miércoles, 31 de agosto de 2016

BEN HEWITT My search first version unissued 1959

1930s VINTAGE HAWAII & SURFING MOVIE WAIKIKI BEACH HONOLULU 44874

martes, 30 de agosto de 2016

SURF FULL FILM | OPEN YOUR RIDE

lunes, 29 de agosto de 2016

Good Morning Miyazaki - Full Movie - DB Films [HD]

MALIBU LONGBOARD SESSIONS ALL STAR アラジンサンダル

vince taylor 1962 kursaal d'Ostende

LONGBOARDS　SESSIONS　CJ　NELSON　アラジンサンダル

viernes, 26 de agosto de 2016

jueves, 25 de agosto de 2016

BILLY LEE RILEY Parchment Farm (INEDITO)

STOKED! EPISODE 3 : VENICE BEACH PROMO

Billy Lee Riley - High Heel Sneakers (Scopitone)

"High On A Cool Wave" - Trailer from Warren Delbridge on Vimeo.

Mexi Log Fest from higher latitude films on Vimeo.

STOKED! EPISODE 2 : PALOS VERDES COVE : A BIRTHPLACE OF CALIFORNIA SURFING

Billy Lee Riley - Speed Lovers ("LIVE")

BILLY LEE RILEY The Way I Feel

miércoles, 24 de agosto de 2016

GLIDING BARNACLES GENTLEMANS CLUB #2 invited surfers from Miguel Caiado on Vimeo.

martes, 23 de agosto de 2016

STOKED! EPISODE 1 STARRING RORY RUSSELL

lunes, 22 de agosto de 2016

Jerry Lee Lewis The Complete Shindig! Performances 1964-1965 Full Video...

THE METEORS. 02 Maniac Rockers From Hell.

BE MY GUEST (U.K.; 1965) Jerry Lee Lewis sings "No One But Me"

domingo, 21 de agosto de 2016

"Dioses del Surf..." ~ Una reflexión de Carlos Serrano

martes, 16 de agosto de 2016

>> El surf, en 2016, se ha convertido, tras años de espera, en deporte olímpico. El mundo del surf ha recibido además la noticia en agosto, sin duda el mes más extresante para cualquier surfista español; si eres del sur o las Canarias, llevas ya varias semanas sin ver el más mínimo movimiento de ondas en tus playas. Y si por el contrario, tu hábitat está en el norte, tienes que sufrir como compañeros de pico a todos los turistas, visitantes y aprendices que hacen que coger olas sea aún más complicado que formar gobierno. Así, en este ambiente de estrés, el surf se ha hecho olímpico. ¿Y qué dice la calle, como dirían en los programas de tertulias que han marcado la anterior campaña electoral..? Que ni le va ni le viene, porque es un circo de otros, y son otros los que se beneficiarán de ésto; los cinco de siempre. Nada nuevo bajo el sol en unos tiempos en los que se mira antes el tejado que los cimientos. Es mejor ponerse una venda y luchar porque nuestro deporte sea reconocido como olímpico...

... antes que solucionar el serio problema que existe ante la falta de regulación de las escuelas, los problemas de las federaciones o el hecho de que cada vez seamos más, menos educados y más egocéntricos.

Pero de nada vale lamentarse y seguir mordiendo una mano que en el futuro quizás nos dé de comer. El surfing es, desde hace unos días, un deporte más del aparato creado por los griegos hace dos mil años para dejar de pelear entre ellos durante unas semanas, antes de volver a matarse entre vecinos, esto es, los Juegos Olímpicos. Un aparato que sirve a países como China o Rusia para enardecer su orgullo patrio, a costa de la vida y la salud de sus deportistas, y que supone la mayor pasarela de competitividad mundial. Pero por fin, el surf está dentro de una órbita, y será tenido en cuenta... Sinceramente, creo que no necesitamos vernos reconocidos. Como dijo Bob Dylan en su canción Subterranean Homesick Blues; “No necesitas un hombre del tiempo para saber de dónde viene el viento”. En el caso del surf, creo que la necesidad de un COI dando órdenes desde ciudades sin mar es más que discutible.

Las olimpiadas de Tokio serán además vistas con espectación desde el cielo por el que, para muchos (sobre todo veteranos y longboarders), es el surfista más grande de todos los tiempos, mejor que Kelly Slater y que ningún otro; Miklos Dora Jr, conocido siempre como Miki Dora. El personaje de Miki Dora, así como su vida, no es algo que pueda explicarse dentro de un simple artículo. Son necesarias muchas líneas para llegar a comprender a éste personaje, y muchos de los que lo admiran seguramente no sepan gran parte de su historia; Miki Dora vivió su vida para surfear, nada más, y su único objetivo era encontrar olas cada vez más perfectas. Lógicamente, ésta búsqueda eterna conllevaba un tiempo y dedicación total que cosas como un empleo, una familia o una vida ejemplar no hubieran permitido; por ello, Miki Dora nunca trabajó, si no que se dedicó a robar y estafar a todo aquel que pudiese, ya fuesen sus propios amigos, sus novias o sus familiares. Fue perseguido por el FBI, y sus actitudes éticas y morales distaban mucho de ser ejemplares; fue el primer local que inventó el radicalismo, siendo famosos por empujar y pegar a todo aquel que apareciese en su ola, burlándose de todo principiante y ridiculizando a los nuevos surfistas que en los años 60 empezaban a coger olas por todo California.

Miki Dora, al contrario que otros mitos, no necesitó morir para ser considerado un dios; todos le adoraban, desde que se subió a su largo tablón de madera a mediados de los años 50, y él, a sabiendas de su influencia, se aprovechaba de ello a más no poder de manera totalmente hipócrita y aprovechada. Un ejemplo claro es la creación del famoso modelo de tabla bautizado como “Da Cat”, que Dora creó junto al célebre shaper y surfista Greg Noll a finales de los 60. Para empezar, Dora creó esta tabla sabiendo que todos sus admiradores (a los cuales odiaba) iban a comprarla, y además, la presentó con una campaña sin precedentes en el surf; mostró la evolución del surfista tal y como era la del Homo Sapiens, con, por ejemplo el Homo Phainas (en clara alusión a Johnny Fain, su mayor enemigo en el pico de Malibú) situado en uno de los eslabones más bajos, caracterizado por sus movimientos descoordinados, o el Homo Vallei San Fernando, caracterizado por viajar en grupos y por sus futiles esfuerzos para parecer habilidoso en olas menores de un metro (éste último era una clara alusión a los nuevos surfistas provenientes del interior, del valle, de la ciudad de Los Ángeles, en anteposición a los antiguos surfistas que vivían permanentemente en la costa). Y en el eslabón más alto de la cadena se situaba a si mismo, Miki Dora, como el surfista perfecto, que para surcar las olas perfectas utilizaba el modelo “Da Cat”. ¡Y efectivamente, fue un éxito de ventas..!

No hace falta que os diga cual habría sido la opinión de Dora respecto a la inclusión del surf en el mundo olímpico. Para él, el surf ya estaba muerto en 1970, con la masificación de las playas californianas, a la cual por otra parte él mismo contribuyó gracias a su fuerte carisma y a su elegancia y estilo surcando las olas. Para Miki Dora, la competición nunca tuvo mucho sentido, y aunque participó en campeonatos, muchas veces lo hacía para “liarla” (enseñaba el trasero en medio de las mangas, se peleaba con sus contrincantes...) o porque necesitaba desesperadamente dinero. O simplemente, porque se aburría. Era, sin embargo, un hombre competitivo, y una de las mayores hazañas que se le recuerdan (y que el mismo Dora no dejaba de repetir en cuanto podía) es la de surfear un día grande, enorme, en Waimea, recién aterrizado en Oahu y habiendo únicamente surfeado las olas dulces y pequeñas de California. Miki Dora se plantó en Waimea a principios de los años 60 de la mano de unos surfistas hawaianos que habían conseguido convencerle de que necesitaba nuevos retos. Y en su búsqueda de la perfección, y motivado por la valentía y superioridad de los hawaianos en olas grandes, se lanzó a las aguas de Waimea armado únicamente con su tablón de doce pies, para enfrentarse por primera vez en su vida, y con éxito, a aquellos monstruos del Pacífico. Posteriormente, Dora lo calificaría de una experiencia casi traumática, pues él, que se creía Dios, y hacía su santa voluntad sobre las suaves derechas de Malibú, casi se ve superado por aquellas masas de agua hawaianas. Pero Dora dió la talla, y dejó a los locales de la North Shore boquiabiertos; el californiano había domado a Waimea en su primer día.

Hay deportes que van de la mano con los resultados, que no pueden concebirse sin el habitual podio de primero, segundo, o tercero. Oro, plata y bronce. Alguien tiene que ganar, porque si no la competición, el deporte en sí, carece de sentido. ¿Es mejor Usain Bolt o Carl Lewis..? Los tres oros del jamaicano en Pekín, Londres y Río en la prueba de 100 metros lisos son argumentos demasiado fuertes para iniciar cualquier debate... El surf, sin embargo, siempre se ha caracterizado porque los ídolos, los mejores surfistas, los favoritos de la multitud, nunca han tenido porque ser campeones indiscutibles. Ejemplos claros son Dane Reynolds, Taj Burrow, Shane Dorian, Christian Fletcher... Por supuesto, está Kelly Slater, el que junto con Dora es considerado por muchos como el gran estandarte del surf. En el caso de Kelly, su “abuso” durante años en el tour, con 12 títulos mundiales, le ha creado numerosos detractores que a menudo se olvidan de la cantidad de puertas que abrió al surfing cotidiano. Pero olvidémonos de Kelly y volvamos a los anteriores surfistas; son ídolos por lo que consiguieron fuera de las mangas, ya sea por estilo, olas imposibles o maniobras innovadoras, incluso estilos de vida y de pensamiento que marcaron a nuevas generaciones de surfistas. En el surf, debemos admitirlo, el criterio de admiración, de “divinización”, no lo marcan los resultados; la mayoría de los surfistas a los que personalmente admiro, además de alguno ser campeones, obtuvieron mi atención gracias a su actitud en el agua, su estilo y manera de leer las olas y su personalidad fuera del pico. Y me consta que no soy el único. Quizás porque el surf no es un deporte en el que sea necesario competir para practicarlo. Siempre hay algún equipo que gana en un partido de baloncesto. ¿Y en un baño libre..? ¿Gana alguien..?

Quizás por ello debamos preguntarnos si sirve para algo que el surf sea olímpico. ¿Traerá dinero a las federaciones que tanto lo necesitan..? ¿Provocará una mayor regulación en las escuelas, en los ayuntamientos que poseen playas surferas en las que reina el caos en verano..? ¿Ayudará a que nuestras jóvenes promesas puedan dar todo lo que tienen dentro, en vez de quedarse por el camino..? Ojalá sea así, y quien escriba estas líneas deba cavar un agujero bien profundo en Nueva Zelanda, en donde por cierto se exilió Miki Dora para huir del FBI y encontrar olas perfectas, para no volver a salir de allí en mucho tiempo.

Quizá sea de rigor preguntar a los veteranos en el mundo de las olimpiadas, como la federación de atletismo o la de balonmano, si realmente sobra el dinero. El tiempo dirá, pero de momento, la medalla de oro del surf no tiene otro que la desee que aquellos que saben que el surf es un negocio cada día más grande, un negocio que debe crecer. Quizás Miki Dora baje del cielo y decida boicotear todo, enseñando su culo moreno a la multitud agolpada en las playas de Tokio, o decida bailar sobre las olas artificiales que ya planean sustituir a aquellas que crea Neptuno. Quizás Dora baje, gane, y se cuelgue la medalla, igual que alquilaba sus tablas en la arena de Malibú y sacó al mercado su “Da Cat”, listo para recoger el dinero de todos aquellos a los que miraba por encima del hombro.. Pero entonces, para muchos surfistas, dejará de ser Dios.

Carlos Serrano

http://www.surfcantabria.com/07/index.php?option=com_content&task=view&id=2854&Itemid=48

Byron Bay Documentary " Byron Bay - The Meeting Place "

Ryan Burch in Encinitas - 4 Cities (Ep.2), What Youth x Volcom

Considering a mid-length? Be guided by Knost's experienced hand

By Justin Housman

Considering a mid-length? Be guided by Knost's experienced hand

So, you want to buy a mid-length? It’s OK, there’s no shame in that. You’ve seen the clips of the RVCA crew gliding into tropical tubes on 7-foot single-fins, and you’ve thought to yourself: “That could be me.” You know something? Indeed it could. And lucky you, there’s never been a better time to be open minded about surf equipment. But when you’ve ridden thrusters your whole life, adding alternative shapes into the mix can be confusing. With California’s summer and its softer waves on the horizon, I checked in with Alex Knost about what to look for if you want to spice up your quiver with the Swiss Army Knife of alternative shapes: the mid-length.
What does a surfer who rides a thruster 90 percent of the time need to look for when adding a mid-length to their collection?
The modern shortboard usually has deep concaves, and they’re not really trim-oriented surfboards. You’re using the fins a lot, and also the rocker, to generate speed; you’re not really trimming or gaining momentum out of bottom turns the same way you would on a flat-bottomed single-fin board or something. There are so many different schools of thought. Generally, if you’re coming from riding a thruster it’s going to be a difficult transition to go to a black-diamond type single fin, like a Greg Liddle hull or a board like that. You’d feel like you’re not even surfing, it’d feel like you’re doing something completely different on a wave. That’s cool if it’s what you’re looking for, but if you’re looking for something safe and easy, I’d think of it like buying an entry-level sports car. You’re just looking for something with similar attributes to what you’re used to. You’d want a similar rail to your shortboard, a soft, C-type down rail. And a single fin. Those boards can be kinda campy, but they’re pretty easy to ride.
I’d also just look at what the people whose surfing you identify with are riding. For example, Ellis Ericson or Tyler Warren both can ride shortboards. Ellis is a very fundamental surfer, you watch him and it’s top-to-bottom, staying in the pocket, doing cutbacks, no matter what kind board he’s on. A lot of his single fins have attributes that are basic design fundamentals. You don’t have to be at a place like Rincon or Malibu to surf them properly.
Is there a magic length?
If you have a hard rail you can go shorter, but then you’ll be generating speed the same way you would on a shortboard, by pumping. If you have soft rails, like really doughy rails, with no bite, and a single fin, you’re pretty much relying on the juice of the wave, so length will help with the glide.“It all really depends on why you’re getting a mid-length. Are you just feeling old? Do you want to paddle faster? Are you wanting to try new lines? Bored with a thruster? It can go wherever you want to take it.”
What about a mid-length for good waves?
’70s Hawaiian-type shapes got narrower and the wide-point moved forward so that Gerry Lopez and Rory Russell and guys like that could ride hollow, powerful surf. That’s why the down rail was invented. Really, just pay attention to the history of surfing [laughs]. So if you’re going to be in hollow, critical surf, you’d want hard down-rails, with the board’s wide-point forward so you can still get in the waves. You’d want some tail rocker so you’re not getting stuck at the top and going over the falls.
It all really depends on why you’re getting a mid-length. Are you just feeling old? Do you want to paddle faster? Are you wanting to try new lines? Bored with a thruster? It can go wherever you want to take it. You want to learn something completely new, hop on a Greg Liddle hull. And you’ll never be as humbled. You could put some of the Top 34 on a Liddle and have them paddle out at a beachbreak and watch them pearl for 45 minutes straight. But then again, you could put any of them on a bonzer, which will make them draw longer lines and find new places. I think the Campbell Brothers bonzers, especially in critical surf, are definitely not like a retro thing at all. They’re really high-fidelity.
What sorts of mid-length boards should the open-minded board shopper avoid?
I would avoid gimmicks. I think there’s a very big trend in alternative surf…or whatever you’d like to call it…of a lot of people making boards that are pieces of shit with trendy logos and color jobs on them. I’d pay attention to the people that have been making these sorts of boards for a good amount of years. And the people who ride boards like that. Get something from somebody who’s been around for a while, and you’ll probably have better results. I definitely recommend the Campbell Brothers, for sure.
Tips for learning the new ride?
Just pay more attention to the wave. On modern shortboards you’re almost riding the board more so than the wave. Modern shortboards are made to work in all kinds of different surf. You can deal with shitty situations really easily. But on a bigger board, you should just let the board work, let it do its thing. Just chill the fuck out.

Read more at http://www.surfermag.com/features/alex-knost-takes-you-board-shopping/#m9boylq89zSSbd7t.99

http://www.surfermag.com/features/alex-knost-takes-you-board-shopping/#KSo3g8sf6EQbGUE2.97

"High On A Cool Wave" - Trailer from Warren Delbridge on Vimeo.

THE MIDLENGTH STORY

the midlength story

October 21, 2014

Living in aChYld’s Dream: The History of Mid-length Surfboard Riding is Now

Living in a chYld’s dream! In spring 1967 the surfboard rider and shaper BoB Mctavish was eking out a spiritual existence living in various houses Sydney’s Whale Beach on a diet of r&b, psychedelic music, Mary Jane and LSD. Warumfff! As though the summer cricket season had come early, he had the vision to put vee bottom contours like the back of cricket bats onto increasingly shorter, lighter and thinner surfboards. Initially the boards were otherwise like the involvement style logs born in Noosa (where they still prevail) and exhibited some hang-ups in 9 foot proportions. But the George Greenough tuna fish inspired flex fins had begun to permit the rider to steer and gain speed from the one position on the board, eliminating the need to trip to toward the nose so – informed by a quite quick testing, shaping and refining regime – the new ‘shortboards’ became more moderate with respect to bottom contours, and shorter overall. Turned-on by red wine and curry one evening Bob cut 2 foot off of an unfinished board to make it 7’6.
Zwump! The new Plastic Machine – arguably the first dedicated shortboard to go into production – arise! Shortboards had appeared elsewhere and at other tymes, and the history of board riding generally is far broader than is acknowledged (the pre-colonial era has only just started to be respected for instance). But, as a colourful obsessive explosive new movement in tandem with a countercultural shift of cosmic proportions, the shortboard revolution as ignited by Bob Mctavish and the other barefoot beats including Kevin Platt in the shaping bays at Brookvale, the McTavish shortboard odyssey is particularly compelling. The boards were hugely popular in the variable punchy waves of Sydney and spread from there, still copied in the USA in 1969. The film the Fantastic Plastic Machine shows the mood. Spin-out in Hawaii! Nat Young the Animal breaks a fin in a power tyrn! Snap! While the Easybeats were contemplating their next hit following global hit phenomenon Friday On My Mind, Bob was contemplating the bottom of his boards, and the need for moderation. The vee was reduced. Then taken away altogether. Dick Brewer donated the pointed noses of his guns. Double-enders engendered one of the greatest surf fylms of all tyme, Evolution, which shows the mid-length notion in full flight, particularly at the gorilla hands of teen-god Wayne Lynch. The Hawaiians turned the rails down, twin fins and tri-fins pushed the limits further.
It is at this stage the corporations really pounced, realising that the new speed and performance shapes would more readily excite the buyer, generate bigger competition, and sell more and brighter clothing. Typically, what had started in defiance of the dominant powers had been sucked back into the darkness. Certainly, the resilient spirit of expression and unlimited being can still be seen in all types of board riding - long, short, 1 fin, 2 fins, 3 fins. The mid-length surfboard would emerge again in the 1980s, (amongst the scarcity of bigger blanks) as a longboard. Fed on Evolution, Joel Tudor revisited the Wayne Length double ender in the 1990s. But there is something compellingly pure and powerfully delicate about the position of surfing in Spring 1967, and into 1968, in Australia. Just as in the music, the youth rebellion, and the art period; the freedom of movement which accompanied the shortboard revolution in the late 60s represented a search for Truth, a breaking of conventions and release from capitalist deceit. The summer of love. Revolution. A rare shared glimpse at the other-side.
Ladies and gentlemen and children of the sun please be assured that that position is still readily available to YOU in the present era! Not as nostalgia but as a continuous thread of insight to be tapped into in any decade, by anyone who cares to see through the deception, through the idea that there is any one truth or means to expression, in surfing or otherwise. Presently the mid-length with modified vee or no vee at all is resurging, driven by the Back shed producers and light industrial longhairs making non-typical surfboards in Australian post-corporate back roads. The log revival is in full force - involvement is here to stay. All sorts of short boards abound, from those that hang like carcasses from main street retail surf shops, to weirdie peanuts and mini-Simmons made in mum and dads house or on sunshine coast estates. But the mid-length remains one of the purest forms of expression, with still untapped potential for the practitioner to show those skills developed along the breadth of the short to longboard continuum – wild tyrns, vertical manoeuvres, trim, nose-riding! Reflecting the present make-it-yourself ethos. Side-street makers. Honest individuals becoming themselves. On the water. In the streets. In the endless horizon. In the spirit of 67 but thoroughly now!
The ceremony continues.

http://australiansurfingresurrection.com/mayan-midlength-manuscripts/2014/10/21/midlength-origins

jueves, 18 de agosto de 2016

Rick Griffin maestro de la psicodélia

Richard Alden Griffin nació cerca de Palos Verdes, California el 18 de junio de 1944.

Su padre era ingeniero y arqueólogo aficionado y de niño Rick le acompañó en excavaciones en el suroeste. Fue durante este tiempo que Rick se expuso a los nativos americanos y los artefactos pueblo fantasma que iban a influir en su obra posterior.

A Rick le enseñó a surfear Randy Nauert a la edad de 14 años en Torrance Beach y se convirtieron en amigos de por vida, más adelante colaborarían en el aspecto gráfico artístico para la banda a la que perteneció Randy, los Challengers.

En los 50, Rick empezó a copiar imágenes de Mad Magazine y luego desarrolló su propio estilo de dibujo de surf. Sus amigos le pagaban 50 centavos por una pieza original escrita en sus camisetas. Rick también estaba interesado en coches Hot Road y motocicletas, su decoración está entre sus primeros trabajos profesionales.

Randy presentó a Rick a John Severson en una proyección de "Surf Fever" , le recomendó contratar a Rick para su revista, no tenía mucha experiencia pero había hecho trabajos para Greg Noll . Poco después se convirtió en artista de Surfer Magazine.

Durante su tiempo en Surfer, Rick creó el personaje de Murphy, cuyo impacto en la escena del surf en el tiempo no debe ser subestimada. Adoptada por muchos como una mascota, el pequeño Gremlin, (algunos piensan que ha sido la personificación de Rick), pronto se convirtió en parte integral de la escena surf californiano. Rick se separó de Surfer en 1964.

Sufre un accidente de coche y con graves secuelas, su ojo izquierdo se vio seriamente afectado -de ahí el ojo sin cuerpo que aparece constantemente es su obra- y diversas cicatrices faciales. Eso le hizo cambiar no sólo su aspecto, (se dejó crecer la barba y lucía un parche en el ojo) su arte también se volvió más sofisticado y surgió el estilo característico de tipografía.

El periodo de tiempo que paso en el Chouinard Art Institute fue fundamental en su vida, allí conoció a la que sería su mujer, Ida Pfefferle. A partir de entonces empezó un periodo creativo muy fecundo sobre la base de influencias tan diversas como la cultura nativa americana, la escena de surf de California y por supuesto, el floreciente movimiento hippie, incorporó los escarabajos, las calaveras, los ojos surfistas , vivos colores y letras salvajes.

Diseño carteles para leyendas como Hendrix, Albert King y los Grateful Dead, el logotipo de la revista Rolling Stones, y muchas portadas de vinilos, tal vez el más conocido, Dead's Aoxomoxoa.

Junto con Alton Kelley, Stanley "Mouse" Miller, Victor Moscoso y Wes Wilson, Rick llegó a ser conocido como uno de los "Cinco Grandes" de la psicodélia.

En 1967 fundaron la agencia de distribución de Berkeley-Bonaparte para producir y vender arte del cartel psicodélico. Él supervisó la litografía, asegurando un flujo de obras de arte de calidad destinados a figurar en las galerías de la Ilustración hasta nuestros días.

El famoso cartel de 'Flying Eyeball' se sitúa como uno de los más importantes de la época y es buscado por los fans y los museos de arte moderno.

Cuando Rick se traslado a California del Sur en 1969 y se estableció finalmente en San Clemente, John Severson le pidió que diseñara un cartel para su última película, Pacific Vibrations, así como hacer un cameo en la película. Meses más tarde Severson se presentó con una obra maestra.

En los años 70 Rick se convirtió al cristianismo y su obra tuvo un cambio de dirección radical , produjo el Libro Ilustrado de San Juan y más tarde creó obras para la Capilla del Calvario en Costa Mesa.

En 1976 viaja a Europa con su amigo y agente Gordon McClelland, para exhibir su trabajo en Amsterdam, Londres y Sunderland, en el norte de Inglaterra. Tras las exposiciones hacen una gira por Europa durante un par de meses en un viejo Morris Traveller para hacer surf por la costa atlántica de Francia y en la búsqueda de olas de 12 pies en Mundaka.

En la década de los 80 realiza portadas para la banda inglesa "The Cult", en particular para, "Soldado azul", diseñado en el 87 para una sola edición que no se llego a vender , pero fue utilizada como una portada de una recopilación trece años después, tan llamativa como siempre y atrajo la atención de una generación diferente. Como perfeccionista, Rick pone el 110% de sus sentidos en cada pieza que produce, no importa lo grande o pequeño que ésta sea, pero nunca fue un hombre de negocios .

Al mediodía del 15 de agosto 1991 de regreso a su casa en Stadler Lane en Petaluma, adelantando a otro vehículo sufrió un accidente. Rick murió tres días después. Como si fuese un presentimiento o una profecía, la última obra publicada de Rick Griffin fue impresa en el "San Francisco magazine, The City", poco antes de su muerte, un autorretrato de un hombre en la puerta del cielo, en la mano, pluma y tinta ...

http://www.taringa.net/posts/arte/11240595/Rick-Griffin-maestro-de-la-psicodelia.html

"High On A Cool Wave" - Trailer from Warren Delbridge on Vimeo.

HIGHLIGHTS REEL FROM OUR LAST FESTIVAL!!!!! from Byron Bay Surf Festival on Vimeo.

Milestones in Surf History Part Fifteen (#91 - #97) by Sam Bleakley

Milestones in Surf History Part Fifteen (#91 - #97)

by Sam Bleakley

#91 : 1957-59 ‘Gidget’, ‘Cat on a Hot Foam Board’ and ‘On The Road’ : The late ‘50s was a vital time in America. A more relaxed approach to life had emerged. Quality of life and life expectancy increased. Gender and racial inequalities were being questioned and addressed and more bohemian lifestyles tolerated. The arts were enjoying an explosion of innovation. In 1957 Jack Kerouac’s ‘On the Road’ was published in the same year as Frederick Kohner’s Gidget (the little girl with big ideas), relaying the story of his daughter’s (Kathy ‘Gidget’ Kohner) summertime learning to surf in Malibu and meeting local surfers. She falls in love with surfing against the inclinations of her friends and the reservations of the all-male surf crowd. Putman Books sold the film rights for ‘Gidget’ to Colombia Pictures and the first ‘Gidget’ movie (1959) featured Sandra Dee, James Darren and Cliff Robertson. We now see the picture postcard, sensual images of California surfing as a simulacrum of surfing. But the film’s success spawned numerous sequels (the saturated beach movie), with catchy theme tunes, spreading the beauty and appeal of surfing in America beyond California and Hawaii. Malibu’s proximity to Hollywood had helped beach culture to boom. ‘Hang ten’ was the favourite phrase, noseriding the ultimate goal and Malibu was at the heart of it. A surf wear company, Hang Ten, showed two bare feet as its trademark. Automobiles, highways and the development of roof racks meant that inland (‘Valley’) surfers could hit the coast too. But while Sal and Dean were dancing mambo jambo in Mexico in Kerouac’s On the Road, Californian surfers were also making ‘real’ surf films, heading to Mexico, loose and relaxed in open toed sandals in Bruce Browne’s 'Surfing Hollow Days' and 'Barefoot Adventure', performing manoeuvres to maintain balance between speed and stability, cross-step walking to trim the board or adjust speed and riding the nose as a signal of excellence. The new surfing repertoire was modelled by a now maturing Phil Edwards in a pioneering 1959 surf film by Bud Browne - 'Cat on a Hot Foam Board' - a take on Tennessee Williams’ play 'Cat on a Hot Tin Roof'.

#92 : 1958 Marge Calhoun Wins Makaha International and Becomes First Women’s World Champion : Born in Hollywood in 1924, Marge remembers rolling around in the surf at her home beach in Santa Monica from age 3. Her parents couldn’t keep her out of the water and were forced to give her swimming lessons so she wouldn’t drown. She became an expert swimmer and diver, set to compete in the 1940 Olympics in Tokyo, her dream collapsed when the games were cancelled due to World War II. She worked as a stuntwoman, married Tom Calhoun in 1942 and had two daughters, Candy and Robin. Walking along the beach at Topanga with Tom in the ‘50s Marge watched surfers styling across the point. “You can do that,” said Tom. He surprised her with a new, lightweight board made by his friend, Joe Quigg. At Malibu, where a handful of women were ripping on Quigg’s innovative balsas, Marge met Darrylin Zanuck, who taught her the basics. “I didn’t plan my life as a surfer - it just happened,” said Marge. In 1958 she flew to Hawaii with Eve Fletcher, inspired by Bud Browne’s films. “At first I thought, ‘My god, I can’t leave my family, my girls!’” But, that’s exactly what Marge did, her husband holding the fort at home. George Downing introduced Marge and Eve to Makaha. “We were just in search of surf. The Hawaiians were very good to us, especially when they found out we could more than hold our own in the water.” Marge earned a reputation for charging. "I was a big, strong woman, and I was always good in big surf. I always loved a wave that was dramatic.” On the spur of the moment, she decided to enter the Makaha International Contest. “We hadn’t planned on it - we just wanted to see the top Hawaiian women surfers compete.” She won, aged 32. Four years later Marge returned with her teen daughters to compete at Makaha, and placed 2nd. Candy became a top bodysurfer, and was the first woman to ride both the Newport Wedge and Pipeline. Marge was a longtime contest judge and co-founder of the US Surfing Association. Leroy Grannis took this iconic photo of Marge, Candy and Robin walking down the beach at Makaha, which appeared in the 1963 debut issue of Petersen’s Surfing Magazine.

#93 : 1958 Jersey Surfboard Club : In the late 1950s the largest surf community in Europe was in Jersey. In 1957 visiting South Africans Bobby Burden and Cliff Honeysett made some hollow 14 ft plywood boards. The following summer, the owner of the Watersplash (at the centre of the five-mile stretch of sand at St Ouen’s Bay), Harry Swanson, hired them as lifeguards. Charles Harewood recalls. “I was with Peter (Dr Lea) that day. We couldn’t believe what we saw - surfers sweeping in on their boards, standing up all the way to the shallows. Peter ran up the beach to speak to the South Africans when they came out the water and then came sprinting back all excited to tell me about their plywood boards. Later, I tried to make one myself, but it was no good at all. Peter bought one of the huge boards when the South Africans left at the end of the season.” The Durban surfers fired up the locals. With a long established bellyboard culture, the standup surfers founded the Jersey Surfboard Club in 1958, spearheaded by Peter Lea and Charles Harewood. By August 1959 they had more than twenty members and 14 boards. No other place in Europe hosted such a strong and vibrant scene. By 1960 there were 40 members. Local foam and fiberglass board building soon took off. The local crew started travelling to Biarritz every year. In 1963 they hosted Australian legend Peter Troy who was on a series of epic world surfing tours. He was quickly knicknamed ‘The Messiah’ for his surfing skills. A young Gordon Burgis shadowed his moves. Burgis won the Channel Islands Championships in 1963, and represented Jersey at to the first World Surfing Championships in Australia in 1964, helping place British surfing alongside the best in the field. The innovative Jersey Surfboard Club gained top flight sponsorship for the 1964 National and International Championships, attended by 10,000 spectators. Burgis, tuned from travel, took the win. “Travelling for me builds a community’s awareness. It’s possible to become a little stagnant living in any area for a length of time,” said Burgis in a ‘Surf Insight’ interview in 1972. “To escape from this, turn over the mind, absorb different surroundings, surf unfamiliar breaks, tune in on different concepts in board design, and meet other surfers. This all contributes to play an important part in a surfer’s life.” The following year the event tempted Australia-raised Rodney Sumpter. Having just won the US Open junior title at Huntington Beach Californian (against many of the best in the world), Sumpter was the unofficial world junior champion. Sumpter won the vent in ’65 and ’66. Jersey was the first European port of call for many travelling surfers, including Bob Cooper and Keith Paull. Dave Grimshaw and Dave Beaugard helped form the British Surfing Association in 1966, taking the annual event to Newquay in ‘67. When the Championships returned to Jersey in 1968 Gordon Burgis regained the title. The same year, Britain’s six-man team for the World Contest in Puerto Rico had five Jersey surfers. In 1969 Jersey threw its decade of expertise into presenting the first European Surfing Championships, including reigning Miss World, Penny Plummer, from Australia, to present the prizes. In a battle of the titans, Burgis beat Sumpter. Jersey was tops in European surfing.

#94 : 1959 Linda Benson Rides Waimea and Wins at Makaha : Raised in Encinitas, Linda Benson started surfing at age 11: “I remember watching the guys surf from the cliff. I thought it was the greatest thing," she said to Liquid Salt magazine. "It was right before the surfing boom. My soul was just absolutely drawn to it... I remember just touching the boards—it was just an immediate connection. Finally, one guy said ‘Do you wanna try?’ … Back then a lot of people didn’t know about surfing. This was before the Gidget book or the beach party movies or even Surfer magazine. We knew we had something special. We had a vibe, a feeling of such ‘inner stoke’. We just knew.” Linda was inspired by Dewey Weber and Phil Edwards and mentored by master shaper Donald Takayama. She had made her competition debut aged 15 in 1959, winning the West Coast Surfing Championships, and on her first trip to Hawaii the same year she won the Makaha International. Days later she rode Waimea on David Cheney’s 10 ft gun. “I just went and did it. As I paddled out, I saw Fred Van Dyke wipeout. He popped up and then two parts of his board popped up beside him. Another set came in and John Severson rode a wave and then he wiped out. He looked at me as I was paddling out and said ‘You’re crazy.’ When I came back in, I remember just stumbling over myself. I was just so happy I had done it and that I was back on land. It was amazing. I never did it again and I never wanted to!” Linda worked as an air steward for United Airlines for over 35 years, fortunate to be on the Hawaii route. She won multiple competitions, stunt doubled in 'Gidget Goes Hawaiian' (1961), 'Muscle Beach Party' (1964) and 'Beach Blanket Bingo' (1965), directed the Women’s World Longboard Championships, and pioneered a women’s surf school at Moonlight Beach in Encinitas, the very same spot where she caught her first wave. Linda is pictured here at Makaha in 1959 by John Severson.

#95 : 1960 John Severson Founds ‘The Surfer’ Magazine : Californian stylist John Severson earned a BA in art education from Chico State College in 1955 and an MA from Long Beach State College in 1956. He was a pioneering surf filmmaker, producing ‘Surf’ (1958), ‘Surf Safari’ (1959) and ‘Surf Fever’ (1960), with outstanding (and witty) hand-drawn ink posters to promote the showings. They would become collectors favourites. In fact Severson had already created a massive body of art inspired by the Hawaii-California surf culture. To promote ‘Surf Fever’ (and while working as a high school teacher) Severson put together a small magazine, ‘The Surfer’ featuring black-and-white photos, cartoons, one fiction piece (‘Malibu Lizards’ by Harvey Haber), a map of Southern California surf breaks, and a how-to article for beginners. He sold 5,000 copies, funding four editions of ‘Surfer Quarterly’ in 1961. The magazine grew slowly but surely, and Severson could soon hire future surf culture legends, such as cartoonist Rick Griffin and photographers Ron Stoner, Ron Stoner, Jeff Divine and Art Brewer, writers Bill Cleary, Craig Lockwood, Fred Van Dyke, Drew Kampion and Steve Pezman, and designers John Van Hamersveld and Mike Salisbury. Colour pages and a bimonthly publishing schedule were introduced in 1962. The name was shortened to ‘Surfer’ in 1964, and monthly issues were introduced in 1978. Severson was a fantastic big wave rider, and in 1961 he won the Peru International. He also continued to produce surf movies, including ‘Big Wednesday’ (1961), ‘Going My Wave’ (1962), ‘Angry Sea’ (1963), ‘Surf Classics’ (1964) and the unforgettable ‘Pacific Vibrations’ (1970). Severson sold ‘Surfer’ in 1972 and moved with his family to Maui to focus on his artwork, painting and sketching (and surfing) for a steady output of oils, watercolours, drawings, prints (and waves). Pictured here (cover image by Woody Woodworth) is the latest issue of ‘Surfer’, lined up to the horizon as the longest continuous surf magazine.

#96 : 1961 Phil Edwards Rides Pipeline : Back in the late ‘50s and early ‘60s every surfer was deeply inspired by the style, skill, power, creativity, cool and flow of Californian Phil Edwards. In 1953, aged just 15, Phil developed radical cutbacks towards the curl at Dana Point. Articulate and calculated, Phil described the feeling “swimming up the cresting waves and looking into the comb of water hissing along the top…a special kind of mood sets in - a feeling which forms like a knot on the inside of your stomach…In your mind's eye you know how the scene must look from the beach: a small figure scratching up the side of a towering wave, making it to the top and going over the other side, paddling for the next one. And suddenly, an insulated, quiet confidence begins to form inside. You know you can do it. It is as if you were, momentarily, standing outside yourself, watching all this, critically, unemotionally, and feeling, vicariously, the terrible, tensed stoked feeling building up in the surfer.” Word soon spread that Phil was the performance standard to judge by. His reputation was not earned in contests, but word-of-mouth, free surfing and surf films – including Bud Brown's 'Cat on a Hot Foam Board' (1959) and 'Gun Ho!' (1963). Edwards was surfing's first media star, winning the inaugural Surfer Magazine Readers Poll Award in 1963. Hobie Surfboards introduced the Phil Edwards signature model surfboard in 1963, and Hang Ten sportswear produced a Phil Edwards line of beachwear in 1964. Phil loved travelling to Hawaii. In 1961 Bruce Brown captured the first completed ride at Banzai Pipeline in ‘Surfing Hollow Days’. Phil handled the critical drop, speeded ahead of the curl and charged for the shoulder. The name combines the fronting Banzai Beach with ‘Pipeline’ not because of the shape of the wave, but the fact that there was a construction project on an underground pipeline across the Kamehameha Highway at the time, and Mike Diffenderfer (travelling with Phil and Bruce Brown) suggested naming the spot ‘Pipeline’. Phil rode it again the next day with Dave Willingham. Modern-day Pipe continues to deliver, captured here by Grant Ellis.

#97 : Early 1960s Miki 'Da Cat' Dora the Dark Knight : New King of the early 1960s Californian surfers, voted ‘best surfer’ in the Surfer magazine poll, was Phil Edwards. Phil was an unassuming gentle giant, a master of poise not pose, with an uncanny sense of balance, so that a joke emerged about Phil never falling off his board. If Edwards was the Yin of surfing - expansive, welcoming and warm; Malibu’s Miki Dora was the Yang - tart, slightly bitter and irascible. Dora was so light-footed that he was nicknamed ‘Da Cat’ - but you’d better not get on the end of those claws! Da Cat was perhaps the most naturally gifted surfer of his time, but possessed an irascible temper and was famous for getting into scrapes with other surfers in and out of the water, echoing Bob Simmons. (Dora’s stepfather, Gard Chapin, actually taught Bob Simmons to shape). The surfing styles of Dora and Edwards followed their personalities, as did their choice of boards. Dora preferred a heavier board for trim and speed on the walls of Malibu, but also as a weapon to knock others off the wave should the occasion demand this. Edwards’ boards were lighter and more flexible, allowing for more turns and critical positioning. Edwards preferred to surf around anybody who dropped in on him, rather than gun them off the wave or bully them into a wipeout. Early ‘60s surfing was associated with sun-filled days, the Californian love of leisure and health, the wide, open lung of the Pacific breathing life into a post-war generation. But surfers were also outsiders, agitators, who somehow instinctively knew the rules of nature and could openly call themselves a new ‘royalty’ of hipsters, following what was preserved for kings and queens in Polynesia and democratising this. Miki Dora was the head of this dark hipster clan. Who do you relate to? Yin Edwards or Yang Dora? White Knight or Dark Knight? Or a bit of both?

http://www.thecleanestwave.com/2016/05/milestones-in-surf-history-part-fifteen.html

at 06:48

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Some Thoughts On "HULLS"

Some Thoughts On "HULLS"

March 2, 2012
      Several years ago an article in Surfer's Journal regenerated interest in the style of surfboard described as "hulls" that I have made since their first popularity in the late 1960's through the 1980's. Many surfers have again found these designs to be an enjoyable way to ride waves. Here are my original thoughts after this new exposure:
     "Lately there have been many inquiries into the "hull" style of surfboards that I build. The name "hull" is in my opinion a misnomer. Surfboards are planing hulls. It is true that the original designs from which the contempory boards evoled were more "hull" like having a more forward convex bottom that did push water out of the way until with enough power the board would come up to plane. Explained next.
     The first boards we made using the extreme Greenough concept as our model were difficult to ride and needed the right kind of power to make them "go" aka "plane". We did not always have the ideal waves, particularly during the Southern California summers.
     To accommodate the conditions, the boards increased in length and width (planing area), the rocker was modified, and the "hull" was softened, particularly in the front entry portion of the board. This enabled us to trim more forward and plane out in waves with very little power, particularly the small "cobblestone" point surf available.
     There were certainly days when the full on forward hull designs would work to their potential and some of those days have been documented, but the huge percentage of waves available were not ideal for the very forward convex hull designs.
     I in particular only surfed Malibu, Little Dume ( with rare success), California Street, Pitas Point, Rincon and Cojo on the Hollister Ranch. These are rare group of not perfect but very good lined up right point break or point breaks like waves. Waves that have a continuity in shape, tension, where the power exists and the average size.
     The boards that I like to call "modified transitional volume planing hulls" evolved to ride these waves. I understand that there are surf spots throughout the planet that have elements of these waves and these designs will certainly work at some level at many of these breaks.
     It is these wave where the "point break" outline on the website evolved. This was the shape I rode with subtle variations and incremental changes in length. The last ones which seemed the most efficient and applicable in most condition were in the 7' to 7'1" range. I had many other customers who developed their own unique style and we modified the templates to fit. There were literally a hundred different templates and the designs varied in many aspects: shorter, longer, wider, narrower, thinner, thicker etc.
     My boards were sometime stringerless to give the ride more feeling in very small waist to head high surf; the typical size of a "swell" in the Southern California area. Not till I visited Hawaii in 1989 did I have to adapt the design to the local condtions. With these modifications I now had a board that worked fine in larger California surf. The Hawaii plan shape was a result of that visit.
     Many templates were developed with design changes in rocker and bottom contour to accomodate customers who surfed beach breaks, short pocket reef breaks, surfed backside etc. The outlines on my website show only a few of these designs that became somewhat popular during the era and covered more types of surf than the "point breaker"
     I am now seeing feedback, particularly on the Swaylocks forum website (http://swaylocks.com) of disgruntled surfers who have tried some versions of these designs and do not like the ride.
     This was very true during their development in the early 1970"s. Individuals often tried the wrong outline at the wrong spot with the wrong expectations and gave up on the design, going back to the flat bottom, low railed, tail fin anchored "thrusters" etc that could be pivoted off the tail and maneuvered at will.
     To each his own of course but my complaint is that they do not understand that these boards are not for the onlooker. It is not meant to be a visual experience. It is for the "feel" of these board. Not that visual observation of the ride cannot be enjoyed. To me it is quite beautiful the way they "fit" to the wave and become part of it.
     This of course is not mainstream and it never has been. During the 1970' through the 1980"s only about 10% of the boards I made were these designs. I made everything within reason and some not so reasonable. Some have turned up and are in the photo section of this website.
     Surfing has become very diverse over the last several years with interest in longboards of all sizes, the fish design etc.
     Just as many have found the "longboard" experience of glide and trim being very rewarding so others have found that going through and over the water and attaching themselves to the wave in a unique way on one of these craft is indeed rewarding.
     There are many approaches to riding a wave. Many are now engaged in the stand up, paddle in approach and as with all approaches it can be dreadful in the wrong hands with the wrong attitude.
     With this in mind, before you pursue this design, give some thought to what you want from the experience and the waves that you will be riding. Talk to others that have some experience with these boards and don't jump into one because there was an article in a surfing publication.

Mahalo for your time!
Aloha! Greg

http://www.liddlesurfboards.com/hulldiscussion.html