The Boda Surfamily

LINDA BENSON

2012-02-16T10:34:00.004-08:00

A native of Encinitas California, Linda Benson started surfing when she was 11 years old. She learned to surf at Moonlight Beach, where she'd wait until her brother, or one of his friends would lose a board and then she'd paddle it back out to him. At 13 her father let her buy her own, a beat-up old board that cost $20. At 5'2" and 105 pounds, Linda would prove a gutsy and talented athlete, dominating women's competitive surfing for over 10 years.

In 1959, at the age of 15, Linda became the youngest contestant ever to enter the International Championship at Makaha. She won. That same year she became the first woman to ride Waimea when she borrowed a board from the shortest guy surfing with her, paddled out and caught a couple of waves.

Using the equipment of the early 50's, not to mention a goofyfoot in a time when most spots surfed were rights, she still managed to hold her own and gain respect for her fearless big wave riding and her ability to charge.VIA http://www.surfingmuseum.org/linda_benson.html

LONGBOARD CLASSIC LESSONS "JOEL TUDOR" ART OF LONGBOARDING

2012-02-15T10:58:00.000-08:00

WHITE WASH

2012-02-15T04:38:00.001-08:00

White Wash, the documentary, is a film exploring the complexity of race in America through the eyes of the ocean. Examining the history of “black consciousness” as it triumphs and evolves into the minds of black surfers, we learn the power of transcending race as a constructive phenomenon. The story is narrated by the legendary, Grammy Award winner Ben Harper (Fistful of Mercy, Relentless 7, Ben Harper and the Innocent Criminals) along with Tariq “Blackthought” Trotter of the Grammy Award winning hip hop group, The Roots whom also originally scored the film.

GENE SUMMERS play "Taboo"

2012-02-13T10:28:00.000-08:00

Listen to the winds from the desert's burning waste
Hear the words in a fire as it crackles to you
Heed these words and don't you forget
The devil is a woman
A red-headed woman
A firey-headed woman
Taboo

Taboo had a lover many years ago
But her lover proved fickle and he left her all alone
She died in grief and took the witches curse
And she cries in her spirit
Now I am the devil
Forever man will atone

CHORUS:
Taboo
Made me love you so much
Taboo
Lips mine could never touch
Taboo
Devil that you are
You're the loveliest of all
With your hair of fire

Working in the mind of woman like a spider in his web
Taboo helps her lure and deceive me and you
Charm they call it as she drives you mad
It's the work of the devil
A red-headed devil
A firey-headed woman
Taboo.

Old Surfing Makaha

2012-02-13T09:34:00.000-08:00

Photos by www.surfsearch.com

Nervous Structure (field) (2012)

2012-02-12T17:35:00.000-08:00

A very interesting video-installation

Nervous Structure (field) (2012) from Cristobal Mendoza on Vimeo.

Made in collaboration by Annica Cuppetelli and Cristobal Mendoza

cuppetellimendoza.com

Music: "Guitar Plume" - Portable Sunsets
flatflat.org/ps

KEVIN KELLY:From "Out Of Control" to "What Technology Wants"

2012-02-12T13:58:00.000-08:00

Biography -from Wikipedia

Kelly was born in Pennsylvania in 1952 and graduated from Westfield High School, Westfield, New Jersey in 1970. He dropped out of University of Rhode Island after only one year.
Kelly lives in Pacifica, California, a small coastal town just south of San Francisco. He is a devout Christian. He is married and has three children; Tywen, Ting and Kaileen.

Interests

Among Kelly's personal involvements is a campaign to make a full inventory of all living species on earth, an effort also known as the Linnaean enterprise. The goal is to make an attempt at an "all species" web-based catalog in one generation (25 years).
He is also sequencing his genome and co-organizes the Bay Area Quantified Self Meetup Group.

Literary career

Kelly's writings have appeared in the New York Times, Esquire, The Economist and other periodicals —in addition to the books he has authored and the magazines he either edited, founded, or helped to found.
When he was 27 Kevin Kelly was a freelance photo journalist, and got locked out of his hostel in Jerusalem due to being late for a curfew. He slept on the supposed spot where Jesus was crucified, and in the morning had a religious experience. He decided to live as if he only had six months left to live. He went and lived peacefully with his parents, anonymously gave away his money, visited his friends, and came back home to "die" on the night of Halloween.
In 1981, Kelly founded Walking Journal. He is a former editor of Whole Earth Review (see also CoEvolution Quarterly), Signal, and some of the later editions of the Whole Earth Catalog. With Whole Earth's founder, Stewart Brand, Kelly helped found the WELL, a highly regarded online community. He has been a director of the Point Foundation, which sponsored the first Hackers Conference in 1984 (before the word "hacker" had its current common, negative connotation).
In 1994, Wired Magazine, for which Kelly was executive director, won the National Magazine Award for General Excellence. Kelly is now editor at large for the magazine. Partially due to his reputation as Wired's editor, he is noted as a participant and observer of "cyberculture".
Kelly's writing has appeared in many other national and international publications such as The New York Times, The Economist, Time, Harper's Magazine, Science, Veneer Magazine, GQ, and Esquire. His photographs have appeared in Life and other American national magazines.
Kelly's most notable book-length publication, Out of Control: The New Biology of Machines, Social Systems, and the Economic World (1994), presents a view on the mechanisms of complex organization. The central theme of the book is that several fields of contemporary science and philosophy point in the same direction: intelligence is not organized in a centralized structure but much more like a bee-hive of small simple components. Kelly applies this view to bureaucratic organisations, intelligent computers, and to the human brain.

The Matrix (1999 film)

Andy and Larry Wachowski, writers/directors of the film The Matrix, required the principal actors of the film to read three books prior to the start of filming, including Kelly’s 1995 book Out of Control: The New Biology of Machines, Social Systems, and the Economic World. The other two were Simulacra and Simulation by Jean Baudrillard and Introducing Evolutionary Psychology by Dylan Evans.
Kelly can be seen in a series of interviews on The Roots of the Matrix disk in the 10-disk DVD The Ultimate Matrix Collection set.

Books

Bicycle Haiku (1995)
Out of Control: The New Biology of Machines, Social Systems and the Economic World (Addison Wesley 1994, Perseus Books, 1995)
New Rules for the New Economy: 10 Radical Strategies for a Connected World (Penguin, 1999)
Asia Grace (2002)
Cool Tools (2003) - Tool reviews collected from his weblog of the same name
Bad Dreams (2003)
“Photographers section: Kevin Kelly,” pp. 106–111, in Lloyd Kahn, editor 2004 Home Work (Shelter Publications, 2004)
True Films (2006)
Top Jobs: How They Are Different and What You Need to Succeed (2009)
What Technology Wants (2010)

http://www.kk.org/thetechnium/index.php
(KEVIN KELLY'S BLOG)

surf in france

2012-02-10T05:44:00.000-08:00

LIVIN in the sea

2012-02-09T06:07:00.000-08:00

LIVIN in the sea from Chris Proud on Vimeo.

The boys over at Vanguard and I have put together a series of short films for their LIVIN campaign. This short is entitled "LIVIN in the sea"

Enjoy!

Check out Vanguards killer threads at vanguardfashion.com.au
thexraymachines.tumblr.com

"THIS IS THE ENEMY"

2012-02-08T08:47:00.002-08:00

Cannes,May 1988
The great director talk about the real enemy: "The Television"

slide-ways(altered)

2012-02-07T22:24:00.000-08:00

First Aid Kit

2012-02-07T09:29:00.000-08:00

First Aid Kit is a Swedish folk duo composed of sisters Johanna (b. 1990) and Klara (b. 1993) Söderberg, whose close vocal harmonies and woodsy, folk-influenced songwriting take influence from the likes of Fleet Foxes and Joanna Newsom. Hailing from Enskede, a southern suburb of Stockholm, the teenaged siblings began composing songs in 2007. Their 2008 YouTube video cover of the song "Tiger Mountain Peasant Song" by the Fleet Foxes spread their name rapidly on the Internet, the sisters subsequently appeared alongside Fleet Foxes performing the song in a concert in Holland.Starting out in 2007, the sisters sent a demo tape of their home-recorded "Tangerine" to Swedish radio on which it later enjoyed airplay in the summer. Later that year the duo signed to Rabid Records, a label co-owned by the Swedish electronic duo The Knife. April 2008 saw the release of the debut EP Drunken Trees in Sweden. The London-based Wichita Records label reissued the EP one year later, bolstering its track list with a reverent cover of Fleet Foxes' "Tiger Mountain Peasant Song" and videos of three songs performed live in a Swedish forest. During First Aid Kit's early years the duo had a collection of songs posted on the social networking site MySpace, one of which was "Cross Oceans", a re-recording of which later appeared on Drunken Trees.

2010 saw the release of their debut album The Big Black & The Blue which was followed by an extensive tour (around 100 shows) of the UK, USA, Canada, Australia, New Zealand and parts of Europe, headlining the Thursday night at the Primavera Festival in Barcelona. While playing a concert in Nashville the duo was approached by Jack White (musician) who after seeing their show requested them to record a single for his Third Man Records series. In February 2011 the duo collaborated with Bright Eyes during their performance of Lua, it was later revealed that their upcoming album will be produced by Mike Mogis.

First Aid Kit - The Lion's Roar from Wichita Recordings on Vimeo.

THOM – A PORTRAIT OF MODERN YOUTH

2012-02-06T23:09:00.000-08:00

THOM - A PORTRAIT OF MODERN YOUTH from Riley Blakeway on Vimeo.

THOM.
A PORTRAIT OF MODERN YOUTH

A short, experimental documentary piece about a 19 year old teen growing up in Australia- Exploring the mind of modern youth and Generation Y.

Written and Directed by Riley Blakeway

Assistant Editor - Jeremy Asher Lynch

Film & Telecine - Nano Lab

Online release 31/01/2012

"Why did you make Thom?"

"It was about the progression of my work in ﬁlm. That was another reason I wanted to shoot everything in Super 8. I funded everything myself and didnʼt send out any proposals or anything like that. It wouldnʼt really have made sense to do so. I wanted to keep everything as in touch with the reference piece as possible and keep it indie. I didnʼt want any “cool” brand associations. I wanted it to stand alone. A lot of the ﬁlm was scripted, even down to the exact shot. But, mostly out of anticipation, as I know Thom so well. The socially awkward responses were something that I anticipated and knew would complete the ﬁlm for me. At ﬁrst, I dubbed all of my audio with an American voiceover but scratched it at the last minute because of the loss of chemistry. It was more pre- and post-production than almost anything Iʼve made. Mostly with the edit and sound sync working with Super 8. I had to shoot everything in 30-second intervals to keep costs down and keep everything in sync. After ﬁnalising the piece to 12 minutes, I sent it to a studio in LA for the ﬁnal mix. It came back sounding worse so I recorded all of the sound elements onto a tape using a four-track recorder and mixed the sound live manually. "

~Excerpt from Stab Magazine~

ROZI PLAIN

2012-02-06T13:59:00.001-08:00

Stolen Horse from sam spreckley on Vimeo.

ROZI PLAIN was born Rosalind Leyden, in the leafy-greens of Winchester. Since moving to Bristol she’s been working on the ferries that bob in and out of the city, along the Avon, whilst creating her own beautifully intimate music that captures life slowly floating by. With her older brother Sam (aka Romanhead), and her pal Rachael Dadd, she is a founding member of the Cleaner Records collective – a loose assortment of singer-songwriters based in Bristol.

Through her output on Cleaner Records, and at various live shows, Rozi’s songs reached the ears of Fife Fence Records label bosses – Kenny Anderson and Johnny Lynch (aka King Creosote and The Pictish Trail). She’s subsequently played at many Fence Records events (including their annual Homegame Festival, in Anstruther), and has contributed to numerous Fence Collective compilations.
Her stunning debut album, ‘Inside. Over Here‘ was released on Fence Records Autumn 2008.

The unassuming charm of Rozi’s live show has led to tours across Europe, the UK & USA. Notable tours include supporting Devendra Banhart (who fell for her debut album, and named it one of his albums of last year), James Yorkston and Viking Moses, as well as appearances at festivals such as Green Man, End Of The Road and Fence Record’s flagship event Homegame. Whether performing alone or joined by an assembly of her regular musical allies (including François & The Atlas Mountains, This Is The Kit, Rachael Dadd and Sleeping States) her songs possess both fragility and a sense of plucky charisma in one fell swoop. In 2011 her new single, ‘Humans’, was released on 7″ vinyl on London-based label Need No Water Records.

Familiar Faces –

2012-02-05T12:17:00.000-08:00

Familiar Faces - Sea Movies from www.KORDUROY.tv on Vimeo.

PAKE SALMON

2012-02-05T12:02:00.000-08:00

Pake's Story - Hawaii from Pake Salmon & Makaha Angels on Vimeo.

for more http://www.pakesalmon.com

SAM SPRECKLEY

2012-02-04T12:13:00.000-08:00

Surface ii from sam spreckley on Vimeo.

Ongoing visual/sonic research into notions of surface and immersive sound and the relationship between.

8mm, HD Telecine
This work was a product of life pressures and an interest in science and experimentation, specifically biology and cell structures. Oil and

Oil and Water from sam spreckley on Vimeo.

will never mix and it is this basic concept that has driven the production of this video work. I wanted to create a situation where the two try and come together, despite the obvious outcome. The physicality of oil and water will never allow this union and thus causes an interesting to and fro within the video frame. The images have been mirrored and a combination of machine,electronic and organic sound create an almost abstract machine like structure, technology and nature come together in an exploration of force and pressure.

some messy leftovers from tracking

2012-02-03T09:24:00.000-08:00

some messy leftovers from tracking from Deus ex Machina on Vimeo.

you should have been here last century, bro ..

2012-02-03T08:58:00.000-08:00

For starters:

YOU weren’t there

Balsa felt better
Blokes in cars with boards waved to other blokes in cars with boards
Voodo was a trek
Broken Head was an epic trek
Small boys were never seen in the line-up
Balsa looked better
Young ladies were also never seen in the line-up
Riding a board was unfashionable
You could get a cup of tea from the bloke shaping your board
- then he would deliver
Beer was stronger
Paddling out with a lighted smoke was a radical manoeuvre
Boards were big enough to go double with your best mate’s girlfriend, (she was the one in a bikini)
Nobody who lived north of Newport surfed
Beer was cheaper
Souths always won
Only three blokes in your year at school surfed
Board shorts were made of canvas

Nobody stopped at Lennox
Wax came in BLOCKS
Hardly anybody had a car
The Terrigal Haven worked every Easter weekend
Manly had a Pool hall
You didn’t need a girlfriend to do The Stomp
There were Milkbars

Everybody smoked tobacco

Drugs were aspirin

Mum kept your dinner warm in the oven when a latey was necessary

^ pic: woody brown cranking it around, 1950

header pic: nathan adams by nolan hall jan 11, steamer lane
petebowes.com

Le Stelle di Mario Schifano

2012-02-03T07:28:00.000-08:00

Italy's main contribution to the psychedelic era was Le Stelle di Mario Schifano, a musical event put together by decadent-futuristic pop artist Schifano the same way Andy Warhol put together the Velvet Underground. They improvised a cacophonous 18-minute jam, Le Ultime Parole di Brandimarte (with the instructions "to be listened with the TV on and no volume"), off their only album Dedicato A (1967), one of the most experimental tracks of the time.

After a few seconds of voices and noises, someone intones a fairy-tale madrigal. It lasts only one minute, after which a fibrillating mass of sounds and percussion invades the stage. There is no reference melody, just a shrill keyboard being played rather childishly, like everything else. After eight minutes, a guitar riff becomes dominant, despite the general chaos. The tribal percussion gets louder. The organ distortions duel with the guitar. Each and every instrument competes for sonic space the way wolves compete for the flesh of the dead prey (here the "dead prey" being classical harmony). After sixteen minutes, the guitar restores a bit of order and intones a solemn theme, but it is already the end.

The rest of the album pales compared with this masterpiece. Emotions surface in Susan Song, a madrigal accompanied by a pastoral flute and a distant piano. Intervallo is more or less a Bob Dylan-esque tirade a` la Rainy Day Women minus the words. via http://www.scaruffi.com

‘Summers Past: Golden Days in the Sun 1950-1970′ at The Victorian Archives Centre, North Melbourne

2012-02-03T05:51:00.000-08:00

http://artblart.wordpress.com/

being captain Zero

2012-02-02T22:58:00.000-08:00

"being captain Zero" is a movie about two friends from very different backgrounds who grew up surfing together in 1950's Montauk, New York. Allan Weisbecker and Patrick Abrams.

In the 1970's, their friendship turned to criminal enterprise. They began transporting multi ton shipments of Marijuana from Columbia & Jamaica into the United States by both sea and air. The violence of the emerging cocaine trade and the threat of the DEA, forced them to separate. They made a pact to keep their destinations secret, even from each other.

Allan moved to Hollywood and cashed in on his marijuana running experiences by writing for "Miami Vice".
Patrick moved to Puerto Viejo, a town along the Caribbean coast of Costa Rica, in search of the fastest and most dangerous wave in Central America. Salsa Brava.

After 20 years Allan sold his home and bought a truck with a camper and went looking for his old friend Patrick in Costa Rica. On this trip Allan wrote "In Search of Captain Zero". It is a memoir combining their drug running exploits with the adventure of looking for his old partner. Patrick. Upon his arrival in Puerto Viejo Allan was shocked to see what had become of his old friend. What Allan saw would shake the very foundation of their friendship.

Filmmaker:

Ama MacDonald is a world travelled big wave surfer who has been working succesfully in Hollywood for the past 13 years.

http://www.beingcaptainzero.com/

CAPTAIN GOODVIBES

2012-01-30T06:49:00.000-08:00

The History of Captain Goodvibes
The Captain first appeared at the end of a pen one night in the autumn of 1973. Small but imperfectly formed, he was as surprised as anyone by his success and quite rightly saw his popularity as a licence to behave badly. He started binge drinking before he could breathe and abusing substances as diverse as plutonium and sausage mince before he could think, a gift he still struggles to master.

He took gratuitous filth, violence and bad dietry practices out of the gutter and onto a beach near you, souring young lives and stealing the promise of a bright future from their tiny hands.He blighted the pages of Tracks for about 8 years,polluted the air waves for a couple more and as if to demonstrate the breadth of his genius, embarked on a variety of ill advised projects that bought misery and financial ruin to all concerned.

Always one to rest on his laurels he has lovingly rebuilt this oasis of bad taste as a refuge for those oppressed by the designer desert around us. Welcome to the Captain's quagmire and please leave your maturity at the front door
.Tony Edwards

OLD ITALIAN SURF COVER

2012-01-30T06:32:00.000-08:00

Lato a)

1. Nico Fidenco - Con te sulla spiaggia (mogol-fidenco)
2. Jenny Luna - Chiodo scaccia chiodo (meccia)
3. Jimmy Fontana - La scommessa (chisso-reverberi)
4. La Cricca - Il surf della mattonella (rossi-ciacci)
5. The Latins - Caffè poco caffè (crier plus fort) (migliacci-nalpas)
6. Gianni Morandi - Se puoi uscire una domenica sola con me (guardabassi-zambrini)

Lato b)

1. Edoardo Vianello - Tremarella (rossi-alicata-vianello)
2. Rosy - Un tuffo al cuore (rossi-romitelli)
3. Gastone Parigi - La mia mania (rossi-morricone)
4. Gianni Morandi - Amico Piero (migliacci-de mutiis)
5. I Flippers - La piroga (rossi-robifer)
6. Rita Pavone - Datemi un martello (I had a hammer) (bardotti-hays-seeger)

KING OF PAVONES

2012-01-30T04:57:00.000-08:00

The King of Pavones from Love Machine Features & Docs on Vimeo.

The King of Pavones is the remarkable story of the innovative & entrepreneurial Danny Mack, and how he carved out of the jungle of Costa Rica the world famous surf break of Pavones. Through Dannys own film footage & stills this film chronicles his journey of building his own Shangra-la, The King of Pavones weaves together 8mm and 16mm archival home movies from the late 1970s with current interviews with surf legends like: Rory Russell, Buttons, Mike Hynson, Fast Eddie Rothman and Joey Cabell to create an intimate look into the life of one of surfings earliest mavericks.

Israel "IZ" Kamakawiwo'ole

2012-01-27T22:53:00.000-08:00

Israel "IZ" Kaʻanoʻi Kamakawiwoʻole (Hawaiian pronunciation: [kaˌmakaˌʋiwoˈʔole]; May 20, 1959 – June 26, 1997) was a Hawaiian musician.

He became famous outside Hawaii when his album Facing Future was released in 1993. His medley of "Over the Rainbow" and "What a Wonderful World" was subsequently featured in several films, television programs, and television advertisement commercials.

Through his ukulele playing and incorporation of other genres (such as jazz and reggae), Kamakawiwoʻole remains one of the major influences in Hawaiian music.
Early life

Kamakawiwoʻole was born at Kuakini Hospital in Honolulu to Henry Kaleialoha Naniwa Kamakawiwoʻole, Jr., and Evangeline Leinani Kamakawiwoʻole. He was raised in the community of Kaimuki, where his parents had met and married. He began playing music with his older brother Skippy and cousin Allen Thornton at the age of 11, being exposed to the music of Hawaiian entertainers of the time such as Peter Moon, Palani Vaughn, and Don Ho, who frequented the establishment where Kamakawiwoʻole's parents worked. Israel continued his path as his brother Skippy entered the Army in 1971 and cousin Allen parted ways in 1976 for the mainland.

In his early teens, he studied at Upward Bound (UB) of the University of Hawaii at Hilo and his family moved to Mākaha. There he met Louis "Moon" Kauakahi, Sam Gray, and Jerome Koko.Together with his brother Skippy they formed the Makaha Sons of Niʻihau. From 1976 throughout the 1980s, the Hawaiian contemporary band gained in popularity as they toured Hawaii and the continental United States and released fifteen successful albums.

In 1982, Kamakawiwoʻole's brother, Cristian Finnel, died of a heart attack. In that same year, Kamakawiwoʻole married his childhood sweetheart Marlene. Soon after, they had a daughter whom they named Ceslie-Ann "Wehi".
Music career

Kamakawiwoʻole formed the musical group Makaha Sons of Niʻihau with brother Skippy plus Louis "Moon" Kauakahi, Sam Gray and Jerome Koko. They recorded No Kristo in 1976 and released four more albums, including Kahea O Keale, Keala, Makaha Sons Of Niʻihau and Mahalo Ke Akua, before Skippy died of a heart attack in 1982. The group became Hawaii's most popular traditional group with breakout albums 1984's Puana Hou Me Ke Aloha and its follow-up, 1986's Hoʻola. Kamakawiwoʻole's last recorded album with the group was 1991's Hoʻoluana. It remains the group's top-selling CD.

In 1990, Kamakawiwoʻole released his first solo album Ka ʻAnoʻi, which won awards for Contemporary Album of the Year and Male Vocalist of the Year from the Hawaiʻi Academy of Recording Arts (HARA). Facing Future was released in 1993 by The Mountain Apple Company. It featured his most popular song, the medley "Somewhere Over the Rainbow/What a Wonderful World", along with "Hawaiʻi 78", "White Sandy Beach of Hawaiʻi", "Maui Hawaiian Sup'pa Man", and "Kaulana Kawaihae". Facing Future debuted at #25 on Billboard magazine's Top Pop Catalogue chart. On October 26, 2005, Facing Future became Hawaii's first certified platinum album, selling more than a million CDs in the United States, according to figures furnished by the Recording Industry Association of America. On July 21, 2006, BBC Radio 1 announced that "Somewhere Over the Rainbow/What a Wonderful World(True Dreams)" would be released as a single in America.

In 1994, Kamakawiwoʻole was voted favorite entertainer of the year by the Hawaiʻi Academy of Recording Arts (HARA).

E Ala E (1995) featured the political title song "ʻE Ala ʻE" and "Kaleohano", and N Dis Life (1996) featured "In This Life" and "Starting All Over Again".

In 1997, Kamakawiwoʻole was again honored by HARA at the Annual Nā Hōkū Hanohano awards for Male Vocalist of the Year, Favorite Entertainer of the Year, Album of the Year, and Island Contemporary Album of the Year. He watched the awards ceremony from a hospital room.

Alone in Iz World (2001) debuted at #1 on Billboard's World Chart and #135 on Billboard's Top 200, #13 on the Top Independent Albums Chart, and #15 on the Top Internet Album Sales charts.
Support of Hawaiian Rights

Kamakawiwoʻole was known for promoting Hawaiian rights and Hawaiian independence, both through his lyrics, which often stated the case for independence directly, and his life. His song Hawai'i '78 demonstrates the beliefs and hopes that he had for the people of Hawai’i: the life of this land is the life of the people, and that to care for the land is to care for the Hawaiian culture. The state motto of Hawai'i is a recurring line in the song and encompasses the meaning of Iz's message: Ua Mau ke Ea o ka ʻĀina i ka Pono (Roughly translated: The life of the land is perpetuated in righteousness).
Death

Throughout his life, Kamakawiwoʻole was obese and at one point weighed 757 pounds (343 kg; 54.1 st) standing 6-foot-2-inch (1.88 m) tall (BMI = 97.05 kg/m²).[7] He endured several hospitalizations because of problems caused by his weight.[7] Beset with respiratory and other medical problems, he died in Queen's Medical Center at 12:18 a.m. on June 26, 1997.[7] Kamakawiwoʻole is survived by his wife, Marlene Kamakawiwoʻole, and their daughter, Ceslie-Ann "Wehi".

The Hawaii state flag flew at half-mast on July 10, 1997, the day of Kamakawiwoʻole's funeral. His koa wood coffin lay in state at the state capitol building in Honolulu. He was the third person in Hawaiian history to be awarded this honor, and the only one who was not a government official. Approximately ten thousand people attended the funeral. Thousands of fans gathered as his ashes were scattered into the Pacific Ocean at Mākua Beach on July 12, 1997. The funeral and the scattering of Kamakawiwoʻole's ashes were featured in the official music video of "Somewhere Over the Rainbow" released posthumously by Mountain Apple Company; at of the end of 2011, the video as featured on YouTube had garnered over 60 million views.

On September 20, 2003, hundreds paid tribute to Kamakawiwoʻole as a bronze bust of the revered singer was unveiled at the Waianae Neighborhood Community Center on Oʻahu. The singer's widow, Marlene Kamakawiwoʻole, and sculptor Jan-Michelle Sawyer were present for the dedication ceremony from wiky

SPOONS

2012-01-27T00:06:00.000-08:00

Back in 1974 when winters were long and surfboard sales were slow, I decided to make a small fleet of Greenough spoons to feed the growing family. Lots of labour, with not much materials outlay. There are 16 layers of fibreglass cloth in each one, with the original blank being ground away to almost nothing, just that thin rim of foam around the front end and rails.

All four sold fast, as these were as original as anyone could get. I’d lived with, surfed with, and shaped with George for most of the previous decade, and George never made a spoon for anyone but George. I made them in my little shed/shaping room in our farmhouse front yard on the edge of Lennox. One of these 4 spoons is now on display at Surf World, Currumbin.

All 4 of these photos courtesy of Peter Green.

Bob Mc Tavish via http://www.mctavish.com.au

Share All I’ve Found (George Greenough) – Sea Movies

2012-01-25T10:58:00.000-08:00

All I've Found (George Greenough) - Sea Movies from www.KORDUROY.tv on Vimeo.

visits http://www.korduroy.tv

SUN RA

2012-01-24T05:49:00.000-08:00

Sun Ra (born Herman Poole Blount, legal name Le Sony'r Ra;[1] May 22, 1914 – May 30, 1993) was a prolific jazz composer, bandleader, piano and synthesizer player, poet and philosopher known for his "cosmic philosophy," musical compositions and performances. He was born in Birmingham, Alabama. He is a 1979 inductee of the Alabama Jazz Hall of Fame.

"Of all the jazz musicians, Sun Ra was probably the most controversial," critic Scott Yanow said,[2] because of Sun Ra's eclectic music and unorthodox lifestyle. Claiming that he was of the "Angel Race" and not from Earth, but from Saturn, Sun Ra developed a complex persona using "cosmic" philosophies and lyrical poetry that made him a pioneer of afrofuturism. He preached awareness and peace above all. He abandoned his birth name and took on the name and persona of Sun Ra (Ra being the Egyptian God of the Sun), and used several other names throughout his career, including Le Sonra and Sonny Lee. Sun Ra denied any connection with his birth name, saying "That's an imaginary person, never existed … Any name that I use other than Ra is a pseudonym."From the mid-1950s to his death, Sun Ra led "The Arkestra" (a deliberate re-spelling of "orchestra"), an ensemble with an ever-changing lineup and name. It was by turns called "The Solar Myth Arkestra", "His Cosmo Discipline Arkestra", the "Blue Universe Arkestra", "The Jet Set Omniverse Arkestra", as well as many other permutations. Sun Ra asserted that the ever-changing name of his ensemble reflected the ever-changing nature of his music. His mainstream success was limited, but Sun Ra was a prolific recording artist and frequent live performer. His music ranged from keyboard solos to big bands of over 30 musicians and touched on virtually the entire history of jazz, from ragtime to swing music, from bebop to free jazz. He was also a pioneer of electronic music and space music. He also used free improvisation and was one of the first musicians, of any genre, to make extensive use of electronic keyboards. Philosophy
Sun Ra's world view was often described as a philosophy, but he rejected this term, describing his own manner as an "equation"—he claimed that while philosophy was based on theories and abstract reasoning, his method was based on logic and pragmatism. Many of the Arkestra cite Sun Ra's teachings as pivotal and for inspiring such long-term devotion to the music that they knew would never make them much money. His equation was rarely (if ever) explained as a whole; instead, it was related in bits and pieces over many years, leading some to think his world view was naïve or composed of nonsensical new-age platitudes. However, Martinelli argues that, when considered as a whole, one can discern a unified world view that draws upon many sources, but is also unique to Sun Ra, writing:Sun Ra presents a unified conception, incorporating music, myth, and performance into his multi-leveled equations. Every aspect of the Sun Ra experience, from business practices like Saturn Records to published collections of poetry to his 35-year career in music, is a manifestation of his equations. Sun Ra seeks to elevate humanity beyond their current earthbound state, tied to outmoded conceptions of life and death when the potential future of immortality awaits them. As Hall has put it, 'In this era of 'practical' things men ridicule even the existence of God. They scoff at goodness while they ponder with befuddled minds the phantasmagoria of materiality. They have forgotten the path which leads beyond the stars.'

He drew on sources as diverse as the Kabbalah, Rosicrucianism, channeling, numerology, Freemasonry, and black nationalism. Sun Ra's system had distinct Gnostic leanings arguing that the god of most monotheistic religions was not the creator god, not the ultimate god, but a lesser, evil being. Sun Ra was wary of the Bible, knowing that it had been used to justify slavery. He would often re-arrange and re-word Biblical passages (along with re-working many other words, names or phrases) in an attempt to uncover "hidden" meanings. The most obvious evidence of this system was Ra's practice of renaming many of the musicians who played with him.Bassoonist/multireedist James Jacson had studied Zen Buddhism before joining Sun Ra and identified strong similarities between Zen teachings and practices (particularly Zen koans) and Ra's use of non sequiturs and seemingly absurd replies to questions. Drummer Art Jenkins admitted that Sun Ra's "nonsense" sometimes troubled his thoughts for days until inspiring a sort of paradigm shift, or profound change in outlook. Drummer Andrew Cyrille said Sun Ra's comments were "very interesting stuff … whether you believed it or not. And a lot of times it was humorous, and a lot of times it was ridiculous, and a lot of times it was right on the money.

Some of Sun Ra's songs with words featured lyrics that although simple, were inspirational and philosophical. The most famous example was "Space is the Place!". Another example was the song that went, "You made a mistake. You did something wrong. Make another mistake, and do something right!". Sometimes (typically at the end of a set) the entire Arkestra would snake out through the audience, playing and chanting something like this. Sun Ra even came up once, behind a frightened young audience member, grabbed him in a bear hug, and whispered this in his ear, while the whole band chanted and played along, in a circle around his table, with the rest of the audience watching on in amusement. (1978, in a performance in a small short-lived nightclub on City Line Avenue in Philadelphia)Sun Ra and black culture

According to Szwed[35] Sun Ra's view of his relationship to black people and black cultures "changed drastically" over time. Initially, Sun Ra identified closely with broader struggles for black power, black political influence, and black identity, and saw his own music as a key element in educating and liberating blacks. But by the heyday of black power radicalism in the 1960s, Sun Ra was expressing disillusionment with these aims, and he denied feeling closely connected to any race. In 1970 he said:

I couldn't approach black people with the truth because they like lies. They live lies … At one time I felt that white people were to blame for everything, but then I found out that they were just puppets and pawns of some greater force, which has been using them … Some force is having a good time [manipulating black and white people] and looking, enjoying itself up in a reserved seat, wondering, "I wonder when they're going to wake upInfluence and legacy

Many of Sun Ra's innovations remain important and groundbreaking: "Ra was one of the first jazz leaders to use two basses, to employ the electric bass, to play electronic keyboards, to use extensive percussion and polyrhythms, to explore modal music and to pioneer solo and group freeform improvisations. In addition, he made his mark in the wider cultural context: he proclaimed the African origins of jazz, reaffirmed pride in black history and reasserted the spiritual and mystical dimensions of music (all important factors in the black cultural/political renaissance of the 60s)."George Clinton of P-funk fame drew inspiration from Sun Ra; see P-Funk mythology. He once declared in an interview, "Yeah, Sun Ra's out to lunch... same place I eat at!"

Detroit's MC5 played a handful of shows with Sun Ra (including surviving MC5 members Michael Davis , Wayne Kramer and Dennis "Machine Gun" Thompson , under the DKT / MC5 name ), and were influenced by his works monumentally . One of their songs from their premiere album Kick Out the Jams featured a track called "Starship" , which was based upon a poem by Ra .

He was inducted into the Alabama Jazz Hall of Fame in 1979. His interment was located in Elmwood Cemetery.
[edit] FilmographyFilmography

Sun Ra and his Arkestra were the subject of a few documentary films, notably Robert Mugge's A Joyful Noise (1980), which interspersed performances and rehearsals with Sun Ra's commentary on various subjects ranging from today's youth to his own place in the cosmos. There is also a feature film entitled Space Is the Place from 1974 which stars Sun Ra and his band who play themselves. The soundtrack, also by Sun Ra, is available on CD.

In 1995 his influnce was a significant factor in the foundation of the Association of Autonomous Astronauts.

More recently (2005) Don Letts' Sun Ra—Brother from Another Planet reuses some of Mugge's material and includes some additional interviews.In 2009, Points On A Space Age, a documentary by Ephrahaim Asili was released. "It's a 60-minute doc along the lines of the talking-head-intercut-with performance clips style. It works because of the interesting and passionate nature of the images of the band as well as of the audio, as the band attempts to articulate what Ra meant to them, and why they are keeping the flame alive. He “left the earth” for his next mission in 1993. The remnants of the band include Marshall Allen, Ra’s greatest discliple as well as current bandleader and keeper of the flame. Now 86, Allen also serves as recruiter for new members, and potential converts of Sun Ra’s philosophy, once based on space travel and music as a tool for evolution into a new consciousness and tuning into holy vibrations."

Waikiki - Traditional Hawaiian Surfing & native Life 1920s

2012-01-24T04:08:00.000-08:00

surfing from the 1920s that dispel the myth of turning using you feet. Turning is done with the touch of the hand on the water and the the leg is dragged to make a complete re-direction of the board. Another misinterpretation of our Hawaiian practice that comes to an end.

BRIAN WILSON

2012-01-23T05:24:00.000-08:00

Brian Wilson: Yeah, I had a problem taking drugs. Up until four months ago I was taking a lot of cocaine. And these doctors came in and showed me a way to stop doing it, which is having bodyguards with you all the time so you can’t get to it....Do you take drugs yourself?

David Felton: Yeah, I experiment.

BW: Do ya? Do ya snort?

DF: Sure.

BW: That’s what I thought. Do you have any with ya?

DF: No.

BW: That’s the problem. Do you have any uppers?

DF: I have nothin’ on me.

BW: Nothing? Not a thing, no uppers?

DF: I wouldn’t lie to you. I wish I had ’em, but I don’t.

BW: Do you have any at home? Do you know where you can get some?

DF: See, now I guess you gotta get to the point in the program where you’re not going to ask me questions like that.

BW: That’s right. You just saw my weakness coming out. Which I don’t understand.

Rolling Stone interview with Brian Wilson, 1976

THE LOST SESSION

2012-01-21T09:27:00.000-08:00

a lost session from Deus ex Machina on Vimeo.

http://www.deusbaliblog.co.id/

FRANK PITHERS

2012-01-20T10:11:00.000-08:00

FRANK PITHERS During the five years I spent on the road shooting pictures for Tracks Magazine I was privileged to witness really fantastic surfing by some of the worlds greatest surfers. Most of my time was spent travelling the Australian coastline and living out of a VW Kombi in the company of top surfers, our only mission was to get the best waves we could find, surf the shit out of them and get as many shots as possible for the next issue of the magazine.
In the late 1960’s early 1970’s most of the time we would find the point breaks almost deserted. As a photographer to get great waves with a few of Australia’s best surfers in the water, was a real treat… It made my job pretty easy, I didn’t have to look hard to find great moves in the water, the blokes were pulling off amazing stuff.
When you have great surfers in the water riding beautiful waves, the rhythm of the surfing tends to build in intensity, the guys seem to feed off each other and what they are doing on the waves. At the peak of these sessions some truly amazing surfing would take place. It was great fun and a real privilege to be able to catch some of those sessions on film.

I remember one trip to Angourie, I was travelling with the great John Otton and the equally amazing Simon
Anderson, we stayed at David ‘baddy’ Treloar and Brad Maye’s house-come factory. They were living at Angourie and making Wilderness surfboards at the time. During the next four days we had fantastic surf every day with virtually no one else in the water, the level of surfing was just mind blowing. All the guys had very different styles but all were extremely creative, such a joy to shoot. As a surf photographer, I don’t think it gets any better.

There were a lot of real characters around in the 1970’s, loads of experimentation in board design and some very different approaches to riding waves. It was the beginning of the pro-era, but surfing hadn’t been formalised yet, it was still a little wild and crazy.
I spent a week enjoying the hospitality of the Brothers Neilsen in 1972. Everyday involved and early rise and straight to Burleigh where the boys would surf all morning, home for lunch and the mid day movie. If the waves were still good they would go back to the beach, if not, into the factory to make boards. They lived the total surfing lifestyle.

It was a great job for a young guy and I had some of the best times of my life working at Tracks and Surfing World magazines. I hope you enjoy this blast from the past. please visit http://www.frankpithers.com

Bob McTavish's Complete Malibu Board Repertoire, circa 1966

2012-01-18T13:00:00.000-08:00

mctavish explains:
Today's dynamic positive surfing places tremendous demands upon the surfer's initiative and ability. He is pushed into some pretty tight positions and he must pull himself out of them. An expansive range of manoeuvres - ranging from the obvious to the obscure, has evolved as a result of this trend to push things to the limit. Progressive surfers are refining and developing this range so rapidly that we figured it was time we paused, took a break, and reviewed our progress this far.
Here is a rundown of manoeuvres that are partially or fully adopted by the van- guard of Australia's progressive surfing push.

The direction is involvement. Getting into tight spots and getting back out of them. This is of course a supplement direction to the all powerful "make of wave" motive.

The way to get involved, obviously, is place yourself in a hairy position, under, in over, around the curl, quite often in contact with it. You can place your self in the actIon in two basic methods, turning and stalling. That's simple enough. But the actual variety of turn or stall is the diary part.

Working firstly on turns:

(a) DEEP BOTTOM TURN is virtually a stall, as you are holding back from travelling across the wall till the hook is hovering overhead.
When you actually lean into the turn there is a redirection of momentum gained by taking the drop, so it's also an obscure manner of acceleration.
Fig. 1
(b) CURL ACCELERATION TURN is virtually a bottom turn minus stall.
There is no wait while the hook catches up.
This turn then, must be executed deeper, sometimes following a fade into the hook.
The basic acceleration of the bottom turn is still there.
Fig. 2.
(c) TOP RAIL PIVOT TURN, used to get hammering across the already hot wall, is hardly a turn at all, just a slight bank performed on the inside rail, on the widest point of the board.
(d) CUT BACK followed by one of the above turns is a pretty obvious way to jam back into the hook.
Fig. 13The turns indicate how to get into the action from below, above, or behind the eye. But to slip back into the pocket from ahead? Employ one of the many stalls. Try these.

(a) THE TAIL STALL is the oldest, most obvious stall.
By jamming all your weight on the back half, or less, of your board, means you bury the in- side half and fin pretty deep, creating a mean drag.
The big hang-up with this stall is the acceleration that fol- lows, as it's a damn long way to the fast points from on the back.
Very handy of course to allow you to get to the tip, and hold the stall from there for a while.
Fig. 3

Which leads us to ...
(b) THE NOSE STALL.
To perform this, simply bury the inside rail while on the tip. Most noserides are performed this way, but the stall effect can be heightened by putting most weight on the inside, which establishes heavy drag down the entire rail.
Acceleration from here is a snap. A quick backpedal or sideslip to throw the board back into instant trim.
Fig. 4.
(c) DRAG BODY STALL is obvious.
Just create a resistance by getting yourself smashed by the curl.
Fig. 5.

(d) BOUNCE OR CHOP STALL can be performed in any uneven conditions.
Any bounce or chop upsets both trim and break-away effect from rail by establishing turbulence, hence drag.
Fig. 6.
(e) INSIDE RAIL ON FAST POINT STALL
two-thirds towards the tip is a safe bet for speed on most boards.
It's a simple matter to establish a trim here, also simple to upset the trim by burying the inside rail and creating the usual drag.
Fig. 7.
(f) FIN DROP-OUT STALL is by far the most efficient, most difficult.
If performed correctly, it can eliminate a cutback.
Everyone has experienced a fin drop-out and its main effect - loss of forward motion.
When emerging from a hot hollow section it's possible to remove the fin from the wave intentionally, and establish a sideways drift towards the beach. Perfect stall. No forward motion.
As the wave recovers and starts to wall, drop the fin in by back-peddling, recover some sort of trim, and move out.
Nat Young and I spent two days at Noosa working on this, succeeded about four times each.
The big problem is knowing just when the fin is going to break out.
We are working on special nose and fin shapes for this purpose.
Right: There are the various techniques of getting in the tight spots. Get your jollies back in there, and then try to get out, and make the wave.
To get out of the hot parts you'll need three things. Acceleration, speed, knowledge of handling trouble spots. A few handy acceleration techniques.

(a) WALKING OFF A TURN.
Most surfers "safe it:' and turn, allow the board to climb, and then run forward. If you walk to faster regions of your board while you are finishing off your turn, still banked, you relieve the back of the board of your weight which allows it to climb faster. Also your weight keeps the front lower, creating a driving attitude much sooner. Very little loss of momentum.
Fig. 8.

(b) SIDE SLIPS can be performed any-where on the front half of the board.
They throw the board out of an inside rail stall, and set up a highly efficient trim for half a second while the board is banked outwards.
This half second or so allows the board to leap forward.
The acceleration is noticed as soon as the sideslip is checked, and the momentum gained from the small drop is redirected.
Fig. 9.

(c) BACK PEDAL OFF TIP onto fast point is an obvious accelerator.
(d) JUMPING INSIDE RAIL OUT of the wave face and dropping a couple of feet places the nose lower than the tail, again in a drive attitude.
Push an inside rail stall to the limit, where the board is horizontal, way out of trim, right at the top of the wave.
The only part of the board still in the wave will be the inside rail and a little piece of fin.
A quick flicking action onto the outside rail and the board is virtually airborne.
As the rail re-enters, jam your weight onto the inside, once again there is a redirection of momentum from a drop. (e) UTILIZING DROPPING WHITE WATER OR CURL employs the same prin- ciple as (d), but
instead of flicking the rail out, employ falling water to propel the drop.
This method can also be
used while in trim on a hot wall.
Instead of back-pedalling and destroying trim to work around the section, just use the dropping section itself to accelerate you around it.

(f) WALKING TO THE TIP OUT OF THE CURL releases your legs and body from the resistance of the falling curl.
Also places the back of the board clear of white water inside the curl, which means more speed.
Fig. 10.
Once you've accelerated into a screaming long wall, you'll want all possible speed.

(a) OBVIOUS FAST POINT two thirds from back.
Fig.15

(b) FASTEST POINT is on the tip on the outside rail.
Very delicate. Very fast. So far it's only been used in small waves as an actual dive position.
As we get touchier we'll use it on bigger waes. It is a great sensation, jammed up front moving so fast it doesn't feel right. Very simple thing to dig outside rai! and get a board in the head.
Fig. 16 Joey Cabell

(c) A FEW TIPS. Keep the board clear of falling white water.
Go low through chop.
Crouch low in hard offshore winds.
All these things mean a little extra when it's needed.
Speed itself isn't all that important, it's acceleration that makes the difference usually.
Knowledge. Just when to accelerate. Just how to get around trouble.
How to get out of it, too.
Here are a few assorted helpful manoeuvres which can be used to get out of dicey spots, or to get a little more out of a wave

(a) WALKING TO TIP OUT OF A PEARL transfers more weight over a longer area of rail, hence drag, which often will "suck" the nose out of the pearl and place it up into the wall.
Fig. 11.
(b) USING HEAD DIPS AS A THIRD POINT OF STABILITY.
Punching low under a dropping section and the dropping curl is exploding on the deck of your board, upsetting stability.
By throwing your head, shoulders, arms, hands into the curl you have a "solid" point, at least a point of contact to maintain balance.
Work your head up against the curl, your feet pushing the opposite direction, down hard, onto the inside rail.
Helps avoid many bomb-outs.
Fig. 12.
(c) USING THE HEAD DIP TO BLOCK THE CURL from crashing on the deck also means less downward resistance.

(d) STRADDLING WHITE WATER means stability.
One foot on each rail.
Fig. 17 Kevin Brennan

(e) POWERING TURNS AND CUTBACKS OFF CURLS AND WHITE WATER means faster turns, higher manoeuvrability.
Fig. 18

(f) CUT BACK "OVER THE FALLS" After wave has closed out, or section has dropped, take the drop with curl. Means you don't get pummelled by initial curl.
Fig. 19 Nat Young

Well there are the actual manoeuvres.
Selecting the instant to utilise them is up to you.
The tighter you push them, the longer you hold them, the more involved you are, the more situations you can overcome, the hotter you are.
Surfing World Magazine January 1967 pages 15 to 21
Original photographs by John Witzig, possibly others.
Copyright Bob McTavish, 1967 re via http://www.surfresearch.com.au

Organic Home Movies.

2012-01-18T11:57:00.001-08:00

Organic Home Movies. from Drew Miller on Vimeo.

WABI SABI Chikada Haruo & Vibrastone

2012-01-18T07:11:00.001-08:00

Barbado Senora

2012-01-16T00:33:00.000-08:00

Barbado Senora from ben conquest on Vimeo.

Surfing
John Gill,
Kai Ellice-Flint,
Nathan Oldfield,
Sean Freeman,
Aaron Frost

Music
Omar Rodriguez Lopez - Deus Ex Machina
Bad Boys - Black Olives

Camera/Edit
Ben Conquest re from http://lookandsea.blogspot.com/

MR MAGOO goes Surfing in Hawaii Cartoon 1965

2012-01-14T05:57:00.000-08:00

Mark Warren Jacques

2012-01-14T03:12:00.000-08:00

Mark Warren Jacques "Seeing is Conceiving" from Joe Lumbroso on Vimeo.

Mark Warren Jacques
Solo Exhibition
Seeing is Conceiving
July 7 - Aug 1 - 2011
Opening reception Thursday July 7th 5-9pm
Flatcolor Gallery
528 1st Ave South.
Seattle, Washington
flatcolor.com
markwarrenjacques.com

Film by Jesse Chandler and Third Street Works (thirdstreetworks.com)

Music by Mark Warren Jacques and The Mountains

Filmed at Casey Gray's studio (caseygray.com/).

Wax 'Em Up

2012-01-13T08:06:00.000-08:00

Surfboards appeared regularly as props in Californian hot rod publications during the surf crazed sixties. Paul Bergeron's Model A woody and quiver were featured in the October 1970 issue of Rod & Custom.
Yowza !!!! via http://magneticbrain.blogspot.com

Andrei Tarkovsky

2012-01-12T10:23:00.000-08:00

Andrei Arsenyevich Tarkovsky (Russian: Андрей Арсеньевич Тарковский; April 4, 1932 – December 29, 1986) was a Soviet and Russian filmmaker, writer, film editor, film theorist, theatre and opera director, widely regarded as one of the finest filmmakers of the 20th century.

Tarkovsky's films include Andrei Rublev, Solaris, The Mirror, and Stalker. He directed the first five of his seven feature films in the Soviet Union; his last two films were produced in Italy and Sweden, respectively. They are characterized by spirituality and metaphysical themes, long takes, lack of conventional dramatic structure and plot, and distinctively authored use of cinematography.

Film director Ingmar Bergman said of Tarkovsky:

Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.
Tarkovsky was born in the village of Zavrazhye in Ivanovo Oblast, the son of poet and translator Arseny Alexandrovich Tarkovsky, native of Kirovohrad, Ukraine, and Maria Ivanova Vishnyakova, a graduate of the Maxim Gorky Literature Institute.Tarkovsky spent his childhood in Yuryevets.[2] He was described by childhood friends as active and popular, having many friends and being typically in the center of action. In 1937, his father left the family, subsequently volunteering for the army in 1941. Tarkovsky stayed with his mother, moving with her and his sister Marina to Moscow, where she worked as a proofreader at a printing press. In 1939, Tarkovsky enrolled at the Moscow School № 554. During the war, the three evacuated to Yuryevets, living with his maternal grandmother. In 1943, the family returned to Moscow. Tarkovsky continued his studies at his old school, where the poet Andrey Voznesensky was one of his classmates. He learned the piano at a music school and attended classes at an art school. The family lived on Shshipok Street in the Zamoskvorechye District in Moscow. From November 1947 to spring 1948, he was in a hospital with tuberculosis. Many themes of his childhood - the evacuation, his mother and her two children, the withdrawn father, the time in the hospital - feature prominently in his film The Mirror.

Following high school graduation, from 1951 to 1952, Tarkovsky studied Arabic at the Oriental Institute in Moscow, a branch of the Academy of Sciences of the USSR. Although he already spoke some Arabic and was a successful student in his first semesters, he did not finish his studies and dropped out to work as a prospector for the Academy of Science Institute for Non-Ferrous Metals and Gold. He participated in a year-long research expedition to the river Kureikye near Turukhansk in the Krasnoyarsk Province. During this time in the Taiga Tarkovsky decided to study film.
Tarkovsky is mainly known as a director of films. During his career he directed only seven feature films, and three short films during his time at the film school. He also wrote several screenplays, directed the play Hamlet for the stage in Moscow, the opera Boris Godunov in London, and directed a radio production of the short story Turnabout by William Faulkner. He also wrote Sculpting In Time, a book on film theory.

Tarkovsky's first feature film was Ivan's Childhood in 1962. He then directed in the Soviet Union Andrei Rublev in 1966, Solaris in 1972, The Mirror in 1975 and Stalker in 1979. The documentary Voyage in Time was produced in Italy in 1982, as was Nostalghia in 1983. His last film The Sacrifice was produced in Sweden in 1986. Tarkovsky was personally involved in writing the screenplays for all his films, sometimes with a co-writer. To Tarkovsky, a director who realizes somebody else's screenplay without being involved in it becomes a mere illustrator, resulting in dead and monotonous filmsTarkovsky became a film director during the mid and late 1950s, a period during which Soviet society opened to foreign films, literature and music. This allowed Tarkovsky to see films of European, American and Japanese directors, an experience which influenced his own film making. His teacher and mentor at the film school, Mikhail Romm, allowed his students considerable freedom and emphasized the independence of the film director.

Tarkovsky was, according to Shavkat Abdusalmov, a fellow student at the film school, fascinated by Japanese films. He was amazed by how every character on the screen is exceptional and how everyday events such as a Samurai cutting bread with his sword are elevated to something special and put into the limelight. Tarkovsky has also expressed interest in the art of Haiku and its ability to create "images in such a way that they mean nothing beyond themselves."

In 1972, Tarkovsky told film historian Leonid Kozlov his ten favorite films. The list includes: Diary of a Country Priest and Mouchette, by Robert Bresson; Winter Light, Wild Strawberries and Persona, by Ingmar Bergman; Nazarín, by Luis Buñuel; City Lights, by Charlie Chaplin; Ugetsu, by Kenji Mizoguchi; Seven Samurai, by Akira Kurosawa, and Woman in the Dunes, by Hiroshi Teshigahara. Among his favorite directors were Buñuel, Mizoguchi, Bergman, Bresson, Kurosawa, Michelangelo Antonioni, Jean Vigo, and Carl Theodor Dreyer
With the exception of City Lights, the list does not contain any films of the early silent era. The reason is that Tarkovsky saw film as an art as only a relatively recent phenomenon, with the early film-making forming only a prelude. The list has also no films or directors from Tarkovsky's native Russia, although he rated Soviet directors such as Boris Barnet, Sergei Paradjanov and Alexander Dovzhenko highly.

Although strongly opposed to commercial cinema, in a famous exception Tarkovsky praised the blockbuster film The Terminator, saying its "vision of the future and the relation between man and its destiny is pushing the frontier of cinema as an art". He was critical of the "brutality and low acting skills", but nevertheless impressed by this filmTarkovsky's films are characterised by metaphysical themes, extremely long takes, and memorable images of exceptional beauty. Recurring motifs are dreams, memory, childhood, running water accompanied by fire, rain indoors, reflections, levitation, and characters re-appearing in the foreground of long panning movements of the camera. He once said, “Juxtaposing a person with an environment that is boundless, collating him with a countless number of people passing by close to him and far away, relating a person to the whole world, that is the meaning of cinema.”

Tarkovsky included levitation scenes into several of his films, most notably Solaris. To him these scenes possess great power and are used for their photogenic value and magical inexplicability
Water, clouds, and reflections were used by him for its surreal beauty and photogenic value, as well as its symbolism, such as waves or the form of brooks or running water.

Bells and candles are also frequent symbols. These are symbols of film, sight and sound, and Tarkovsky's film frequently has themes of self reflection.

Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristic of cinema as a medium was to take our experience of time and alter it. Unedited movie footage transcribes time in real time. By using long takes and few cuts in his films, he aimed to give the viewers a sense of time passing, time lost, and the relationship of one moment in time to another.

Up to, and including, his film The Mirror, Tarkovsky focused his cinematic works on exploring this theory. After The Mirror, he announced that he would focus his work on exploring the dramatic unities proposed by Aristotle: a concentrated action, happening in one place, within the span of a single day.

Several of Tarkovsky's films have color or black and white sequences, including for example Andrei Rublev which features an epilogue in color of religious icon paintings, as well as Solaris, The Mirror, and Stalker, which feature monochrome and sepia sequences while otherwise being in color. In 1966, in an interview conducted shortly after finishing Andrei Rublev, Tarkovsky dismissed color film as a "commercial gimmick" and cast doubt on the idea that contemporary films meaningfully use color. He claimed that in everyday life one does not consciously notice colors most of the time. Hence in film color should be used mainly to emphasize certain moments, but not all the time as this distracts the viewer. To him, films in color are like moving paintings or photographs, which are too beautiful to be a realistic depiction of life.

Eternal Sea 1969

2012-01-11T09:49:00.000-08:00

Primitive surf cartoon made in San Francisco for Fred Windisch's 16mm surf movie "The Natural Art". This is the original 16mm rough format by John Severson bought it in 1970 and refilmed it for his 35mm surf movie "Pacific Vibrations" although I don't know if he ever used it. Glenn Schot faded into obscurity but made a comeback in sculpture and fine oil paintings later in life and lives in Hanalei, Kauai.
Arnie Wong went on to a successful career with Disney and his own animation company. He lives in San Francisco these days and is responsible for the "Kelly's Cove" surf reunions.

Nathan Strom

2012-01-10T12:44:00.000-08:00

Nate styling through the Malibu section hanging toes on his Kookbox.

Alessandro Ponzanelli Stars In Music Video

2012-01-10T05:36:00.000-08:00

Look out ladies, the newest addition to the Bing team, renowned Italian surfer, Alessandro Ponzanelli, not only captivates his audience on the waves but also on the big screen! Ponzanelli stars in music video, Improvvisamente Tu by Italian band, Kaufman in their latest album, Magnolia. via BING SURFBOARDS

Nuuhiwa bis

2012-01-09T06:41:00.000-08:00

Clip from Free and Easy by Greg MacGillivray and Jim Freeman where David Nuuhiwa is introduced to Pipeline. Also featuring great rides by Jock Sutherland and Greg Noll.

David Nuuhiwa - Rainbow Bridge

2012-01-09T06:35:00.000-08:00

GATO HEROI back in ITALY

2012-01-07T06:59:00.000-08:00

MMXII

L'anno nuovo è in testa, l'evoluzione è iniziata !!
Ora é il turno di voi entusiasti ricercatori di nuovi suoni.
Il periodo d'ordine é partito...ORA !! Non pensate...ascoltatemi.
Fate uno sforzo dinamico.

DEADLINE 25 FEBBRAIO

La disponibilità é limitata - 8 boards only !!
Per molti ma nn per tutti..come diceva R.C a colazione da Tiffany.

gatoHeroi New dynamic Foils are ready - prototype period is gone

MMXII modelli disponibili su ordinazione.

Jungle RPG - 7"11
Space Oasis - 8"11
Space pig - 8"11
Jungle acid - 9"0
Killer Sun - 9"1 to 9"3
Silver - 9"3 to 9"7

NO CUSTOM COLOUR - SPECIAL SCREEN AHEAD 4us

Evolution is a natural change an unfolding...STOP with only beers and noseriding

IMPORTANTE !!

Da ora fino al 25 febbraio - periodo d'ordine
Marzo aprile - gatobasque landing back in Europe + shaping
Aprile - consegna tavole, italy trip, partyes e novità per l' autunno 2012

EXTRA

GATOHEROI wetsuits - avaiable - 100% Made in Japan
Surfar taylored SURFBOARDS BAG - waterproof Made with recycled matherial
T'S limite edition - serigrafate su CUSTOM blanks come da tradizione gatoHeroi

GW4GH
Info e orders: feelnewbeat@hotmail.it
Tel: +39/339-750gato

joey cabell

2012-01-07T06:45:00.001-08:00

Real Ethereal

2012-01-07T06:06:00.000-08:00

Real Ethereal from Evan Mann on Vimeo.

Real Ethereal embraces our mysterious relationship with life. It blends the physical with the metaphysical on a journey through an ever-transitioning space where common interactions become extraordinary and perception ventures into the otherworldly. Real Ethereal examines possibilities of unseen realities and metaphorically represents the winding path that reveals before us and conceals behind us; the future remains a mystery while the past fades quickly into the recesses of our mind. We are left with the present: the mysterious reality of our existence; the hair of time difficult to grasp.by Evan Mann

Porto 10-13-11 by Andy Byrne

2012-01-07T05:19:00.000-08:00

Porto 10-13-11 from Andy Byrne on Vimeo.

SALTWATER DAMAGE

2012-01-05T03:05:00.001-08:00

Saltwater Damage - from Memories of the Wavemaster
by Bob Feigel

One day, many moons ago, I was standing with Miki Dora by the bulkhead in front of my place on Topanga Beach checking the surf out at the point. Miki was complaining about bringing the wrong board for the conditions and thinking about driving all the way back to Brentwood to pick it up another. Those were the days when living at the beach was much less expensive than somewhere like Brentwood, so I asked him why he didn't move into a place that had just come up for rent down the beach.

Squinting at me like I might be carrying some sort of communicable disease, Miki cocked his body and gave me three reasons why he'd never want to live much closer to the beach than he already was.

The first reason was vintage Dora. He wanted to keep surfing and the other aspects of his life completely separate. "If everyone knows where I live then everyone will want to come to my house and touch my things and eat my food. Then they'll come back when I'm out surfing and steal from me."

The second reason was one I'd never considered, but learned to respect over the years. He never wanted to take the sea for granted and felt that people who lived at the beach became so used to being close to the sea that they forgot how special it was. "Every time I drive down Sunset or Channel and see the beach for the first time each day, I want to fall in love all over again ... and again."

As if fearing that someone might overhear us, Miki carefully scanned the area before revealing his final reason. "Saltwater," he whispered.

"Saltwater?" I asked.

"Oh yes," Miki said. "Living so close to saltwater is dangerous because it gets in the air. Then you breath it in and, after time, your brain rots like a driftwood log."

"Oh ..." said I.

"That's why so many surfers we know are so stupid," said Miki.

"Right," I answered. "So ... what about me?"

"Move," said Miki. "Move before it's too late."

via http://www.surfwriter.net/

Batch Dump: Strawberries

2012-01-04T23:04:00.000-08:00

Batch Dump: Strawberries from Josh Simpson on Vimeo.

THROUGH THE VIDEO

2012-01-03T09:54:00.000-08:00

This is a new work created by a collaboration with my friend Pierluigi(HEIGO)
VIDEO :Heigo
ARTWORK :Iomal
SURFER :Iomal

Dick Catri's HobieTeam 1967 Gary Propper Mimi Munro

2012-01-03T07:43:00.000-08:00

Dick Catri's East Coast Hobie Team consisted of some of the hottest surfers and was the standard by which others were measured. This clip is from the film the Summer of '67 available on DVD at BalsaBill.com Music by Jay Yerkes performed by the Surf Chasers

The Entrance Band - "A House is Not a Motel"

2012-01-01T22:59:00.000-08:00

BILL HAMILTON

2011-12-29T09:03:00.001-08:00

MAESTROS DEL LONGBOARD "BILL HAMILTON" Producciones Surfocker from Capitan Surfocker on Vimeo.

Eddie Vedder Longing to Belong

2011-12-29T00:11:00.000-08:00

The J Henry Fair, Day After Tomorrow: Images of Our Earth in Crisis [

2011-12-28T06:20:00.000-08:00

J Henry Fair is an American photographer, environmental activist, and co-founder and director of the Wolf Conservation Center in South Salem, NY. Born in Charleston, SC, J Henry Fair currently lives and works in New York City.
J. Henry Fair, in a small plane near the Mississippi River, is photographing dozens of coal ash disposal sites known to contaminate groundwater with toxic metals.
Bulldozed ash at a Louisiana coal-fired power plant.
It was like being a war journalist," Fair says of his seven trips to the Gulf of Mexico last summer to document the oil spill. "When I returned to New York, people would ask, 'What's it like?'" Pictured is a submerged oil plume.
"Eleven percent of the world's fresh water goes to make paper," Fair says. "How wild is that?" In a waste-treatment pond at a Louisiana mill that manufactures paper towels, circles form around aerators that churn the water to speed digestion of organic byproducts.
The forested mountains, valleys and streams that once stood here are now buried beneath the overburden from mountaintop removal coal mining. The mountain is leveled and then sprayed with a mixture of grass seed and fertilizer. This satisfies the EPA regulations on mitigation.
Heavy metal waste from fertilizer production.
Producing aluminum metal involves refining bauxite, the ore, using caustic chemicals and tremendous amounts of electricity to produce alumina and the electrolytic reduction of alimina to produce aluminum. This depicts the disposal of the byproducts, in which the solids are separated from the liquids. During primary aluminum production, PFCs are emitted as byproducts of the smelting process, both significant "greenhouse gases."
Effluents from fertilizer production are pumped into this "gyp stack." The solid gypsum is scooped out by excavators before it hardens and is spread on the "impoundment" to build it up and allow for higher capacity. This waste is gypsum, sulphuric acid an assortment of heavy metals, including uranium and radium.
Oil from the BP Deepwater Horizon spill at the Macondo well floats on the Gulf of Mexico.
Sulphur is a byproduct of the tar sands extraction process and though it has many industrial uses, the current market price is quite low. Syncrude, the Canadian energy company, is storing it for future sale.
Petroleum coke is the final remainder of refining oil, which can be cooked to become asphalt or other industrial products. This shows a rainbow refraction in liquid jetting from a pipe surrounded by coke. sources http://www.smithsonianmag.com http://en.wikipedia.org/wiki/J_Henry_Fair

Mike Hynson, Co-Star of 'The Endless Summer,' Resurfaces With Tales of the Brotherhood

2011-12-27T21:57:00.000-08:00

The Surfer Who Came In From the Cold
Whatever happened to The Endless Summer co-star Mike Hynson? A lot, much of it bad, starting when he got mixed up with the notorious Laguna Beach drug-smuggling ring known as the Brotherhood of Eternal Love
It’s 2 a.m. in New Delhi, halfway through a hot night in August 1967, and Mike Hynson is still awake and sweating in his hotel room. The pressure is on—it’s a feeling of impending doom that Hynson, a fearless surfer whose quest for the perfect wave had been captured in the 1966 cult classic The Endless Summer, has never encountered before, certainly never while simply working on a surfboard. But this is no normal surfboard-repair job.
Using a spoon he borrowed from the hotel restaurant, Hynson has carved a giant chunk of foam out of the bottom of one of the boards he’d delivered to India a few weeks earlier. He’s filled the hole with a watertight bag of hashish oil that he and a friend from Laguna Beach obtained in Kathmandu. He seals the compartment shut with carefully concealed tape and resin. But time is conspiring against Hynson. He still has two more boards to go before dawn, when he has to catch a return flight to California. The trio of hash-laden boards he’s busy preparing are supposed to arrive on a cargo flight a few days after him.

His brown wig and fake mustache—which he wore for the photograph that adorns his phony passport—await his attention. He must not forget to wear them to the airport. As Hynson hunches over his hollowed-out board, a thought keeps parading through his brain, over and over like a mantra, until he feels as if every nerve in his body is about to snap.

“Uh-oh,” says the voice in Hynson’s head. “I’m really doing this. This is really fucking real.”Stepping inside Hynson’s garage at his house in Encinitas is like entering a strange world where Southern California surfing history, 1960s counterculture and Hynson’s renegade sense of humor all compete for surface space. There’s the red pirate flag hanging over the door with the words “Prepare to be Boarded” splashed above a skull and crossbones. Faded portraits of Hindu swamis hang above a tray of expired incense, next to a blown-up photograph of a 24-year-old Hynson with a bunch of his friends—Robert August, Bruce Brown, Hobie Alter, Corky Carroll and Phil Edwards—posing in front of a Winnebago at San Onofre State Beach with a trio of then-wives and -girlfriends.
The photo captures Hynson on the cusp of greatness, about to embark on a nationwide tour to promote the film he’d just starred in, Bruce Brown’s The Endless Summer. On an opposite wall is a black-and-white Warner Brothers production still from the acid-drenched 1972 Jimi Hendrix “concert” film Rainbow Bridge, in which Hynson surfs waves in Maui and cracks open a surfboard to reveal a bag of smuggled hashish. Other photos of Hynson surfing in the early 1970s adorn the walls: molten energy captured in freeze frame, gold locks flowing in the wind, a pair of intensely focused eyes, arms spread out in a yoga-style stretch.

What’s missing from this Technicolor trip down memory lane are the past 20 or so years of his life. It’s a stretch of time Hynson doesn’t talk about much, partly because he’s not proud of it, but mostly because he doesn’t remember it well, even less so than the heady days of the late-1960s, when he was dropping acid nearly every day with his friends in the Laguna Beach-based band of smugglers known as the Brotherhood of Eternal Love (see “Lords of Acid,” July 8, 2005). Those were strange times indeed, but a lot of fun compared to what came next. In the early 1980s, life went downhill for Hynson when John Gale, one of the Brotherhood’s best surfers and Laguna Beach’s most legendary outlaws, died in a mysterious car crash, thus ruining Hynson emotionally and financially.
Gale was Hynson’s business partner in Rainbow Surfboards, which the two founded in Laguna Beach in 1969, as well as his best friend. Hynson’s drug-addled, rebellious lifestyle had already led to a divorce from wife Melinda Merryweather, a Ford Agency model, actress and art designer, but Gale’s death seemed to push him over the edge from reckless to beyond help. He descended into a depression and drug addiction that lasted decades, ruining his surfing career and alienating him from everyone but his closest friends until only a few years ago.

Now 67, Hynson is muscular and trim from long days spent shaping boards for mostly Japanese customers. He still has a full head of hair, which is pulled back over his scalp into a short Native American-style braid. He’s wearing a black T-shirt adorned with a red Chinese dragon, dusty black jeans and rugged work boots. His face is full of color and breaks easily into a self-deprecating grin. Gone are the gaunt physique and haggard expression on display in photographs taken of him just a decade ago, when People profiled him in an embarrassing article titled “The Endless Bummer.” (The story noted that just a few weeks before Endless Summer 2 was released, Hynson was serving jail time for drug possession.)
It was during one of Hynson’s numerous jail stints, at some point in the 1980s—he’s not sure what year or why he was in jail—that somebody suggested he use his free time to write, a suggestion that, two decades later, led to Transcendental Memories of a Surf Rebel, an autobiography Hynson co-wrote with Donna Klaasen that was released this month by the Dana Point-based Endless Dreams Publishing. Among other things, the book divulges that Hynson, who has never spoken publicly about the Brotherhood, wasn’t just pals with them, but actually instructed them in the art of using surfboards to smuggle drugs.

“The last time I’d been in jail, I’d started reading for the first time in my life,” Hynson recalls of his autobiographical efforts. “And on this stretch, I just got obsessed with writing.” By the mid-1990s, Hynson had cranked out hundreds of pages of handwritten memoirs, all of it scrawled in pencil on jailhouse paper, which he eventually shared with a few friends at the surf shop down the street from where he now lives, a half-mile from the beach in Encinitas. “A couple of people looked at it and said, ‘Michael, I know you can understand this, but I look at it and I can’t understand a word,’” he says.
Hynson remembers glancing down at the first draft of his autobiography. For the first time, he realized that, after the first few pages, his magnum opus consisted of nothing but incomprehensible chicken-scratch scrawl, less a series of words and punctuation marks than a never-ending pattern of zigzag lines, like heart-monitor readings. “It was just so dysfunctional,” he says, chuckling.
Unlike the blurry events of the past few decades, the highlights of Hynson’s early life are still very vivid in his mind. Michael Lear Hynson was born in the Northern California coastal town of Crescent City in 1942, a Navy brat whose father survived kamikaze attacks as a radioman in World War II. Mike grew up in San Diego and Hawaii, never staying in one place long enough to make friends. His thrill-seeking lifestyle began while living with his mother at a trailer park when he was just 2 years old.

One morning, he crawled out the door while his mother wasn’t looking and discovered that the trailer next door had moved. He grabbed a 250-volt electrical plug that was lying on the ground and stuck it in his mouth. According to Hynson, the shock split his tongue and made it hard for him to learn how to speak. “I developed my own unique way of talking, and sometimes, I mumble and stumble,” he says. “Then, when I was 5, I was climbing these stairs at Imperial Beach, and this friend of mine had a hammer in his hand. My mother said something behind us, and he turned, and the claw of the hammer went right into the temple of my head.”

The next thing Hynson knew, he was being flown by helicopter to San Diego’s nearby naval base. He remembers floating above himself, looking down at his body surrounded by doctors, all of whom left the room. “I remember being really comfortable and just tripping, you know,” he says, “and then my mother turned around to leave the room, and I screamed into my body, ‘Where are you going?’ And my mother goes, ‘He’s alive!’ and the doctors came back in, and they got me back.” Hynson says he likes to joke that the hammer incident explains why he often seems to lose his train of thought nowadays. “Everybody who knows me knows that I go off on tangents,” he says. “But I’m just making an excuse for myself.”
Hynson spent most of his elementary-school years in Honolulu, where, he says, he never picked up a surfboard. It wasn’t until he was in junior-high school in San Diego that he took up surfing with some older kids who surfed at Pacific Beach, called themselves the Sultans and wore matching purple-nylon jackets. After watching the older kids a few times, he borrowed a board. Hynson recalls standing up on his first wave, not realizing how fast he was moving until he looked at the nearby pier and saw wooden posts rushing by in a blur. “I’ll never forget it,” he says. “It was so far out. I couldn’t sleep, and I just got into it, borrowing boards and stealing them and everything.”

Stealing surfboards is how Hynson met the man who would give him his first big break in the world of surfboard shaping, Hobie Alter, an early surf pioneer and inventor of the Hobie Cat, which is now the world’s top-selling small catamaran. “I first met Mike when he stole some of my boards,” Alter says. “The cops wanted to press charges, but Linda Benson, one of the finest surfer gals, called me and said Mike wasn’t that bad.” Alter agreed to drop the charges if Hynson would return the boards and later gave him a job as a shaper.
Hynson’s first board was an 11-foot plank of balsa wood that he spotted while collecting weeds in the front yard of a house in Mission Beach. The board’s owner told him he could have the board if he wanted it, so Hynson and a friend lugged it to the friend’s garage, where Hynson began whittling away. “I had no idea what I was doing, and his parents were getting angry because of all this dust and resin and mess, but it turned out to be a 7-foot-11-inch board. It was a hot little board, and everyone loved it who rode it.”

Hynson suddenly found his board-shaping skills very much in demand. He became a top shaper for Gordon and Smith Surfboards in San Diego, where he designed and produced his trademark “RedFin” boards. He also began hanging out with all the best surfers in Southern California, including Corky Carroll, Phil Edwards, Nat Young and Robert August. “As a surfer, Mike was very good,” recalls Carroll, now TheOrange County Register’s surfing columnist. “He was not a guy that you had to worry about beating you in a contest, but he knew how to ride a wave. He also had a kind of charisma about him that seemed to attract ‘followers,’ so to speak.”One person who began following Hynson’s surf career was Bruce Brown, a film director who, by the early 1960s, was filming all the big surf contests in Southern California and Hawaii. According to Hynson, Brown was getting tired of the fact that all the surf movies being made showed the same group of surfers on the same group of waves. “There was no story to any of these movies,” Hynson says. Brown came up with the concept of taking two surfers—one blond and right-footed (Hynson) and one dark-haired goofy-footer—August fit the part—and following them around the world, from California to Europe and Africa, in search of the perfect wave.
The details of their epic quest, which culminates with Hynson surfing a beautiful right-breaking wave at Cape St. Francis in South Africa, are familiar to anyone who has seen The Endless Summer, which remains iconic more than 40 years later. The film not only exposed the sport to a nationwide audience, helping export the industry beyond California and Hawaii, but it also helped shift the sport itself from a handful of well-known beaches to a constant quest for pristine waves in exotic locales. Hynson recalls the trip as one of the most fun adventures in his life, although part of the sense of adventure was the fact that he smuggled an ounce of pot with him as he flew around the world.

“I was young, stupid and loaded,” Hynson says. “I smoked pot everywhere. I had a roll of bennies, which I took with me also, so when we had to drive somewhere, guess who stayed up all night?”

Before the movie was released theatrically in 1966, Hynson accompanied Brown and August, as well as several other surf legends, including Carroll, on a nationwide road trip to promote the film. “We’d go into towns, and every time we’d stop for gas, Corky and I would jump out and go skateboarding,” Hynson says. “We really caused a scene because skateboarding hadn’t reached the inner part of the States yet.” As the trip wore on, the audiences were growing larger, and before Hynson realized it, the movie had become a hit. (At latest count, The Endless Summer has grossed $30 million.) Hynson claims that Brown had promised him and August that if the movie did well, everyone would share in the good fortune.

“It wasn’t until I grabbed Robert and went to LA and talked to a lawyer that I realized this guy was fucking me left and right,” Hynson says. In fact, Hynson had only become suspicious after his then-girlfriend Merryweather, whom he had just met at San Diego’s Windansea beach, asked him about his allowing Brown to use his likeness on film. “He’d never signed a release,” says Merryweather, now a civic activist in La Jolla. Merryweather’s father, Hubert, was the president of Arizona’s state senate; Barry Goldwater was her godfather. “I told Mike my father knew a great lawyer up in Hollywood, and let’s go up and see him.”

Hynson brought August with him to see the attorney, who insisted they each deserved a third of the profit from The Endless Summer. Hynson claims Brown refused to do that, instead offering each surfer $5,000, a new car and help getting set up in business. While August accepted the deal, Hynson says, he refused. (Neither Brown nor August responded to written requests for comment for this story, but Alter says Brown gave Hynson the gift of fame he still enjoys. “Nobody knew who Mike was back then,” he says. “Bruce took all the risk, and I’ve never met anybody more forthright and honest.”) The dispute ended Hynson’s friendships with Brown and, eventually, August. Enraged by what he felt was Brown’s betrayal, Hynson dropped out for a while, leaving California with Merryweather to spend half a year surfing big waves on Oahu’s North Shore.
One of the surfers Hynson got to know in Hawaii was Chuck Mundell, a high-school dropout from Huntington Beach. Mundell admired Hynson and wanted him to meet a good friend of his named John Griggs, who was living with a bunch of friends in a stone building in Orange County’s Modjeska Canyon. Griggs and his friends, most of whom were former boozers, brawlers and heroin addicts from Anaheim, had begun experimenting with a new drug that Griggs had stolen at gunpoint from a Hollywood film producer: lysergic acid diethylamide (LSD). Until October 1966, acid was legal in California, and Griggs and his group, who called themselves the Brotherhood of Eternal Love, believed that just as it had cured them of their addictions and violent behavior, it could also transform American society into a glorious utopia. They were heavily influenced by Harvard professor Timothy Leary, he of the famous exhortation “Turn on, tune in, drop out”—and who would later describe Griggs as the “holiest person who has ever lived in this country.”
Before Griggs invited Leary to join his group, which in early 1967 moved south to Laguna Canyon, to a neighborhood Griggs would christen “Dodge City” because of the constant skirmishes with the local forces of law and order, Hynson was Griggs’ most famous disciple. “Griggs had gold flashing out of his eyes and tongue, these words; he was just a magical little guy,” Hynson says. Accompanied by Merryweather, Hynson dropped his first acid with Griggs and several other Brotherhood members at Black’s Beach near La Jolla.

The experience brought him back to the hospital room where he’d nearly died as a child. It took Hynson a few trips to get beyond that near-death experience, but when that happened, he felt reborn with a new sense of spiritual purpose. “Those guys turned me on,” he says. “Things were happening. I remember Johnny and I walking down Haight-Ashbury [in San Francisco], and he got some acid from somebody, and the whole street was loaded with people doing their own hippie thing. It was really going on.”

Griggs had a plan: open a psychedelic spiritual and cultural center in Laguna Beach that would turn the town into a Southern California version of Haight-Ashbury. To finance the construction of Mystic Arts World, the store that would serve as that center, Griggs relied on cash from the Brotherhood’s burgeoning marijuana-smuggling operation.
One day, I walked into this warehouse with Johnny and saw 50 tons of pot,” Hynson says. “I wasn’t supposed to see it, but I was there. I remember thinking, ‘It’s not going to get any better than this, and it’s not going to get any worse.’”

But Hynson had another idea for how Griggs could raise money: Why not use surfboards to smuggle hash from the Middle East or India? After all, nobody knew anything about surfing in India, so customs wouldn’t know if, for example, a surfboard weighed 20 or 30 pounds more than it should. Hynson suggested the idea to Griggs’ friend Dave Hall, who promptly borrowed a board and set off for Nepal, returning a few weeks later with the board—and the best hash anyone in Laguna Beach had ever smoked.

On his next trip, Hall invited Hynson to come along, which is how Hynson found himself struggling to fill three surfboards with hash oil late one night in New Delhi. The trip was a success, and the cash raised helped make Griggs’ dream a reality. “I wasn’t going to sell it or anything,” Hynson says. “I just gave it to those guys, and it bankrolled Mystic Arts. It was an honor, you know.”
During the next several years, the Brotherhood of Eternal Love established itself as both America’s top hashish-smuggling ring—with up to a dozen hash-stuffed Volkswagen buses and Land Rovers being shipped back from Afghanistan at any given moment—and the country’s top LSD-distribution ring. Leary moved to Laguna Beach and later accompanied Griggs to a mountain commune in Idyllwild, where Griggs died of an overdose of crystallized psilocybin in August 1969. Hynson stayed away from Dodge City as much as possible because Leary and the Brotherhood attracted too much heat.

He let his guard down once, however, when he and Merryweather sped through Laguna Canyon smoking a joint. A cop pulled them over, smelled the weed and arrested them both. At the station, the officer rifled through Merryweather’s belongings. “In my purse, I had a little Buddha, a prayer book and beads, some patchouli oil and incense, and a Murine bottle full of LSD,” Merryweather recalls. “The cop ingested it through his fingers and never got around to booking us.” In the morning, another officer arrived at the station, slack-jawed at the sight of his colleague, who reeked of patchouli, sitting with glazed eyes in front of a Buddha. “They let us the hell out of there right away,” Hynson says.Not surprisingly, much of the late 1960s is a blur to Hynson. “It’s a fog,” he says. “There are a few years when I know I was there, but I don’t know what happened.” Although Griggs’ untimely death saddened Hynson, he’d already become best friends with a talented young surfer who also happened to be Dodge City’s biggest drug dealer, John Gale. In 1969, the two opened their own company, Rainbow Surfboards. Theirs were among the first truly shredding shortboards to hit the waves in Southern California and Hawaii. “Mike was one of the surfboard shapers in the 1960s who could make boards that worked,” recalls Carroll. “There were better craftsmen around, guys who could make ‘perfect boards,’ but Mike had the gift to make ones that just rode great.’”
Rainbow Surfboards got an unexpected publicity boost from Jimi Hendrix and Chuck Wein, a member of Andy Warhol’s so-called Factory whom Merryweather had befriended while working as a model in New York. In 1972, while Hynson and Merryweather were living in Maui—where most of the Brotherhood had relocated after Laguna Beach became too hot—Merryweather suggested to Wein that he direct a Jimi Hendrix concert movie in Maui and even introduced him to Hendrix’s manager, Michael Jefferey.

“Chuck wanted to make a movie that was going to have surfing, healers, vegetarians, New Age people, even a space woman,” Merryweather says. “Jimi was going to play the music because he was at the top of his game, and Michael was going to surf because he was at the top of his game.” The result, 1972’s Rainbow Bridge, was billed as a Hendrix concert film because the concert Hendrix played in Maui provides the ending of the movie, much of which actually features surfing by Hynson and his friends, goofy-foot hotshot Dave Nuuhiwa and Leslie Potts. “Gale refused to be in the movie, because he didn’t want to have his face on camera,” Hynson recalls.

The film’s most notorious scene features Hynson and Potts ripping open a Rainbow Surfboard to reveal a stash of hash, a stunt that takes place under a Richard Nixon poster that reads, “Would You Buy a Used Car From This Man?” When the film opened in Laguna Beach, Hynson gave Gale all the tickets as a birthday present. Half of the audience was rumored to be narcs. “The room smoked up so much you couldn’t see the stage,” Hynson says. “We had all these Rainbow Surfboards up on the stage, and when the movie showed the board being opened up, it got the police crazy. They were constantly on our ass. Anybody who had a Rainbow Surfboard got pulled over.”
A few months after Rainbow Bridge came out, a multi-agency task force arrested dozens of members of the Brotherhood of Eternal Love in California, Oregon and Maui, including Gale, who spent the next several months in prison. “He wasn’t in for long,” Hynson says. “He was like a rabbit.” But thanks in part to the Brotherhood’s legendary secrecy, the police never knew Hynson’s role in the group. Once Gale got out of prison, the two continued to sell surfboards and market the Rainbow brand by opening a Rainbow Juice bar in La Jolla with help from Merryweather. But the business folded after just a few years. “We didn’t shortchange anything,” Merryweather says. “We got an accounting firm and figured out we were paying people 25 cents to eat the avocado sandwiches.”

Meanwhile, Gale had become the biggest cocaine broker in California. Hynson says he didn’t know the full extent of Gale’s business dealings, but he does recall visiting his friend’s house one time when Gale suddenly remembered that a truck full of Colombian marijuana was on its way from Florida. He also recalls that whenever he rode in Gale’s car, someone always seemed to be following them. “Not for long, though,” Hynson says. “Gale didn’t stick around long enough for anyone to chase him.”

On June 2, 1982, Gale perished when the car he was driving, Hynson’s Mercedes, went off the road in Dana Point. Hynson remains convinced someone—either the cops or rival criminals—was chasing his friend. The tragedy ended Rainbow Surfboards (it’s recently been reincarnated under new ownership) and left Hynson financially strapped. “If you ever had a business project and you’re wondering whatever happened to it, it’s probably because the other guy is dead,” Hynson jokes.

Gale’s death devastated Hynson, says Merryweather. “I wasn’t with him at the time, but people told me they’d never seen Michael take anything so bad. He just really went sideways.”
Hynson spent the next two decades broke, strung out on coke and crystal methamphetamine, bouncing between jail and sleeping in alleys and garages in San Diego. “I got tripped up on my probation, you see,” he says, his voice trailing off as it often does when he attempts to make sense out of what happened to his life. “You know, it just snowballed. I hit rock-bottom, and then stayed there for a while.”

Hynson isn’t exactly sure how he finally managed to pull himself out of the downward spiral, although he credits ex-wife Merryweather and current girlfriend Carol Hannigan with being “angels” in his life. “It’s just been a gradual process of coming back to reality, and I haven’t stopped since,” he says. “One day, I realized I had a driver’s license with my own address and a telephone number. I even had a bank account. That’s when I realized I was back in society again.”

Thanks to the booming market for American-designed surfboards in Japan, Hynson is doing brisk business there. “There’s really no money in surfboards,” he says. “But thank God for the Japanese.” Meanwhile, Hynson hopes to sell the first 1,000 signed copies of his book for $350 each, which would raise enough cash to print many thousands of additional copies. Eventually, he wants to help publish art books by local artists such as Lance Jost and Bill Ogden, whom he’s known since his Laguna Beach days. “The more books we sell, the more the price goes down,” he says. “I don’t have any money right now, but I’m taking every cent I have, and we are just going to snowball this thing. If I can just get some juice, I’m going to have some fun.”By NICK SCHOU via http://www.ocweekly.com/

Hawaii 1971

2011-12-22T05:43:00.000-08:00

Hawaii 1971 from Ellis Ericson on Vimeo.

Self shaped 6'1'' x 19 1/4 x 3 - single fin tested in Hawaii this winter.

Lifestyle footage: Alby Falzon
Surfing Footage: Jacob Wooden
Music: Tomorrow's Tulips
Edited by: Ellis Ericson. via RVCA

TRIPPY

2011-12-21T05:35:00.000-08:00

Come Surf With Me - by Rod Sumpter

2011-12-20T07:38:00.000-08:00

Pure 60's fun, freesurfing with the stars, 1965 - 1971. A great new DVD available only from A1Surf. Digitally remastered from the original 16mm film and with a driving soundtrack from the Challengers Band, digitally remixed in collaboration with Richard Delvy of 'Wipeout' fame. Visit Cornwall, Hawaii, Australia, France, Spain, South Africa, Ireland, Puerto Rico, Canada. Featuring: Eddie Aikau, Gerry Lopez, Brad McCall, Corky Carroll, Randy Rarick, Paul Neilson, Keith Paull, Midget Farrelly, Rold Arness, Jeff Hakman, Bob Cooper, Rodney Sumpter, Tigger Newling, Sarah Newling, Peter Drouyn, Shaun Tomson, Piers Pittard, Gavin Rudolph, Chris Kennings, Joel de Rosney, Marie-Christine, Fred Hemmings, Owl Chapman, Rory Russell and many more.

THE SPACE AGENCY - PHANTOM GUITAR

2011-12-19T04:22:00.000-08:00

BEAN SURFBOARDS

2011-12-17T07:23:00.001-08:00

Walter shepa tavole dal 1980.Fa parte della prima generazione di shaper italiani......continua su
http://someshitgarage.blogspot.com/

Surfari to Newquay, 1929

2011-12-17T07:13:00.000-08:00

Earliest known film of surfing in UK discovered - video

Grainy film captures the moment when Lewis Rosenberg attempts stand-up surfing for the first time in Britain. The video was taken in 1929 and records the travels of three friends who caught the train from London to Newquay in Cornwall after Rosenberg saw film from Australia and carved a home-made board from balsa wood.

Jai Lee

2011-12-16T06:15:00.000-08:00

Jai Lee from Bird Man Media on Vimeo.

Jai Lee shredding some waves.

check out
birdmanmedia.com

Joel Tudor on Miki Dora, from The Present

2011-12-15T08:38:00.000-08:00

Joel Tudor pays homage to one of the most revered surfers to ever paddle out, Miki Dora

from the movie The Present

Lloyd Godman photography

2011-12-15T07:48:00.000-08:00

In 1973 I decided to surf Hawaii with Chris Brock who was a good friend of the legendary George Greenough. George’s footage for the last 13 minutes of the movie Crystal Voyager is a knock out – Pink Floyd composed the music in exchange for the footage for a light show. After the Hawaiian experience, Chris sailed from California to Australia with George, so I was very informed about his work. George has always been a huge influence on me; he is so focused on his work.

As Ha‘ena State Park was coming into being with the break-up of the Hui Ku‘ai ‘Aina, actress Elisabeth Taylor's brother purchased a parcel of coastal land in the area. As Carlos tells it, Howard Taylor went to acquire building permits to construct a home on the property. However, the State would not grant him such a permit, since they were planning to condemn the land. At the same time, however, they insisted that he still pay full taxes on the land. In disgust, Taylor turned the land over to the "flower power people." Drifting young drop-outs from the outside world came to this piece of land and gradually came to form a makeshift community that took the name "Taylor Camp."
Polihale State Park Kauai, 1974 Photo Lloyd Godman
While in Hawaii, Chris and I lived for 9 months in a tree house constructed of clear plastic and bamboo that wound its way up three stories to the tree’s canopy. The grove of trees was on Elizabeth Taylor’s brothers land close to the beach. The developers were just building the first Condos along the beach front at Hanelei around this time. Coming from suburban Dunedin in the South of New Zealand, a place where walls and roofs were thick and insulated to keep out the cold, and windows were glassed, I was suddenly immersed deep in a tropical nature. It was fantastic!
Marty sailing us from Haena to Hanalei Bay, north shore of Kauaʻi island in Hawaii 1974 Photo Lloyd Godman
There were no streets, lights, electricity, etc and for many people it might have been threatening. But I delighted in the sounds of rain on the thin transparent roof, thunder – lightening, the wind through the mesh windows, the sound of the ocean, the wing beat and call of the passing birds, every leaf falling on the roof and the plop of the falling Java Cherries hitting their mark. The moist scent of flowers and leaves passed though the house with every rainfall. At this time I also began a small vegetable and herb garden out the back of the house. The total experience further strengthened my connections and sensitivity with nature. Some of the work from this period was published in Australian Photography magazine Oct 1978. And best of all we surfed every day.
Tunnels Haena, north shore of Kauaʻi island in Hawaii - 1974 Lloyd Godman
Chris Brock surfing Tunnels Haena, north shore of Kauaʻi island in Hawaii - 1974 - Photo Lloyd Godman

Surfing Tunnels reef, Haena, north shore of Kauaʻi island in Hawaii - 1974
Surfing Tunnels Haena, north shore of Kauaʻi island in Hawaii - 1974 - Photo - Lloyd Godman
arieal view from Makana Peak, Bali Hai, the mountain above Taylor camp Haena, Hawaii, 1974 - our house is on the right of the track leading into the bush. Photo Lloyd Godman
Our plastic Tree house, Taylor Camp, Haena, on the island of Kauai, Hawaii, 1974 many of the Paw Paw trees were planted by us and other residence.
FROM http://www.lloydgodman.net/

GOOD MORNING!!!!!

2011-12-14T21:53:00.000-08:00

Nina Simone - Ain't Got No...I've Got Life

Tyler Hatzikian El Porto-Balsa Z-chip

2011-12-14T09:51:00.000-08:00

balsa Z-chip & short board

JACKIE BAXTER

2011-12-14T06:05:00.000-08:00

MAESTROS DEL LONGBOARD "JACKIE BAXTER" Producciones Surfocker from Capitan Surfocker on Vimeo.

Bikini Beach

2011-12-13T00:56:00.000-08:00

Released in July 1964, this third AIP beach party entry finds Frankie Avalon playing two roles: Frankie and "The Potato Bug," a British singer about whom all the girls are crazy---even Dee Dee (Annette Funicello). Added to the mix is Harvey Huntington Honeywagon III (Keenan Wynn), a rich newspaper columnist who attempts to prove that his pet chimpanzee Clyde is more intelligent than the teens who hang out on the beach. However, Honeywagon has a dual purpose: he also wants to build a retirement village on the beach and throw out the partying teens.

Meanwhile, Frankie and the Potato Bug compete for Dee Dee's attention. Teacher Vivian Clements (Martha Hyer) attempts to talk some sense into Honeywagon, letting him know that the beach kids aren't as wild as he thinks they are. In the end, Frankie, the Potato Bug, and the beach kids join forces to put down Eric Von Zipper (Harvey Lembeck) and his biker gang, the Rats and Mice.
Stevie Wonder makes a rare early appearance and performs a song near the end of the film. Frankie Avalon, Annette Funicello, and Donna Loren sing the lion's share of songs in the movie.

Isang Litrong Liwanag (A Liter of Light)

2011-12-12T07:55:00.000-08:00

Isang Litrong Liwanag (A Liter of Light), MyShelter Foundation’s latest venture, is a sustainable lighting project which aims to bring the eco-friendly Solar Bottle Bulb to disprivileged communities nationwide. Designed and developed by students from the Massachusetts Institute of Technology (MIT), the Solar Bottle Bulb is based on the principles of Appropriate Technologies – a concept that provides simple and easily replicable technologies that address basic needs in developing communities.
A Liter of Light is a program inspired by many innovations from around the world. Many cultures have used glass bottles to allow lighting through the roof, and Alfredo Moser from Brazil began pioneering methods of experimenting with plastic bottles. There has been modifications to the Philippine model, but what must be emphasized is the amount of people whose lives are being affected by this innovation.
Vision

Do you know that millions of families still live in the dark? MyShelter Foundation aims to brighten up one million homes in the Philippines by 2012.

According to statistics from the National Electrification Commission in 2009,
3 million households still remain powerless outside Metro Manila. And even in the metro, families still continue to live in darkness
Meanwhile, the Bureau of Fire Protection (BFP) has reported that a large number of fire- related incidents involve faulty electrical connections. Informal settlements are high-risk areas, since the BFP does not conduct fire hazard inspections in these communities. MyShelter envisions sharing to underprivileged communities an economically- and ecologically-sustainable source of light that will provide an immediate solution to our fellowmen’s problems.
About MyShelter Foundation

MyShelter Foundation was established by Illac Diaz to create a system of sustainability and reliability through its capability-building and employment-generating projects. Introducing groundbreaking social enterprise, appropriate technologies, and alternative construction in the Philippines, we have pioneered projects such as the Pier One Seafarer’s Dormitory, the Design Against the Elements (DAtE) competition, and the Bottle School Project. visit http://isanglitrongliwanag.org/

Wizard In Black

2011-12-10T05:48:00.000-08:00

Wizard In Black from Banjo McLachlan on Vimeo.

via http://www.sugarmillsurf.com/

AT WORK WITH WALTER

2011-12-09T03:47:00.000-08:00

....a quiet day at work to bean surfboards ... STAY TUNED

Hello Haro.

2011-12-06T09:01:00.000-08:00

Hello Haro. from Nat Lanyon on Vimeo.

Some sliders with Harrison Roach.

Please follow my work here: facebook.com/pages/Nat-Lanyon-Photography-Motion/266787583360090

natlanyon.com.au

Hidden Masters - Golden Hair (demo)

2011-12-05T22:17:00.000-08:00

Promo for Hidden Masters demo Golden Hair by Gregor Mackay. More to come, watch this myspace. www.myspace.com/hiddenmasters

MICHAEL CUNDITH’S STUBBIE REVEALED!

2011-12-04T01:57:00.000-08:00

“Michael Cundith’s Stubbie Revealed” is an insight into the story of MC Surf Designs shaper/surfer Michael Cundith, and the evolution of the “Stubbie” surfboard. The film is Directed by Alasdair Shurman and the late Jonno Howell. Since Jonno’s passing, Alasdair and filmmaker Harry Triglone have dug deep and finished the short film that they all started together.
The “Stubbie” first came to fruition through Michael’s good friend, George Greenough in 1962. It was originally designed as a kneeboard by George out of balsa-wood, until the boys began to ride it as a surfboard in 1967. The original “Stubbie” dimensions were 5’10″ by 21 inches wide and 2′ 1/2 thick.One day back in California, Michael came across George’s “Stubbie”, which had been left in the garage. Michael asked George if he would make a foam model with George replying; “You can make it MC, your a shaper”! So Michael continued where George left off and made the Greenough “Stubbie” into a household name in America.
“MC” grew up surfing the waves of “The Ranch”, a 30km stretch of coastline in California which houses a series of world-class waves. he lived in a run-down old shack, surfed his brains out everyday, whilst running a “Real Surf Shop” called “Wilderness”. Eventually the Ranch got bitten by the dollar, but you’ll have to watch the video above to find out the rest of the story, and how Michael Cundith ended up moving out here to Byron Bay.
Michael now runs MC Surf Designs in the Byron Industrial Estate with his wife Toshi. Their son Gene can be seen out in the waves constantly tearing it up. You can find out more about MC Surf Designs through the Common Ground Local Business Directory. via http://commongroundaustralia.com

REcreation (Robert Breer)

2011-12-03T00:44:00.000-08:00

Alex Knost: Single Fins

2011-12-02T09:42:00.000-08:00

Alex Knost: Single Fins from Taylor Bonin on Vimeo.

Two sessions in Newport Beach.
taylorbonin.com

part of artofthestory.com productions

THE TRIP 1967

2011-12-02T06:03:00.000-08:00

The Trip is a cult film released by American International Pictures, directed by Roger Corman, written by Jack Nicholson, and shot on location in and around Los Angeles, including on top of Kirkwood in Laurel Canyon, Hollywood Hills, and near Big Sur, California in 1966. Peter Fonda stars as a young television commercial director, Paul Groves.

In this drama, Paul Groves (Peter Fonda) takes his first dose of LSD while experiencing the heartbreak and ambivalence of divorce from his beautiful but adulterous wife, played by Susan Strasberg. He starts his trip with a "guide," John (Bruce Dern), but runs away and abandons out of fear.
As Paul experiences his trip, he wanders around the Sunset Strip, into nightclubs, and the homes of strangers and acquaintances. He considers the roles played by commercialism, sex, the role of women in his life. He meets a young woman, Glenn (Salli Sachse), who is interested in people who take LSD. Having learned from Paul recently that he would be taking LSD, she has been looking out for him.

Glenn drives Paul to a beach house, where they have passionate intercourse. As the sun rises, Paul steps out to the balcony to get some air. Glenn asks him whether his first LSD experience was constructive. Paul defers his answer to "tomorrow." His face is frozen in close-up, and his image cracks like glass through an animation special effect.

The Trip also features Dennis Hopper as Groves' dealer Max, who appears here with Fonda in a precursor role to Easy Rider (1969). Contrary to their characters in Easy Rider, though—and for obvious reasons—Fonda's Paul Groves acts paranoid and anxious in The Trip, while Hopper's Max appears calm and collected. - WikipediaOne of the greatest exploitation movies of all time, The Trip was the “vision” of Peter Fonda and Jack Nicholson (who wrote the original script). The finished film didn’t turn out exactly the way Fonda and Nicholson wanted it to, but it certainly had it’s moments…all in Psychedelic Color. This, the soundtrack, was pretty cool, too. It contains the first studio recordings of the Electric Flag, Michael Bloomfield’s swaggering soul/jazz/rock ensemble. Writing and performing trippy music was a bit removed from this fine ensemble’s area (they were, in fact, a serious and funky band), but they succeeded admirably.

Considering that it came out on Mike Curb’s Sidewalk Records (a Capitol subsidiary) and it was an American International film, one wonders if the Flag saw any dough from this? No matter, as some of the music is excellent. “Fine Jug Thing” and “Peter Gets Off” are wild, jazzy rockers, which perfectly score Fonda’s Sunset Strip/trip adventures. The album’s closer, “Gettin’ Hard,” is a variation on “Hoochie Coochie Man” and closes the album out in funky style. Also, there are a few early efforts from synthesizer pioneer Paul Beaver, such as “Synesthesia,” which is quite similar to David Bowie’s work on the Man Who Fell to Earth/Low projects — eight years later. (Matthew Greenwald, All Music Guide)

v.Bowls Session with c.Donizetti

2011-12-01T11:06:00.000-08:00

v.Bowls Session with c.Donizetti from Ryan Lovelace on Vimeo.

A quick edit of French shred-sled pilot Clovis Donizetti surfing at home in Biarritz on an 8' v.Bowls.

The v.Bowls is a modern shape based off of the widepoint-back stylings of Wayne Lynch in the late 60's. Clovis (to me) had a really natural style with the board so I filmed them together for a quick session on a sunny sunday afternoon. Hope you enjoy it.

more info: rLovelace.com

Third Reef Pipeline - 1964

2011-12-01T00:39:00.000-08:00

PIPELINE 1960

2011-11-29T14:45:00.001-08:00

JEFF DIVINE

2011-11-29T09:50:00.000-08:00

Growing up in La Jolla, Jeff Divine began taking pictures of fellow surfers in his hometown during the 1960s and got to know the original alternative sport before the mainstream media blew it into the commercial kingdom it has now come to be.
Today, Divine is the photo editor at the Surfer’s Journal and continues to contributes to surfer.http://www.jeffdivinesurf.com

Transparent Pleasures – “Surf Trailer”

2011-11-29T05:08:00.000-08:00

Transparent Pleasures - "surf film trailer" from jack Coleman on Vimeo.

28 minute bonus movie for... "Polyester". Out December 8, 2011. jackcolemanphoto.com

Ten Piggies Over Summer Reel

2011-11-28T13:41:00.000-08:00

Ten Piggies Over Summer Reel from Alex Swanson on Vimeo.

Footage from summer sessions with Greg, John, Jake, Alex, and Joel Tudor; who we were stoked to see out in the water on what was our last day of summer.

Edited by B.Burtrum
tenpiggiesover.blogspot.com

Music: M83

The Shrine / An Argument

2011-11-28T08:58:00.000-08:00

The Shrine / An Argument from Sean Pecknold on Vimeo.

Music: Fleet Foxes
Album: Helplessness Blues
Director: Sean Pecknold
Animators: Sean Pecknold & Britta Johnson
Character Illustrations: Stacey Rozich
Art Assistant: Natalie Jenkins
Producer: Aaron Ball
Multiplane: Greg Pecknold
Post/Edit : Sean Pecknold
Particle FX: Britta Johnson
AE Assist: Austin Wilson
Sound FX: Shervin Shaeri
Story: Sean Pecknold
Labels: Bella Union & Sub Pop
Made in Portland, Oregon
friendlondon.tv
Made with Dragonframe

Please watch in HD with headphones or speakers and full screen if you really want to get crazy.

Wayne Miyata Surf Legend

2011-11-25T10:41:00.000-08:00

The pro surfing pioneer Wayne Miyata was one of the stars in the cult 60's surfing film "Endless Summer". Wayne Miyata was also a master surfboard designer. Visit www.waynemiyata.com to learn more.

Ana Lani & Ray Kinney

2011-11-25T09:57:00.000-08:00

FANTADELIC

2011-11-24T11:18:00.000-08:00

BUFFALO KEAULANA style

2011-11-24T09:13:00.000-08:00

Buffalo Keaulana
Richard “Buffalo” Keaulana Patriarchal Hawaiian Surfer/Lifesaver and Son of MakahaIt’s good to be the Mayor of Makaha, especially when you’ve given rise to a West Side dynasty now in its third generation. Richard Keaulana was born (1935) in Honolulu, his family settling in Makaha while he was still a young boy. He learned to surf in the gentle rollers off Waikiki, eventually graduating to the level of beachboy during the 1950s.
Dubbed “Buffalo” by friends due to a large head covered in copious amounts hair the color of adobe, he was considered one of Hawaii’s most naturally-talented surfers. His smooth style, switch-stance skills and nose for the pocket made him an annual favorite at the Makaha International contest, an event he won in 1960 (Keaulana captured six top four finishes in the contest between 1957 and 1965). Built with the sturdy frame of a Polynesian warrior, he was also considered by many at the time--including Greg Noll--to be the world’s best bodysurfer.

A consummate waterman, Keaulana was named Makaha’s lifeguard chief in 1969, a position he managed for the next two and a half decades (in 1972 local officials erected a statue in his honor in front of a library near Makaha). Buffalo’s Big Board Classic—a surf contest and beach party held at Makaha is now in its 28th year and has become a community mainstay. Two of his six children have gone on to noteworthy careers in surfing: Brian, a world class waterman and big wave surfer; and Rusty, a three-time world longboard champion (1993-95).

TRIPPY HIPPY

2011-11-24T00:22:00.000-08:00

USA Rare Trippy Hippy Patriotic Peter Maxx w/ Marmalade Skies @ Cranky Hippy - watch more funny videos For the Veterans of the War on Flowers For all the Children beaten into domesticity For all the Women manhandled into submission For the Native Peoples enslaved and trampled For the Millions of Men who fed the machines For the Ones Who Suffered lingering in pain and death For the Bleeding Earth wounded and weeping For the Wild Things withering in our fumes For our Gods and Angels melting into madness For my Child's Future already marketed For Leonard Peltier and Roberta Blackgoat For Lili'uokalani and Tecumseh For John Lennon Mother Mab and Jesus For Malcolm X and Martin Luther King For Hiroshima and Nagasaki For the Holocausts before and our Apocalypse now I remember with a flower a candle and a prayer And now you will live in me like a seed Bedlam z. Breakbolt EarthSeed Studios Hawai'i Bombshelter Broadcast Complex http://bombshelter.org ★ ☆ ★ ☆ ★ ☆ßŽß³³³ßŽß³³³ßŽß★ ☆ ★ ☆ ★ ☆Ultimo Superirreverente Warholiano Democracia!•°•°•°•°•°• « less

STOP THE WAVE 1965

2011-11-22T07:52:00.000-08:00

ROBERT LONGO

2011-11-21T10:46:00.000-08:00

Robert Longo (born January 7, 1953) is an American painter and sculptor. Longo became famous in the 1980s for his "Men in the Cities" series, which depicted sharply dressed businessmen writhing in contorted emotion.Robert Longo was born in 1953 in Brooklyn, New York and raised in Long Island. He had a childhood fascination with mass media: movies, television, magazines, and comic books, which continue to influence his art.

Longo began college at the University of North Texas, in the town of Denton, but left before getting a degree. He later studied sculpture under Leonda Finke, who encouraged him to pursue a career in the visual arts. In 1972, Longo received a grant to study at the Accademia di Belle Arti in Florence, Italy. Upon his return to New York, Longo enrolled at Buffalo State College, where he received a BFA in 1975. While at Buffalo State, he studied under, and was likely influenced by art professor Joseph Piccillo. At this time he was associated with artist Cindy Sherman, who was also studying art at Buffalo State.

While in college, Longo and his friends established an avant garde art gallery in their co-op building, the Essex Art Center, which was originally a converted ice factory; the gallery became Hallwalls Contemporary Art Center. Through his gallery efforts, Longo met many local and New York City artists. Longo eventually moved to New York City to join the underground art scene of the 1970s.

FANTASTIC PLANET

2011-11-21T08:45:00.000-08:00

Slaves and masters dominate the narrative of the faraway world of Ygam. Set around the lifespan of Ter, a minute human shaped Om slave, and pet, of the giant blue alien Draags. Escaping into the wilderness and with a devise used for intellectual advancement of the Draags, Ter finds refuge and support from fellow Om's and using the learning tool, he finds that knowledge is power and then sets to use the new found knowledge to revolt against the Draag masters... Written by muddy

This film takes place on a faraway planet where giants rule, and tiny humanoids must fight for their lives and their equality. A metaphor of class struggles.

La Planète sauvage AKA Fantastic Planet is a surrealist story based on the Soviet occupation of Czechoslovakia. Set in a far distant world human beings or "Oms"have been domesticated by the gigantic Draags. Wild Oms however are a problem and are exterminated by the dozen. One domesticated om Terr is able to escape his masters with a headset that puts information directly into the brain. Armed now with the Draags technology he leads the Oms in an attempt to make life better for them...But will the deomizing destroy them?

GERRY LOPEZ 1972 Island Magic Surfing

2011-11-20T13:02:00.000-08:00

the drums

2011-11-19T08:00:00.000-08:00

Let's go surfing

Wake up
It's a beautiful morning
Honey, while the sun is still shining
Wake up
Would you like to go with me?
Honey, take a run down to the beach

Oh, mama
I wanna go surfing
Oh, mama
I don't care about nothing

Wake up
There's a new kid in the town
Honey, he's moving into the big house
Remember
When I was so very hopeless
Darling, he's gonna make it all better

Oh, mama
I wanna go surfing
Oh, mama
I don't care about nothing

Down, down baby
Down by the rollercoaster
Sweet, sweet baby
I'll never let you go (X 4)

Oh, mama
I wanna go surfing
Oh, mama
I don't care about nothing

Oh, mama
I wanna go surfing
Oh, mama
I don't care about nothing

The History Of Australian Surfing, By Nat Young(70"s)

2011-11-19T06:22:00.001-08:00

The Doors on a Boat Trip

2011-11-19T05:39:00.000-08:00