cringe,” Midget said of the Manly win, “it provided pride.


“You had to be around to see the magnitude of what that event was. For me it was just part of my surfing, but it gave a lot of Australians an enormous sense of pride in what they were when it came to surfing.


“In those days politicians and the Church told you what to do and when a sport like surfing came along, it was a freedom, a great freedom, and we jumped into it and we made it our lives. A lot of people identified with that and they saw it as the start of a completely new thing.


“Surfing was all new. Nobody knew what it’s limitations were. It was like a pretty girl with no reputation. Like, ‘Nobody knows -- anything is possible...’“



Australia’s 1st World Champ


The son of a Manly, New South Wales, cab driver, Bernard “Midget” Farrelly was “a good-looking, articulate, law-abiding athlete whose rapid rise in the surfing contest ranks was unprecedented,” wrote John Grissim in Pure Stoke.


“As a youngster,” Nat Young added, “Farrelly had lived for short periods in Canada and New Zealand before his folks decided to settle in Sydney. His nickname came when people saw him riding a plywood board at Manly; he was mighty small for his age. His uncle, Bondi boardman Ray Hookham, encouraged him in the early days, and he learnt by watching Nipper Williams and Mick Dooley as well.”


Midget had started surfing in 1955, at age 12. By age 14, he was, as he put it, “surfing at Freshwater with a lot of older guys.” He would go on to become a “precision” surfer through the 1960s, the head of the “functional” school of surfing, author of 1966’s The Surfing Life, world champion in 1964, and runner-up in 1968 and 1970.


“... and we saw some Bud Browne movies at the local surf clubs,” Midget continued, talking of when he was 14, circa 1957-58, “and that footage was what inspired us to go to Hawaii -- my first trip there was in ‘60-’61 -- where I actually met Peter Cole, Ricky Grigg, George Downing, Wally Froiseth and the rest of ‘em. I saw that they were around surfing, but working as teachers, firemen, that kind of thing; always with access to waves, living on the North Shore, always tuned in. What a rich, beautiful scene! I stayed with Marge Calhoun for a couple of months. I slept on the floor at Jose Angel‘s house. And those people, when I see them today in Bud’s movie, I’m still overwhelmed by the strength of character, by the pleasure in their faces. There was just something so uncorrupted about their involvement with surfing, something so honest. And so that era, and those people, set a pattern for me that I’ve never really moved away from.”


Like all surfers, Midget watched his heroes closely in order to improve his own surfing. “I knew that there were a whole lot of people out there that were better than me in the water,” said Midget, “...and that whenever I got around them there was something I was going to learn from them.


“I guess what was really important to me about it was that the point had been reached where I was able to compete in the water with the people I’d seen in movies and magazines and that I had respect for as water people. There were a lot of girls surfing then who were very good too and to be with those people was great. People who had made a life for themselves doing something attractive visually.


“To have been an Australian who could surf and who could win and then who could go to other countries on an equal footing, I think that was a wonderful thing.”


Asked who inspired him, Midget responded:


“I saw Mickey Munoz‘s Quasimoto. I saw Mike Doyle‘s arches and cutbacks. I saw Phil Edwards‘ walk, his parallel nose ride and his drop knee. I saw Dewey Weber‘s flashing red board and boardshorts. I saw his head dip with his hands tucked behind his back. I saw L.J. Richards walking through whitewater on a 10 foot board and it was all beautiful skill being developed and all of them had something that I thought was wonderful.


“That goes for watching Curren (Tom’s dad Pat) at Waimea. Basically Curren was the only person who could ride Waimea accurately in those days. Pick the big wave, thread the top of it and make it across a difficult section. It was a period where there was a hell of a lot to be learnt.”


“When he returned to Australia as the accepted world champion,” Nat Young wrote of Midget, “he became a symbol of a new generation of surfers who were more interested in surfing than surf clubs. Patrol duty and training for the bronze medallion began to conflict with chasing waves (and girls) and doing the stomp.”



Joey Cabell in Australia


By 1964, Joey Cabell had won the Malibu Invitational (1963) for his surfing, and the Rocky Mountain Division Class “C” for his skiing. He had opened a second Chart House restaurant and the Army had given him a 4F draft rating because of ski-related back problems. His image was a clean one and this drew the media and the Establishment to him. A California State Senate Resolution, “RELATING TO CONGRATULATING WORLD SURFING CHAMPION JOEY CABELL,” was read into the record on March 9, 1964.


“Some observers thought Joey had outsurfed both Midget and me,” recalled Mike Doyle, “but was given third place because he’d been too aggressive, dropping in too many times in front of other surfers. The Australians had emphasized that this contest was going to strengthen the international brotherhood of surfing, and I suppose the judges felt Joey’s aggressiveness had to be penalized.”


“In the six-man final of the Australian world contest,” wrote Matt Warshaw, “in reasonably good 2-4’ surf, Cabell shed his gentlemanly reputation and aced his opponents without mercy, dropping in time and again on waves that were already being ridden. There was a new ‘sportsmanship‘ or ‘interference’ rule, and Cabell didn’t understand how it worked, or thought it wouldn’t be enforced, or thought he could take the one-point-per-wave deduction and still win. Edwards, as the final authority in the judge’s stand, brought the full weight of the sportsmanship rule to bear. ‘There was a big thing on the judges’ stand,’ Edwards told Surfer magazine in 1989, ‘where they were going to give it to Joey. I came out really strong for Midget, for sportsmanship reasons.’ The results were announced: first place, Midget Farrelly; second, Mike Doyle; third, Cabell.”


“It’s not certain that Cabell would have won the contest if he hadn’t been penalized,” Warshaw continued. “The American surf magazines at the time all considered the results legitimate. Doyle’s world contest report for Surf Guide said the contest ‘was judged fairly and there were no complaints about who should have won.’ Today Doyle thinks Cabell would have gotten second -- maybe first. Nat Young‘s eternal feud with Farrelly stands as a mitigating factor, but Young has always said it was Cabell’s contest. ‘There were maybe 30 of my friends from the Collaroy Surfer’s Association on the beach,’ Young says today, ‘and there was no doubt among the group, no doubt, that Cabell won.’“


“Cabell thinks he should have won in ‘64,” Warshaw went on, “but says, ‘Phil was doing his job,’ and that he never held Edwards responsible for the lost world title. But his ambivalence comes through a few seconds later. ‘I might have been a little too aggressive for Phil’s taste:  he was so laid back, you know. In fact, I’m sure that was it. I was just a little more aggressive than Phil could handle.’“


After the Manly Beach contest was over and most of the international guests had gone home, some stayed to taste Australian free surfing. Max Wetteland, the South African champion, and Gordon Burgess, representing Great Britain, hung out on the Sydney beaches for a few weeks.


Joey Cabell and Linda Benson -- then undisputed best woman surfer in the world -- took a safari up the coast. “What Joey did with the waves at Angourie for the witnessing entourage of Australian surfers,” wrote Nat Young who was 16 at the time and missed seeing Cabell’s free surfing because of school, “was the most significant input into local surfing up to that time; he really showed us the possibilities of what could be done on Australian waves. For the first time we saw how to make turns by bending the knees and pushing the board to make it jump around a section. He showed us how to shoot the curl and opened up the gate to riding it instead of shutting our eyes and putting our head in it.”


Bob McTavish was there and saw Joey work his magic on the winding 6’ tubes at Angourie. According to Young, “he told everyone that Cabell had just set the new standard.”



Australia After Manly


Australia’s hosting of its first international surfing championship forever changed the nature of wave riding in the Land Down Under.



The Stomp


“What was happening in Australia,” wrote Nat Young, “was almost precisely what had happened in California earlier on. Surfing had become a cult. In September 1964, Bob Evans put out his first issue of Surfing World. Dave Jackman was taking on Australia’s biggest waves and conquered the much-feared Queenscliff bombora. The Atlantics had a smash hit with a number they called Bombora; soon surf music took over the local charts, the Australian group the Joy Boys recorded six surfing hits, and the Chantays and the Beach Boys invaded the record stores. Robert Helpmann, the ballet dancer, released Surfer Doll and Surf Dance; Barry Crocker recorded I Can’t Do The Stomp and who could ever forget Little Patti and My Blonde Headed Stompy Wompie Real Gone Surfer Boy? In the national stomping championships 45,000 kids stomped the afternoon away. Stomps were held at most surf clubs on Saturday and Sunday afternoons until some of the club foundations actually crumpled under the pressure, and an old theatre was hurriedly converted into Surf City for stompers.”



“Surfing World”


“When the second wave of surfers came along,” Midget Farelly declared, “with a different kind of behavior, I determined very early in the piece that I didn’t want to be like them.”


“Everything changed after ‘64,” continued Midget, “after the world contest at Manly. Australian surfing had been a fairly purist pastime up until that time, but just as the Dana Point Mafia had its influence in America, and turned surfing into something other than what it really was, the same thing was happening here. A fellow called Bob Evans was having as much influence as he could, with his films and his magazine -- he was more or less like John Severson, he had a magazine (Surfing World) that supported his films, and both supported his lifestyle, which was based around free trips, free cars, so on and so on. And his importance in the surfing world was in large part dependent on annually creating new heroes. And when the people I knew and respected saw what was happening, they said, ‘Hey, we’re out of here, we don’t want to know about this.’ After that, whenever I was competing in a contest somewhere, I always thought about guys like Dave Jackman, Bob Pike, Pat Curren, Jose [Angel] -- how they’d never really made a change into that new world, and how much I respected them for that.”



1st to 2nd Generation


“So I’d grown up among the first full generation of Australian surfers,” Midget Farrelly continued, “and here comes the second wave, Australian and American, the manufactured heroes -- and they shocked me. They saw the spotlight, the possibility of income, and it just did the job on ‘em. Not all, but a lot. These were the first commercial surfers, and suddenly I was in the middle of this... I don’t know, this Coca-Cola world. This cardboard Coca-Cola culture. Surfers all of a sudden were opportunistic -- they wanted so much more than what they had. Like I remember standing on the beach with Don Hansen in 1964, and a plane flew by, and Don said, ‘See that jet, Midget? That’s me, I’m going to be flying around in a jet someday.’ And I said, ‘Hell with that, Don.  I’m going to be down here riding waves in the sunshine.’ I was 18 or 19, but I already knew where the good stuff was.”


“I suppose it comes down to the individual,” reflected Midget, “and his or her values. But certainly with money in the picture the thing is going to attract people who wouldn’t otherwise be interested. And, again, going back to the Bud Browne movies, what you see there, really, is a group of beautifully adjusted people. I really don’t think more money could have made life much better for them than it already was. The guys who had money, and lots of it, had problems. The people I admired -- well, when I began to meet people who had a lot of money, those people weren’t anything like the people I admired. I was 16 when I first went to Hawaii, and I remember Buzzy Trent looked at me and said, ‘Midget, it doesn’t matter what happens in life, as long as you have a vegetable garden.’ The money goes. It always does. It’s how you feel about what you’ve done and what you’re doing that matters.”



“The Endless Summer”


“Surf music, beach blanket movies and related popular culture spinoffs all had varying degrees of influence on the non-surfing public at large,” wrote Leonard Lueras in Surfing, The Ultimate Pleasure.  “But ironically -- and in a strange twist of cinematic fate -- the most powerful pro-surfing medium of the Surfing Sixties was a 91-minute long, privately-produced surf movie that quietly challenged, and beat, Hollywood at its commercial and glamorous game.”


Lueras referred to The Endless Summer, Bruce Brown‘s most noted surf movie. It began as just another surf flick, put together with a bigger budget than was the norm. But it struck a chord in surfers the way no other surf movie had before. And after it stoked surfers, it would go on to stoke non-surfers as well.


First released a month after Manly, The Endless Summer, Leonard Lueras wrote in 1984, “generated a positive image and publicity windfall for the sport that is still remembered and felt twenty years later... arguably the most important and influential statement made about surfing in this century.”


“When The Endless Summer was first screened during the summer of 1964,” pointed out Lueras, “surfing’s public image was anything but healthy. The national press, which in those fragile times was ultra-conservative and squeamish about anything new and ‘hip,’ regularly painted a mental mural of surfing and surfers that dwelled on buzz words such as ‘beach bum,’ ‘anti-social‘ and ‘drug-induced.’“


Time magazine, very influential in helping mold public opinion in the mid-1960s, began a January 1964 news feature titled “Shooting the Tube” by linking surfing with drugs:


“Riding a board through the surf is a little like going on hashish. The addicts -- and there are 18,000 of them in the U.S. -- have their own fashions in everything from haircuts (long, but not too long) to swimsuits (cotton, a size too small). They speak a lingo of words like ‘hook‘ (the lip of a breaking wave) and ‘tube‘ (the cavern under the hook) and ‘wipe out‘ (a spill into the boiling froth). They listen to apostles, who preach: ‘When the surf is good, you’ve got to go and get it. Work is secondary. Once you’re about 30, then it’s time to take a solid job.’“


“That sort of negative word-play in an international news magazine was bad enough,” underscored Lueras, “but an even more despicable image bummer surfaced during 1964 when the media played up a story about a pathetic cat burglar known as Jack ‘Murph the Surf’ Murphy.  Murphy had nothing to do with surfing or surfers, but his nickname made bold and memorable headlines that year after he and others were arrested and convicted for stealing a 563.35 karat ‘Star of India‘ sapphire and 21 other precious gems from New York’s Museum of Natural History. The real surfing Murphy was an innocuous little cartoon gremmie created for Surfer magazine by California surfer-artist Rick Griffin, but for years later, whenever surfing was mentioned in non-surfing circles, people invariably smiled and recalled the sad spectacle that was ‘Murph the Surf,’ jewelry thief.”


“Even Tom Wolfe,” continued Lueras, “that dapper ‘new journalist’ who earns his living by flitting like a correspondent bee from groovy this to culturally aberrant that, contributed to surfing’s less than wholesome, early sixties image. Wolfe did this by composing a well-read story, The Pump House Gang, about La Jolla, California’s hard-partying and indiscreet Mac Meda Destruction Company.”


“I met a group of surfers, the Pump House Gang,” Wolfe wrote in a dispatch for the New York World Journal. “They attended the Watts Riots as if it were the Rose Bowl game in Pasadena. They came to watch ‘the drunk niggers’ and were reprimanded by the same for their rowdiness.”


“After recounting surfing expressions and maneuvers that are idiomatically incorrect and physically impossible... New Yorker Wolfe predicted the eventual demise of surf chic. He boldly prophesied that California’s coastline would one day ‘be littered with the bodies of aged and abandoned Surferkinder, like so many beached whales.’ The ‘mysterioso mystique‘ of the Sixties, Wolfe said, would stagnate on West Coast beaches.”


Bruce Brown‘s The Endless Summer turned the tide of public opinion away from such negatives and redirected it to what surfing’s all about: getting stoked riding waves.


The movie was “about two California surfers (Mike Hynson and Robert August),” wrote Lueras, “who travel about the world in search of an endless summer and the perfect wave -- succeeded beyond his wildest... dreams.


“Filmmaker Brown had been making surf movies for nearly a decade (his first effort, 1958‘s Slippery When Wet, featuring a sophisticated soundtrack by jazz altoist Bud Shank, is a surf classic), but most of his early wave productions were of an in-house surfy genre -- that is, they catered primarily to surfers and a few curious outsiders. Many surf film purists prefer the ‘underground’ and ‘pirate’ nature of such movies, but few of these films ever ‘made it’ in the outside world. Rather, they were -- and still are -- usually seen only by hooting, wave-crazed surfers who crowd into obscure beach town theatres and high school auditoriums to witness an endless procession of wave clips, usually soundtracked by taped rock and roll music and occasional, understated surfspeak. Indeed, it is very possible for a person to witness an entire such movie and never know what the narrator has said. Another hallmark of surf films is the notable absence of a discernible story line or theme.


“Brown’s more conservative and ambitious goal was to produce a surf movie that would turn everybody -- non-surfers as well as surfers -- on to his favorite sport.”


“Surfers knew right away that it was the best surf film ever made,” Mike Doyle attested, “but a lot of us were surprised by how popular it became with non-surfers as well. I think the movie captured people’s imaginations by demonstrating the pure freedom of the sport. There were no bells, no stopwatches, no starting gates, no referees -- just you, a surfboard, and the water. The surfers in the film weren’t hurting anybody or anything. They were just doing something they truly loved, something as simple as looking for the perfect wave.”


“I’ve always felt,” Brown told Los Angeles Times writer Patrick McNulty in 1967, “that an endless summer would be the ultimate for a surfer. It’s really simple to cross the equator during our winter and find summer in the Southern Hemisphere. I thought how lovely just to travel slowly around the world following summer to places like Senegal, Ghana, Nigeria, South Africa, Australia, New Zealand, Tahiti and Hawaii -- and finally back to California.”


“Instead of just thinking such romantic and adventurous thoughts,” Lueras noted, “Brown, Hynson and August did just that, and when The Endless Summer documentary debuted at the Santa Monica Civic Auditorium during the summer of 1964, it played to sell-out crowds for seven straight nights. ‘It was unbelievable -- we even outdrew the Beatles,’ Brown recalled later.”


Brown and the surfing world saw his adventure movie as ‘a hot property’ that could draw crowds outside of surfing, but when Brown and a business associate, R. Paul Allen, courted Hollywood and New York producers and distributors, they were waved off. One New York film distributor told Allen that the movie was ‘non commercial.’ ‘Nice try, kid,’ he said, ‘but it won’t sell 10 miles from the water.’“


“To prove that The Endless Summer would sell,” continued Lueras, “Brown and Allen mounted a very tough screen test. They opened the movie in Wichita, Kansas, a city about as far away from surfing as any in the United States. The movie premiered there during bad winter weather -- it was snowing outside and the temperature was 2 degrees above zero -- but despite such meteorological obstacles, it was a smash hit. As journalist McNulty reported, ‘For a two-week period, the film out-grossed the theatre’s two previous heavyweight attractions, The Great Race and My Fair Lady.’


“Armed with the confidence such an improbable success might inspire, Brown and Allen repaired back to New York, where they blew The Endless Summer film print up to 35mm, rented the Kips Bay Theatre in Lower Manhattan, and premiered their international surf movie to rave New York reviews. Even Time magazine gushed postitively, calling The Endless Summer ‘an ode to sun, sea and sand.’“


“The reviews were fantastic,” agreed Mike Doyle.  “Newsweek called it ‘breathtaking... a sweeping and exciting account of human skill pitted against the ocean.’ The New York Post said, ‘Something very special... anyone who can’t see the beauty and thrill of it hasn’t got eyes.’ And the New York Times said it was ‘buoyant fun, hypnotic beauty and continuous excitement.’“


“The rest of this story is a fine chapter in surfing folklore,” Lueras went on.  “Brown’s movie surfed on to great success in theatres throughout the U.S., Canada and around the world. Film critics began calling him things like the ‘Bergman of the boards,’ the ‘Fellini of the foam’ and other such sobriquets.  Brown’s production budget for The Endless Summer was a reported $50,000, peanuts by Hollywood standards, but by May of 1967, Variety, the popular show business daily, was predicting that the movie would gross at least $6,000,000. That sum later grew to $8,000,000, and Brown became surfing’s first movie mogul.


“Brown’s success was and still is laudable, but more important than his artistic and commercial achievements is what his movie did for surfing. From Duluth to Paris, the surfer was no longer perceived as an archetypal, anarchic beach bum or societal laze about, but rather, he became a symbol of a healthy and glamorous lifestyle that during the later Sixties, Seventies and now Eighties would greatly influence the look and tone of fashion, language and leisure time activities throughout the wet-- and dry -- world.”


Eventually, The Endless Summer would gross $30 million, worldwide.



Da Bull & Outside Pipe


Three years after Phil Edwards became the first surfer photographed riding inner reef Pipeline [NOT the first surfer to ever ride Pipe], “Greg Noll is on the beach at Pipe,” retold Surfer magazine, “leaning against his yellow 11’ 4” gun and looking to what is breaking on the outside reef. The John Severson photo of that moment [in November 1964] becomes a classic in surf photography.”


Noll took Mike Stange along with him and for three hours they chased “shifting peaks until Noll gets in early on a choppy, bouncy, 15-footer, then angles halfway down the face and goes for his life. As the wave appears to double in height, Noll iron-legs through chops, bounces and boils, arms wind-milling, legs in a suicide stance. Almost in the clear, Noll hits a big chop, falls backward and goes over the falls as his board shoots 20 feet in the air. Watch that ride on video, if you get the chance. It’s the most inspirational straight line in the history of surfing.”



Makaha and After


A year after U.S. President John F. Kennedy was assassinated, Lyndon Johnson was elected to the country’s highest office in the November 1964 elections. At the Makaha International the following month, Midget Farrelly was again squared off against Joey Cabell.


“I think that my first heroes were so big,” Midget said, “and I saw them as being so special deep inside my head that I’d seen those guys I’d first competed against as being really special.


“When I went back to Makaha to defend my title (which Cabell won) I was stoked that I’d competed in point surf. That was special...”


The surf that year was excellent for Makaha.  Midget testified: “Well, it was good sized surf. Those people at that contest -- Doyle, Curren, LJ, Joey, Dewey and even some guys I still know today like Donald Takayama -- were special people because they were guys who went out and did it for reasons that weren’t written down somewhere. They were really unique people.”


“As time went by,” Midget remembered of the surfers around him, “I found that those people dropped out and they were replaced by another type of people and I didn’t particularly feel the same way about those people.


“I said: ‘This isn’t special anymore’ and so I started to look for it somewhere else. For a while I found it in hang-gliding. They’re a special kind of people. I found it a little bit in sailboarding too. Riding a sailboard on a 15 foot-plus blown-out wave is a great experience, so I looked for the thing I’d experienced in surfing in the early ‘60s elsewhere.”


“There’s something amazing being around people who have ability and that are good people too, they’re unique and that’s the way it was in the beginning. In the end the people that I was surfing with were doing drugs, they were living a negative lifestyle.


“What they said wasn’t what they meant and the smile they had on their face might not have been because they were glad to see you! (laughs) There was a criminal element in surfing and I figured by ‘70 the bubble had burst.


“I wasn’t really sick of surfing. I just needed to find a new way to come back and look at it and I think you have to keep doing that all your life. You’ll exhaust where you’re at and how you view what you do and if you can get out of that frame of mind and come back and experience it another way it gets reborn and the vitality comes back.”


In 1994, Midget was asked what advice he would give to Australian surfers and he responded, “It’d be the same bit of advice I keep giving myself. You’ll always find yourself in bad situations, even in the water. I’m horrified at the behaviour that can happen in the water, but I always try and think back as to how good it can be and how great it was seeing good surfers, good surfing, good waves for the first time.


“That simple powerful beauty of the wave, and the talent of the surfer. That combination that theoretically should liberate what’s inside you to put a big smile on your face.


“When I see the sport slip into all the negative little subcultures then I think that’s the saddest thing I’ve ever seen. I read disappointing things like really good surfers bitching about ‘fucking kooks‘ ruining their surfing. That’s not why you’re there.


“Born-again Christians are a pain, but a born-again surfer is like a child and whenever I think of surfing I think of a couple of lines of a Buffalo Springfield song: ‘I am a child, I last a while.  You can’t conceive of the pleasure in my smile.


“That all comes from having that surfing experience that lifts you up if you let it.”



ENDIT


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