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Acknowledgments

This book is a collaborative effort, and I owe many individuals and institutions a debt of gratitude. I am especially grateful to the individuals who took the time and effort to read and comment on drafts of parts of this book. Jane Schmauss, staff historian at the California Surf Museum, read early versions of several chapters and offered insights based on her years of activity in Southern California’s surfing community. Then she dipped into her deep well of contacts when I was struggling to find a few key individuals to request their permissions for illustrations and examples. Ricardo D. Trimillos, Professor Emeritus in Asian Studies and Ethnomusicology, University of Hawaiʻi at Mānoa, read several versions of the introduction, and chapters 1, 3, 4, and 7 (over half the book), and then fielded frequent questions throughout my writing and revision process. Patrick Moser and C. D. Kaʻala Carmack read chapter 1 concerning historical Hawaiian surfing. Kaʻala continued to entertain my many questions about Hawaiian music throughout the book. My colleague David Novak read and engaged me in a fruitful conversation about chapter 2 on California Surf Music. A special thanks to Lauren Davies, the writer for several recent films about surfing, who selflessly provided valuable comments about my chapter on surf movies even though I do not profile her films. Finally, my wife and fellow academic, Ruth Hellier, read the entire book, some parts multiple times. Though I cannot claim to have been successful in satisfying all of their concerns, nevertheless the comments, corrections, and criticisms from these generous readers made this book much better that it would have been had I been left on my own.

While researching and writing this book, I was very fortunate to have opportunities to present my ongoing work to groups of keen students and faculty in several states and countries, some with strong surfing communities such as in Ireland and Portugal, but others for whom surfing is somewhat exotic, like Germany and the Netherlands. Without fail, however, students and faculty provided valuable perspectives on my work. Campuses where I presented my work include the University of California, Riverside, where Deborah Wong provided especially helpful comments and critiques. I also aired early versions of my work at the University of California, San Diego; San Diego State University; and UCLA. Sonia Seeman and Veit Erlmann provided critiques and encouragement when I presented my work at the University of Texas, Austin. At the University of Hawaiʻi, Mānoa, professors Ricardo Trimillos, Fred Lau, Jane Freeman Moulin, Jay Junker, Victoria Holt Takamine, and Barbara B. Smith were especially helpful with their knowledge of Hawaiian cultural practices and history. I am grateful to Jonathan M. Dueck, who invited me to present a virtual lecture to the Franklin Humanities Institute Faculty Working Group on Sports at Duke University. Jonathan also organized several paper panels on music and sports for the Society for Ethnomusicology’s annual meetings in which I was privileged to take part. Presenting my work at my alma mater, Brown University, at the invitation of Kiri Miller and in the company of some of my faculty mentors, Rose Subotnik and Jeff Todd Titon, was a distinct honor.

In continental Europe I was invited to present my research at the Ethnography Museum of Neuchâtel, Switzerland; Groningen University and Utrecht University, the Netherlands; Universidade Nova de Lisboa, Portugal; and at the Hochschule für Musik und Theater, Rostock, Germany. I am especially grateful for the encouragement and helpful suggestions of Yann Laville in Switzerland, Barbara Titus and Kristin McGee in the Netherlands, Salwa Castelo-Branco and Frederick J. Moehn in Portugal, and Britta Sweers in Germany. In the United Kingdom, I presented my work at Oxford University; Sheffield University; Goldsmiths, University of London; City University, London; and Queens University, Belfast. At these universities, my key interlocutors were Martin Stokes, Anna Stirr, Jonathan Stock, Barley Norton, Stephen Cottrell, Keith Negus, Laudan Nooshin, and Suzel Ana Reily. The Republic of Ireland has a lively and growing surfing community, and I had the pleasure of presenting my work there on three different occasions: at University College, Cork; at the main campus of the University of Limerick; and later, as the keynote speaker for the International Council for Traditional Music, Ireland, held at Mary Immaculate College, University of Limerick. I benefited from the comments and observations of several keen surfers on these Irish campuses, as well as faculty colleagues Juniper Hill, Colin Quigley, Helen Phelan, Mícheál O’Súilleabháin and Tony Langlois. All of these scholars and their students added depth to—and helped me identify the limits of—my understanding of surfers as an emerging global affinity group.

My home institution, the University of California, Santa Barbara, granted me a sabbatical to work on this book, which I took in England. This may seem like an odd move for someone researching and writing about surfing, but have a good look at a map. The United Kingdom encompasses several islands that are washed by north Atlantic swells. There I had the great pleasure of meeting Brian Page and “Turbo” Tim, who showed me the surf spots in southern England, and Scotty and Aaran Williams, who taught me about surfing on the Isle of Wight. In Cornwall I had the pleasure of interviewing British surfing musicians Ben Howard and Neil Halstead, as well as Roger Mansfield, author of The Surfing Tribe: A History of Surfing in Britain. My spirit benefited from the camaraderie that I experienced in these British surfing scenes.

At the University of California, Santa Barbara, I am very grateful to Dean David Marshall for supporting my sabbatical leave, and for providing research funds. The Interdisciplinary Humanities Center on campus provided the first forum for me to present my early research on the topic, and subsequently granted me release time from teaching so that I could focus on research and writing. The Academic Senate also generously provided me with travel funds for several fieldwork trips. This project would not have happened with their support. Here at my home campus I also received sustaining intellectual support from my departmental colleagues, notably Stefanie Tcharos, who help me theorize notions of genre. I also wish to acknowledge Dick Hebdidge and Holly E. Unruh, former director and associate director, respectively, of the Interdisciplinary Humanities Center, who offered support and insightful comments about popular music in California; and sociologist Jon Cruz, who was a sounding board for ideas throughout the process. Finally at UCSB was a “posse” of surfing professors, staff, and graduate students who formed a core group with which to share ideas: Kip Fulbeck, Hank Pitcher, Stuart Sweeney, Michael Petracca, Judy Bauerlein, Ali Bjerke, John Lee, and Malcolm Guart-Williams. Thanks to you all for creating an intellectually stimulating and supportive community.

Other institutions that became important locations in my research include the Surfing Heritage Foundation and Museum, San Clemente, California, which welcomed me to their well-stocked library and archives. Barry Haun, Curator and Creative Director, was particularly helpful. The Bishop Museum Archives in Honolulu is a key source for any project involving surfing culture and history. I have already mentioned the California Surf Museum, Oceanside, especially Jane Schmauss. The International Surfing Museum, Huntington Beach, California, was always a welcoming site; I am especially grateful to JoAnn Beasley, who up until her death welcomed me and thousands of others into the museum every year. Goldsmiths, University of London, became my research home when in England.

I am very pleased that the editors and Editorial Board of the University of California Press saw some merit in this project and agreed to publish it. I am especially thankful for the editorial guidance of Kim Robinson, the Regional Editor, who first provided substantial comments on my book proposal; Mary C. Francis, the Executive Editor of Music and Cinema Studies, who took the book on; Kim Hogeland, the Editorial Coordinator, who was both efficient and personable; and Rose Vekony, the project editor, who appears to have read every word of the book; as well as copyeditor Carl Walesa and indexer Carol Roberts. Editors put up with a lot, and rarely get the credit due them. I feel very blessed to have had such an excellent editorial team. I am also grateful for the anonymous peer-review and Editorial Board readers for UC Press, who provided challenging and ultimately supportive comments on the book manuscript.

I wish to acknowledge a core group of individuals who were invaluable links to significant communities of people. I thank David Weisenthal, for introducing me to key members of the San Onofre Surfing Club, including Craig Ephraim, three-time president of the club. Both David and Craig helped me sort out who was who in various photos, and they did their best to keep my facts in order. I also thank Bob “Jake” Jacobs, “Honeybaby” Gwen Waters, and Fred Thomas, who each sat with me for long interviews about the history of the San Onofre scene. Dennis Dragon, member of Farm, a band discussed in chapter 3, as well as the infamous Southern California band Surf Punks, has been for years now an affable correspondent fielding many questions, and even guest-lecturing in one of my university classes—much to the delight of my students. Gaston Georis of the Sandals met with me several times to talk about his music since the early 1960s and also graced my university classes. Zach Gill facilitated a number of key introductions, fielded countless questions about some of today’s most popular surfing musicians, and gave generously to me and my students with several guest visits to my classes. Andrew Kidman and Andrew Crockett became essential links to surfing communities in Australia. Finally, Aaron J. Salā, Assistant Professor of Hawaiian Music and Ethnomusicology at the University of Hawaiʻi at Mānoa, generously organized audio recordings of Hawaiian mele for this book that illustrate key themes in chapter 1.

Finally I wish to acknowledge individuals who contributed to this project by allowing me to interview them formally, or informally, on the beach, in the surfing lineup waiting for waves, or wherever we may have exchanged ideas, but whom I have not for various reasons named in this book. It is indeed unfair that so many people made this book possible, but that my name alone is found on the cover. Thank you, co-researchers, named and unnamed. All that is good in this book is due to your efforts, while the mistakes and misconceptions remain solely my own.