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TOM WEGENER One Man’s Odyssey to the Nose

 

 

MAMBO KING – Tom Wegener bags the whole enchilada, a full "Ten Over" wrap, spray-between-the-toes-thriller, with this Noosa peeler. Find out just how he does it.

One Man’s Odyssey to the Nose

 

By Tom Wegener

 

In the smoky theaters of the early 1970’s, I saw my first nose rides. As a sort of intermission in the early shortboard movies, old noseriding footage was dubbed in. Maybe it was filler, maybe for historic interest. Maybe it was put there to show how far modern surfing has come. The theater usually went silent and the high vibe was lost. I loved these old shots. They always stuck in my mind, but I thought I was alone. Twenty years later, I found that lots of kids were held speechless at the old dance.

 

In the Early 1980’s my crew mostly rode old long boards and I gained a love for the nose. The boards were cheap and very accessible. We watched the old movies and mimicked the old styles. It did not take long to find which shapes rode the nose better than others. I shaped lots of light longboards but I never found them to be as much fun to ride as the old ones.

 

With the rising popularity of longboards and competitons in the late 1980’s, I became very involved with the modern longboards. I was a team rider for Donald Takayama and every week our boards were progressing. One day I brought a new Takayama to the old home break and my best friend Bill Burke had a try. I had just seen him pull a beautiful hang ten across a wall on his 1964 Del Cannon. He got on my board and was approaching the noseriding section. Just as he wrapped his toes over the tip, the fins let loose, the board spun out, and he had a face of disgust as he hit the water. I remember this so well. The next decade of my life was dedicated to finding a board that would both noseride and turn off the tail like a shortboard. The boards I rode were very good and worked great on most days, but would then fall short on lots of others. I would walk the nose and see where I wanted to go, but I just couldn’t get there. This was a frustrating time for me.

 

This episode came to a climax while shooting the movie, “Siestas & Olas” in Mexico . We had lots of time to surf perfect waves and I really got to know the boards I brought, however, I did not have a proper noserider. There we were at Perfect River Mouth #27, a flawless waist-high, pealing, left and I did not have a board that would allow me to wrap my toes over the tip and fly down the point. For days I cursed myself for not bringing and old board. I sat on the beach, maybe for the first time, and thought hard about what would make the ultimate noserider. Going back through all the old board I had ridden I began to ponder what the old shapers were thinking about when they shaped those big gems.

 

For two years I shaped and studied boards and formulated ideas about suction and water flow and how noseriders ride though the water more like a dolphin than a speedboat.

 

I was traveling in Noosa , Australia when I found myself in a whirlwind romance with a beautiful girl and we were married in four months. Soon I had a planer in my hand and one of the best noseriding waves in the world at my doorstep. With a great group of friends and team riders Col and Annie Broomham, we set out to create the best noseriders based on the Suction + Tension theory. The boards performed just as theory dictated. The pieces of the puzzle fit.

 

I felt like I had come so far. It was like going on a long surf trip to an uncharted area and coming over the last sand dune to find a small crowd in the water. My efforts in board design only brought me to where the shapers of years ago left off.

 

Suction + Tension = Hang Ten

 

As we look through the magazines we see lots of photos of the ‘Hang Ten’. Virtually all ‘Tens’ are impressive, yet certain types are more impressive than others. These are the ones where the rider is far back in the pocket in the most critical part of the wave, but he looks calm and poised. The board is in perfect trim while the front of the board and rider are hanging above the water. Upon closer inspection it looks impossible. How does it happen? Let’s take a deep look at the forces at work.

 

Suction: First to get to the ten, the board must be sucked into the wave. Gentle curves change water flow over the board and create suction. Round rails suck water over the deck of the board. The weight of the water helps stabilize or counter balance the board so the rider can get to and stay on the nose. Also, curve through the bottom of the board will suck the board to the wave. This suction from the bottom of the board starts happening when going fast due to the long bottom curve.

 

To see how suction works, take a spoon and put the rounded end under the faucet. If you have never done this, you may be shocked by how much a spoon is sucked into the stream of water. The same forces make hanging ten possible.

 

 

Three Types of Hang Ten Boards

 

1.) The Modern Longboard

 

The modern longboard is characterized by having a flatter bottom, a hard edge through the tail, a wide nose for noseriding, lots of rocker, and a light glass job. They are easy to noseride and hang ten, but they noseride best out on the shoulder and in soft sections. When on the nose, the board points about 45 degrees towards the shore.

 

The modern board will hang ten because the thickness and width of the nose provide floatation and planing area and the soft rails from nose to midsection suck water onto the deck. This stabilizes the board within the wave and counter balances the person on the nose. This is a stable situation until the wave becomes too steep. As the wave gets steeper the board will become more parallel with the wave and speed up. As the board speeds up it begins planing on top of the water and the tail will not suck water onto the deck. Due to the hard rails through the tail and the flat bottom, there is no curve to suck the board to the wave. The rider must back pedal off the nose or else the board will literally fall out of the face of the wave

 

The modern longboard will not noseride on a steep face because most of the board is geared toward releasing water and planing. Its speed is generated by planing down the surface of a steep wave. The board is designed to be smashing the lip on a steep wave and not hanging ten

 

2.) The Potato Chip

 

In the late 1990s, the ‘knifey-railed potato chips of the late 1960s were popular at the ‘Old Mal Rallies.’ Guys like Chris De Aboitz, Gareth Donovan and Ian Williams rip on them. They’re characterized by thin rails, medium rocker and roll through the bottom and a single fin. They will nosreide much closer to the pocket than the modern longboard and they will go a long way before spinning out. One characteristic is that in a solid ten pose, the tail and fin will often be hanging out the back of the wave.

 

The roll thorugh the bottom of the board sucks the board into the wave. The knifey, less buoyant rails easily cut into the wave and water is still sucked over the rail. Most of the board is truly within the wave in the hang ten position. Due to the rocker in the board and the suction, the board points toward the sore at about 35 degrees. The rail and the fin will pop out the back of the wave because the board is not parallel with the wave; besides, the wave is not as thick in the pocket as compared to the shoulder where the modern longboard noserides. When the board is in perfect trim and the rider is hanging ten, the curves working with the buoyance will leave the fin and tail high and dry out the back of the wave.

 

3.) The Soft-Railer

 

The soft-railer is characterized by the rounded rails, flatter rocker—except for lift in the tail, heavier in weight, hips towards the tail and a big single fin. Although this board has been mocked for over 30 years, it will do one thing clearly better than any other surfboard, it will hang ten beautifully and confidently in perfect, spinning, small surf.

 

Where the progressive flat bottom, light board gets its speed from the steepness of the wave and planning, the soft-railer gets its speed from tensions pushing against the board from within the wave. The wave wants to push the board towards shore, while the fin fights the wave and holds the board in the wave. This tension pushes the board through the water and across the wave. Soft-railers go through the water, while modern boards skim on top of the water. (Of course, each and every board moves because of a bit of each of these principals, but planning vs. displacement hulls is an accurate way to think about longboard design.)

 

A big fin creates more tension and thus more speed. A big, thick fin works best. (It takes a big wave before the fin will create more drag than speed.) The size of the fin has little if anything to do with the looseness of the soft-railer. It is all about fin placement, foil and tail design.

 

Having hips towards the tail is the key to the ultimate noserider. The hips make the board ride more parallel to the wave. When you are on the nose where the boards is, say, 18 incheswide, while it is 23 inches in the hips, the attitude of the board will be more parallel with the wave thus making you travel faster across the wave. The flatter or straighter the board, the more parallel it can ride. With more width and foam in the back half of the board, there is more flotation and volume. This mass creates more tension with the fin and makes the board go faster. Also, it counters the suction created by the soft rails and lift in the tail.

 

With a properly balanced soft-railer, the elements for the hang ten are in the tail. As the board speeds up across the wave, the tail will suck into the wave and the nose will begin to lift up. Even while hanging ten the board will accelerate, climb in the wave and become more stable. This is how some people are seen hanging ten in such critical sections, where the front third of the board is out of the water while the rider is calm, poised, and in complete control.

 

Technique

      

Since the world at large seems to be discovering longboarding with its emphasis on being able to ride the forward portion of the board, we’ve seen some pretty bizarre techniques employed to achieve that end. Everything from crabbing, shuffling, jumping or “oooching” seems to be fair game. Sometimes they actually make it to the nose for the “Kamikaze” in the shore break, while others suffer the ultimate ego-busting walking-off into-space wipe-out and some, the more excruciatingly, soul-destroying-board between the legs, “Noogey-Crusher.” Ooohhh!

 

In spite of the difficulty of achieving “The Holy-Grail” of longboarding, the hang ten is within the reach of anyone who really wants to take the time to learn the technique.

 

Example. Those surfers who have always ridden a shortboard have the biggest obstacle to overcome. Shortboards have to be brought off the top of the wave in order to continue down the line. When these surfers complete their turn, they bring the board off the top and then start towards the nose. Wrong! They end up walking the nose straight into a nose-dive.

 

Once you understand that the longboard will bring itself off the top of the wave by its own volition and gravity, you’ll be walking the board as it climbs out of the turn. In actual fact, a good noserider will be on the nose before the board has climbed to the top of the wave, riding the nose through the end of the turn and then on into trim, high in the wave and on down the line.

 

There are three different types of noseriding: The Stall, The Forward Trim and The Next Step.

 

The Stall

 

The easiest way to get to the nose is to wait for a small section to build in front of you, then stomp on the back of the board to slow it down. While the board is high in the wave and ready to accelerate through the section, you run to the nose and hang some toes over. You look like a champion for a few seconds, but it seldom lasts long. The board quickly looses its stability as wave gets steeper and the board speeds up.

 

This is great way to practice for noseriding. It helps get the footwork down and to feel comfortable further back in the pocket. It is also great for contests where judges are often impressed with the quick noseride. In Australia a noseride is a point. But it is seldom the way to start a stunning hang ten.

 

After the stall, there is water over the deck of the board to hold the board in place. A wider nose allows flotation so a person can stand there for a short time before sinking. For a few moments, the noseride is stable, but as the board speeds up the dynamics change and suction has to start happening or else either the wave will get too steep and the board will fall out of the wave, or the board will not accelerate and start to sink and you will lose the wave. I will have to say that there are few surfers good enough to be able to hang ten after a full stall and stay there as the board takes off. I have found that I have to sort of hold my breath for a few moments and wait for the wave to get very steep. At that point, I press down on the inside rail to climb higher in the wave and try to make the board accelerate as fast as possible. If I hang there too long, without getting the suction happening, the fin usually comes out of the water, there is a big splash, and I start swimming to shore. (This happens a lot).

 

Picture the wave lining-up in front of you. In order to gain speed and trim, you’ve got to step forward. Then the critical decision comes, do you, (A) step back and use the speed to smack the lip, (B) stand there, let your belly hang over your trunks and love it, or (C) take the next step to the nose. The correct answer is (B), however, if you choose (C) you have to take a good look down the line and see what the wave is going to do.

 

On the other hand, if you are into side slipping and helicopter maneuvers, this approach is for you. After the stall, you can run up and hang ten for a moment, then take a half step back and catch your balance. If your board has hard rails, the fins will come out and you can swing them all the way around and pull the helicopter. In the 1980’s this single maneuver dominated the contests scene (the side slip boogie) and nearly destroyed the credibility of modern longboarding.

 

2. The Forward Trim

 

A long noseride in trim takes preparation. First, you must have a feel for your board. The board’s dynamics dictate where you’ll go and what you’ll do. As discussed earlier, the flat bottomed/low-railed boards will noseride further out on the flatter sections while the softer railed boards will hang ten in the steeper sections. On the flat-bottom boards, when you are looking down the line and a nice section is forming, the best rule is to ‘charge’ the nose early. The basic goal is to stay on the nose as long as possible before the wave gets too steep. On a long, slow point you can hang five for a long time, or if you are very light, hang ten. The downside is that as the wave gets steeper and things start to get exciting, you’ve got to back-off or slide-out sideways. Even worse, as the wave gets steeper the crowd takes notice of you and just as they hope to see you hang ten, you back-off to keep your fin in the water.

 

If you are on a proper noserider, charging the nose too early is a critical flaw. You have to pick your line so that you’ll get maximum speed while not out-running the steep section. It’s all about cutting back and stalling before the section steepens up. The back door approach is best: wait as long as possible before positioning the board parallel with the wave and starting the walk. If you walk too early, the board will stall and you’ll sink out the back of the wave, or you will not be able to accelerate fast enough to keep up with the wave when it starts to peel.

 

Noseriding is about keeping your hips to your ankles loose. You can’t force anything while hanging ten. The best approach is to watch the wave get very steep around you and just keep walking. Hang your toes over and just relax. A properly balanced noserider will find it’s own trim while a flat-bottom will spin out no matter what. The most important thing is to keep focusing down the line and aim the board with your toes to the next section. On a mushy wave, the wave may break around you and you can still be hanging ten. On a hollow wave, the lip may be inches from your hips, but do not back down. Just bend your knees and look to the shoulder. Once you see the wave slowing, it is time to back-off the nose, but if the wave is just slowing you can un-weight on the inside rail and push down on the outside rail. This slows the board while keeping it in trim as the next section forms.

 

There is a test to find out if you are in good trim. If you can take your hand and put it into the lip of the wave while you’re on the nose, you are in trim. If you can’t, then there is another world of imp0rovement.

 

The most important thing is to properly read the wave. The better you understand what the wave is going to do, the better you can position yourself on the nose.

 

3.) The Next Step

 

The next step in the noseriding continuum is the walk to the nose from behind the section. This is the approach for bigger and more powerful waves. The goal is to already be hanging ten even before the board reaches proper trim.

 

When a section is beginning to break in front of you, aim the board for the flats and start your bottom turn around the whitewash. As you dig your rail and start your turn, you take your first step forward. As you come out of the turn, you take your second step.

 

Even before you make it around the whitewash, you are hanging five and accelerating out of the turn. Just as you make it to the clean face of the wave, you are hanging ten and climbing in the pocket. The board’s suction is happening and you continue to accelerate. The board finds its trim and you are stable and screaming down the line.

 

This move is very fun and is like dancing in front of the most powerful part of the wave, where the wave is actually breaking. It takes a lot of confidence in your equipment to start the walk from behind a section in an overhead wave but it’s a rush. Climbing in the pocket, while hanging ten, is exhilarating.

 

It’s time to go noseriding: Noosa Fest 2000

 

Often people have theories in life, but they can never actually put them to the test. Similarly, there is lots of conjecture about board design, which is usually left at the bar with lots of empty bottles. In March of 2000, I had the opportunity to test the suction plus tension theory in my own boards as well as in the best noseriders in the world’s boards. The Noosa Festival of Surfing held a noseriding contest at first point and the surf was perfect.

 

I had made a soft-railer modified for maximum noseriding at the expense of some turning and speed. It had a little extra lift in the nose to actually slow it down and not out run the pocket. It also had a little extra lift in the tail to increase the suction and slow the board in the pocket. My goal was to be able to hang ten in the pocket and speed up through the sections, but slow down with the shoulder without backing off the nose.

 

In Noosa the event sparked a frenzy of competition at the point weeks before the competition. Lots of people were getting their noseriding polished and it was a great episode in longboarding history. Chris De Aboitiz got his new noserider from Mc Tavish and Josh Constable got his from Ian Chism. Others were pulling old classic while most were pushing their modern boards to the limit. Lots of Californians and other internationals came early to learn the point. The level of commitment to that last nanosecond of hang ten grew day by day.

 

Finally the contest came and I was intensely watching the boards. I am not much of a contest surfer, but my efforts paid off. In the first round, Out of 64 entrants, I got the third most tip time behind Steven Slater and Joel Tudor. In both the quarter finals and the semi finals, I got the most time out of all the contestants. The theory was working, however, it was working for the others with proper noseriders as well.

 

Wingnut surfed very well and racked up lots of time on the nose. His board was a big 24” wide soft-railer with a flat rocker and thick round rails. Joel’s board looked small in the water, but when I put it under my arm it felt like a tank. Through the mid-section of the board the rails were very thick and round giving him lots of suction to the wave as well as floatation allowing him to noseride out on the shoulder as well as in the pocket. It also had a large fin which flexed. I suggested that his fin was too small, and to my surprise he agreed. He said the board felt soft on turns and he could feel it letting go in steep sections.

 

Cody Simpkins blew our minds by staying on the tip through chop, flat spots, tubes, and everything else the point threw at him. His wave selection was terrible, but he battled through. His board was a copy of a rare, magic 60’s longboard called a Trestles Special. Cody loved riding his friend’s original so he had his sponsor, Dano, copy it. It also barely fit under my arm, was very heavy, little rocker except in the tail, and roll through the bottom. Like Joel’s board, if you saw it outside of the noseriding event you would think it was a fat guy beginner board.

 

In the finals it was Joel Tudor first, Cody Simpkins second, Josh Constable third, and me in forth. I put my weak performance solely on my lack of ability to handle the pressures of contest surfing, not the board. Josh Constable did not have a traditional noserider like the rest of us, but he simply rips and this is his home break. To me, the outcome verified that the suction plus tension principals are an accurate way to describe how and why a surfboard noserides.

 

This has been my own experience with noseriding. I hope you enjoyed this article and that the information will help you understand surfboards and maybe help you enjoy the stoke of hanging on the tip. Thank you. Tom Wegener

http://www.noseriding.com/pages/TomWegenertalksWalkingonWater.htm

A short biography of Tom Morey

BODYBOARDING

Tom Morey, the inventor of the bodyboard and bodyboarding, was born in Detroit, Michigan, USA, on August 15, 1935.

Morey is related to the founders of the Detroit-based Dodge Brothers automobile company. The Morey's moved to Laguna, California, when Tom was eight. There, he learned to bodysurf on his father's back.

Tom began riding a surf mat aged nine, rode his first wave on a borrowed surfboard at 15, and was on his way to becoming a top Californian longboarder by the time he turned 18.

Tom Morey also developed his musical skills in his youth and was playing drums professionally by 1948 when he was in his early teens.

1950s | The Jazz Years

Tom and friends formed the Four Eyed Five in 1952, and the Tom Morey Quartet in 1954.

In 1953, Morey entered the University of Southern California, initially to study a music major, but he switched to mathematics. Morey worked as a lifeguard at the Balboa Bay Club but still found plenty of time to surf Laguna and Malibu, play his band and skim through college.

In 1954, Tom worked at the Laguna Beach lifeguard force.

In 1955, Morey went to work for Disneyland as the Snow White and the Seven Dwarfs ride operator. In that same year, he became the first person to let go of the tow line and actually surf the wave generated by an ocean boat.

Morey's band won the college jazz band competition in 1956 and, in 1957, he graduated with a degree in mathematics. Morey started his honeycomb paper hat business with Bob Tierney the same year he finished college and also prototyped a paper honeycomb surfboard.

Morey pursued music throughout his whole life and played with jazz greats like Dizzy Gillespie, Secondo "Conte" Candoli, Bud Shank and Leroy Vinnegar.

Morey was one of the most talented surfers on the sunny, post-war Californian coast and one of the first sponsored "professional surfers."

Morey was part of the Velzy and Jacobs surf teams before being sponsored by Dewey Weber. Dewey reckoned Morey had the same rhythm as Miki Dora and was as good as anyone in the 1950s, even Phil Edwards, the undisputed Kelly Slater of the era.

Tom was always trying something new and was recognized for his standing island pullout, where a surfer stands at the nose and spins the board around until the tail block faces the beach, in three-to-eight-foot surf.

In 1964, Tom Morey made the cover of Surfer.

Contemporary surf magazine editor and later longtime friend John Severson says, "Tom was one of the best surfers of the 1950s. He was very fluid. He had one set of continuous moves."

While trying to make a surfboard with a honeycomb cardboard core in the mid-1950s, Tom and a college friend invented a paper hat they called the Fantopper Hat.

They set up a business that ended up selling tens of thousands of Fantoppers out of stores in Los Angeles. The hat even made the cover of Parade Magazine.

Ever the innovator, by 1955 Morey had already invented concave nose pockets and turned down noses for surfboards.

Morey was forever experimenting with surfboard concepts and unusual materials. As far back as 1957, Morey talked about making a surfboard with a skin like a dolphin.

Morey married his first wife, Jolly Givens, in December 1958.

He graduated in 1958 and began serving his six years of duty at the National Guard and was awarded the Expert Infantry badge (out of 15,000 soldiers) which is the highest peacetime army award. Tom also played for the National Guard band, and for both Kennedy and Nixon on separate occasions.

In 1959, Morey began work with Douglas Aircrafts in Santa Monica as a composite engineer, working with different aspects of composite materials for missile nose cones, rocket nozzles, and filament winding.

It was an ideal job for Tom, as he had access to space-age materials and technology that later helped him order samples from suppliers and experimented with their use in surf design.

Morey applied what he had learned to surf-related innovations and set up a series of companies to make and invent technologies for surfboards in the 1960s.

1960s | Surfing Experimentations

As the 1960s dawned, Morey still surfed Malibu and Laguna, gigged and continued to experiment with new materials.

His first daughter Michelle was born in 1961, and the Morey's bought their first home the next year in Manhattan Beach, California. A second daughter, Melinda, was born in 1963. She became a recognized fine artist.

Between 1964 and 1965, Tom Morey made his first trip to the Hawaiian Islands. Surfing exploded in 1965 up and down the West coast of the USA after being exported from Hawaii.

A Californian surf industry began to emerge alongside an emerging counterculture with a distinct and unique lifestyle. By then, Tom had quit his day job to work on surfboards full time.

Morey rented a building in Ventura, hired workers and began production. Morey and his family moved into a house in Ventura and, as his surf shop business began to expand, Tom continued to develop concepts.

But the idea of a board with a dolphin skin never left his mind. 

In 1965, Tom Morey created the first professional surf contest, when the $1,500 Tom Morey Invitational was held at Venture Point to promote his surfboard business. The contest was an innovative, noseriding-only surf contest.

Surfers were only judged for time spent on the front quarter of the surfboard, so the front quarter of the contestants' boards were covered in bright colors so the judges could more easily view the surfers on the nose.

The winner was the person who spent most time on the nose. With no interference rules, surfers battled it out to get into the top three with a maximum of five waves. Time was counted on the green water opportunity only, not the white water soup.

The top prize was won by an overjoyed Mickey Munoz but, years later, Morey admitted he had discovered Munoz won - by seven-tenths of the second - only by a timers error, and that the runner-up had actually won the event.

In 1966, the event ran as an interesting three-day format. Day one was time spent on the wave. Day two was time spent on the nose. And, day three was time spent on the nose and time on the wave.

The noseriding event was held the year later with a prize purse of $5,000. By containing the event with the help of local authorities, Tom was able to help offset some of the costs via admission fees to watch the event.

In 1965, Morey and his college friend Karl Pope formed the Morey-Pope company and moved into a larger building.

In addition to developing a wax replacement product called SlipCheck, the Morey-Pope company also built, tested and marketed the Trisect: a three-piece travel surfboard that folded into a canvas suitcase.

Morey surfed Makaha on a sizeable day and pulled into the bowl. He ended up breaking the board into three pieces. The Trisect was designed for this eventuality; Tom simply changed fasteners and surfed Honolua Bay a couple of days later.

From 1965 to 1969, the Morey-Pope surfboard line included classics such as the Camel, the Eliminator, the John Peck Penetrator, Bob Cooper's Blue Machine and the McTavish Tracker.

Morey started the Tom Morey Skeg Works in 1964 and created the first polypropylene fin, which led to the first commercially successful interchangeable fin system.

The Skeg Works became Morey Surfboards in 1965 and introduced the W.A.V.E. (Water Apparatus and Vehicular Engineering), a removable skeg system, the first of its kind and a surfboard industry standard.

Tom Morey appeared in many 1960s surf movies and, in 1967, he spent four months surfing in Rincon and Puerto Rico with other top Californian surfers.

Morey served as President of the United States Surfing Association in 1966. By the end of the 1960s, Morey had a solid reputation as an innovative shaper in California.

In 1969, Tom was contracted to build a honeycomb paper surfboard and ride it in big surf at Makaha. The goal was to film a commercial for the International Paper Company and prove they used top waterproof materials.

He paddled out at Makaha and, after the completion of his performance on the first wave on his new creation, the filmmaker asked the question, "Whenever you are ready!" After the first wave, the board basically sank on its maiden voyage.

Undeterred, Tom stayed up all night and fiberglassed the top and bottom honeycomb holes in the parking garage of the hotel they were staying in - the full story appeared in Surfer Magazine.

The next day at Makaha, despite all criticisms, the board actually worked. Morey caught a few nice rides, and the producers managed to put together a workable commercial.

"If you look closely," reveals Tom, "you'll note in the closing scene I'm paddling back out on half board." A photo of Tom surfing the paper surfboard at Makaha got a double page spread in Life Magazine.

After filming this commercial, Morey visited Kauai and bought a small farm where he and his wife moved in August 1969. He also bought and ran a small Mexican restaurant with his wife, where he played a regular gig with a local band.

He gave his half of the Morey-Pope company to Karl Pope and played a regular gig at the Poipu Beach Hotel while running the restaurant with his wife.

1970s | The Bodyboard Revolution

Morey chose to live in Hawaii because "it is the place of drums and surfing heritage. It is the spirit of what is going on."

Tom was a smooth, stylish surfer into the 1970s. Morey also began practicing Transcendental Meditation (TM). He continued to perform in jazz bands and write articles on surf design, contests, artificial wave formation, surf techniques and health for Surfer Magazine.

Morey separated from Jolly in July 1970, and later met his current wife, Marchia Nichols. Marchia and Tom would have four sons together: Sol, Moon, Sky, and Matteson.

In the early 1970s, Morey was looking for a new way to ride waves. As Tom put it, "I was always depressed by the shape of a surf mat. A surf mat is really designed to hold air, not to surf. Surfboards, on the other hand, are more efficient, but a lot of people get turned off to them because they are so hard."

Wondering whether it was possible to combine the advantages of the surf mat which is soft, light and relatively inexpensive with the performance of a surfboard, Tom set about experimenting with shapes in a soft, flexible foams.

A few months after Tom moved to a house on the Big Island, the inventor decided to do something with his last nine-foot piece of foam. Eventually, he cut the block in half and found he could shape the foam using his wife's iron if he first put down a sheet of the Honolulu Advertiser first to stop the foam from melting.

On July 7, 1971, a time when Morey kept returning to a certain passage of a Baha'i prayer: "convey upon me, oh, my God, a thought which will turn this planet into a rose garden," the inventor woke up early and cut out his new shape from lines he has drawn on the blank.

He fashioned it the way he wanted with the iron to construct a four-and-a-half-foot surf craft, which was as wide as possible for strength and had a square nose to hold on to with a sharp trailing edge to cut into the wave face.

Once he was finished, he ran across the road with his invention and paddled out to a wave called Honels, on the west side of the Big Island. Morey had an epiphany.

"I could actually feel the wave through the board," he said later. "On a surfboard, you're not feeling every nuance on the wave, but with my creation, I could feel everything. I was thinking: 'it turns, it's durable, it can be made cheaply, it's lightweight, it's safe. God, this could be a really big thing.'"

Tom's wife Marchia, the mother of bodyboarding, was the second person to ride the bodyboard when she was eight months pregnant.

This new board was just the first manifestation of Morey's belief that "closed cell flexible foam is the flesh of a new order of being. The boogie board is just a spineless protoplasm, an amoeba!"

Tom's next challenge was to turn his new creation into a commercial proposition, and for that, he needed a name. He first came up with the S.N.A.K.E. or Side Navel Arm Knee and Elbow (the parts of the body needed to ride the new surf craft) but eventually, Tom, who loved music almost as much as the ocean, called his invention the Morey Boogie after the boogie blues tempo. Boogie was a type of jazz music that was popular before World War II. 

As Tom put it: "Boogie swung, and it had a wiggle and a jiggle to it... it was perfect."

Bodyboarding, or the art of riding waves prone, is not new. Throughout Polynesia, ancient Pacific islanders used wooden paipo boards to slide across the ocean swells lying down.

With a change in wave riding technology, stand up surfing came to the fore at the beginning of the 20th-century along with a vital renaissance in Hawaiian culture and the sport of surfing.

The humble act of bodyboarding took a back seat until Tom Hugh Morey invented the prototype of the modern bodyboard from a piece of packaging foam, effectively modernizing what ancient Polynesians had done for thousands of years.

This invention successfully reintroduced an ancient art to the masses, and over the next four decades, bodyboarding took off as a pastime, a profession, an industry and a sport attracting many million participants across the world each year.

Tom began selling his bendable soft-skinned board as a mail order kit. In 1973, Morey returned to California and visited the Wilshire foam factory where he had another boogie breakthrough when he saw the skins of some foam blocks sitting on the scrapheap.

"The company would skive off the top and bottom skins like crusts of a loaf of bread," elaborates Tom.

On a hunch, Tom made an offer for these scrap skins. Tom was now ready for action and ran a small mail-order advert in Surfing Magazine. 

Tom priced his first boards for $37, a number he picked to match his age. A few orders began trickling in the week after the magazine with his advert hit the shelves, which Tom found extraordinary.

At this point, Tom didn't have a product. He figured if there wasn't any interest he would just send the money back and forget about it. Fortunately, orders started trickling in.

Finally, Tom was in business. He trademarked the name Morey Boogie for $10, and the Morey Boogie board was born.

Within a few months, Morey was churning out dozens of boards per week. He put up the price of his product and also sold the board as a do-it-yourself kit. The orders flooded in.

In 1975, Morey took on a business partner, Jim Faivre, a carpenter who developed the use of knives and heat welding to shape the foam for bodyboard production. Together they welded the deck to the core and started cutting the foam rather than sawing it.

Tom made the Boogie because he wanted to go surfing and his creation became the quintessential Southern Californian surf invention of the 1970s. The success of the Boogie gave Morey more credibility as an inventor and was at least one financial success from his continuous print out of ideas.

Nevertheless, Tom remained more of an inventor and innovator than a hardcore developer or businessperson.

The Boogie took off. In the late 1970s, around 80,000 bodyboards per year were being produced. Boogieboarding became the fastest-growing water sport in the 1980s, with teams of professional riders who influenced a whole generation of young surfers.

The modern boogieboard was soft, flexible and lightweight. It opened the door to entirely new ways to ride waves. Boogieboarders immediately began to tackle waves previously deemed unrideable.

It has been an amazing and elegant invention. It was simple, like all good ideas. It became a product, sport, and lifestyle.

Tom invested the next ten years in Hawaii working as a consultant by day, and a jazz musician by night. Living his dream - finding the space to create eternally and be created in the process.

In 1978, Morey co-developed the foundations of today's soft surfboard technology with Californian surfer Mike Doyle. This was the prototype of what would become the standard style beginner board used by surfers all over the world.

Boogie riding developed in leaps and bounds. Drop-knee power riding was pioneered at Sandy Beach, Hawaii in 1977. Pat Caldwell landed the first El Rollo in 1978.

The first Morey Boogie contest was held in Carlsbad, California, in 1976, and the first Hawaiian contest was in Haleiwa two years later.

1980s | The Explosion of the Boogie Board

The early 1980s was the dawn of the first real dedicate magazine coverage of the new sport of "bodyboarding." Since then, tens of thousands of people have built their lives around bodyboarding or launched a career from it as bodyboard stars, competitors, judges, shapers, videographers, coaches, and retailers.

Bodyboarding has brought people together and formed a unique and strong network of friendships across the globe that crosses the usual lines of conflict, race, religion, nationality, age, and gender.

Very few sports and trace their ancestry back to one person, but bodyboarding can. Bodyboarders continued to grow within the sport itself and today's top bodyboarders are among the planet's most gifted athletes, perhaps some of the greatest wave riders to have ever lived.

Past the accolades, the elite bodyboarders' motivation is simple and pure; it is not for money, but for experience and lifestyle: something Tom can be proud of.

The new craft had been ridden at the Banzai Pipeline by the 1980s, and pioneers like Keith Sasaki were developing the unique Hawaiian style of bodyboarding.

The day bodyboard legend and drop-knee inventor Jack Lindholm paddled out to Pipeline for his first time, he got up "Jack Stance" on his first wave becoming the first rider to drop-knee the Banzai and raising a good cheer from the beach in the process.

By 1981, the US amateur tour had a bodyboard division, and the first US bodyboarding championships were held in California four years later.

In perfect cosmic timing, the seminal Mach 7-7 came in 1982, the same year Mike Stewart arrived on the scene performing never before seen combinations of maneuvers.

In the 1980s, Morey returned to mainland USA to work for Boeing but returned to California in the 1990s to re-enter the surf business.

1990s | Continuous Innovation

It was well-known that this Californian surf inventor boogied to a different beat. Morey was a restless inventor. After the boogie, an improved sailboat, and a three-player chess, Morey created a universal language and number system... and much more.

Morey was also a major league surfing innovator who wrote about designing artificial waves many years before the first flow riders were built.

He could already see - back in the 1980s - hydrofoils and Slater-esque wave pools. Tom's proposal was a 1.5 square mile inland "surforium" with large concrete bumps to create permanent standing waves and wanted to build this idyllic water park he named Morey Boogie Land in Hawaii, where the ocean surfing is already the finest in the world.

"Tom is a born tinkerer," says John Severson. "For him, everything is in a continual state of evolution. It is his greatest strength and weakness. There isn't anything that exists that doesn't need some parts added on."

In 1999, Surfer listed Tom Morey as one of the twenty-five most influential surfers of the century.

2000s | Inspiring Millions

After the millennium, Morey focused on developing new soft surfboard technologies and his own unique surfboard shapes, with the Swizzle Longboard being his most popular design. Morey was inducted into the Huntington Beach Hall of Fame in 2003.

He told Surfers Journal in 2008: "The world is an old-fashioned place to me. Everything I see can be improved."

Tom continued playing music with quartets and bands up until he lost his sight.

Put simply: Tom Morey was surfing's first legitimate futurist. A short list of ideas he has brought to the surfing world's attention includes professional contests, removable fins, down rails, wax replacements, bodyboards, and the idea of soft beginner-friendly surfboard technology.

Maybe that is the reason why, in spite of Morey's ubiquitous name and nature, it's so easy to lose sight of the impact he has had on surfing over the past 50 years.

Support Tom Morey and his family.

Are you a fan of Morey's vision and work? Discover a few things you probably didn't know about the inventor of the boogie board.

Words by Seamus McGoldrick

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