Surfing Culture: The Surfboards, the Surf Accessories & the Waves
You’re reading this because you’re either a seasoned surfer, someone who wants to get into the lifestyle or maybe you’re just a popular culture history buff. Maybe you simply Googled “surfboard shop” and found this article because it’s all about surfing. Doesn’t matter, we’re just glad you’re here. Now slide your surf accessories, your surfboard, surfboard fins, whatever surf gear that’s between you and the screen and immerse yourself in the world of the waves. (The following is from Encyclopedia Britannica’s website concerning the origins of surf culture.) Because they were lightweight, easy to transport, and easy to ride, malibus popularized surfing and sparked a unique, hedonistic subculture. This subculture originated in Southern California but spread around the world, from South Africa to Australia, by surf-film cinematographers, surf magazines, and the travels of the peripatetic California surfers. By the late 1960s a distinctly Australian way of surfing had emerged; based on more aggressive maneuvers performed on shorter boards, it quickly dominated and influenced the global surf culture. At the heart of this worldwide culture, which was loosely based on free-spirited beatnik philosophies of the 1950s, was the “surfari”—a wanderlust trip in search of perfect waves. This culture was reinforced by its own unique language: “like wow,” “daddy-o,” “strictly squaresville,” “dude.” “Surf’s up!” meant the surf was high enough to ride; “Wipe out!” meant to fall off the board; and “Hang 10” meant surfing with all 10 toes over the nose of the board. There was also a “dress code” (T-shirts, striped Pendleton shirts, narrow white Levi’s jeans, Ray-Ban sunglasses) and de rigueur bleached-blond hair and goatee. This surfing culture was predominantly male-oriented, with long-haired women in bikinis serving mostly as admirers on the periphery. The culture rapidly diffused into the mass consciousness of the babyboomer generation, assisted by Hollywood surf films (romantic beach musicals and comedies: Gidget
[1959], Ride the Wild Surf [1964]), surf music (a thundering guitar-based sound played as single-note riffs: Dick Dale’s “Miserlou” [1962], the Chantays’ “Pipeline” [1962], the Astronauts’ “Baja” [1963]), “pure” surf films (“travelogs,” with footage of surfers riding waves: The Big Surf [1957], Slippery When Wet [1958], Surf Trek to Hawaii [1961], The Endless Summer [1964]), and specialized surfing magazines (Surfer, Surfing, Surfing World). The nonconformism of surfers did not endear them to the public, and social commentators branded these youths as itinerants, nomads, and wanderers and characterized surfing as an indolent, wasteful, selfish, and institutionally unanchored pastime.