The movie revels in the absence of anything weighty, but its carefree message resonates today
Image: Wikimedia Commons
I have never surfed—never even dreamed of surfing or had any inclination to pick up a board—and yet in this summer of our discontent I have become mesmerized by Bruce Brown's timeless documentary The Endless Summer. It is a beautifully shot film from pristine locales chronicling the worldly travels of two dashing surfer dudes in the mid 1960s. Brown's masterpiece has been airing over and over again this summer on ESPN Classic, and it seems to me like a perfect antidote to all the bad news coming out of Washington these days.
Wouldn't we all like to leave everything behind and go out in search of the perfect wave right about now? Wouldn't we like to worry about nothing more than finding the right beach with the right surf and the right water temperature? I'd bet the ranch that President Barack Obama, he of the Hawaiian birthplace, would sign on to that deal if he could. If the movie were food it would be your favorite dish at the local diner. If it were a song it would be the sort people pay to listen to in order to fall asleep. If I were a doctor, I would prescribe it to my patients.
Here's how Brown's people subsequently described what he accomplished nearly 50 years ago:
In 1964, filmmaker Bruce Brown decided to follow two surfers around the world in search of a perfect wave. On a budget of only US $50 thousand, with a 16mm camera, he captured the essence, the adventure, and the art of surfing. Hence the renowned The Endless Summer. From the waters of West Africa, through the seas of Australia, to Tahiti, two surfers from California achieved their great dream: to try the wildest waves in the world.
Here's a brief video clip from the film:
The genius of the movie is that it seeks to do no more than record an escape from the burdens of the real world. 1964 was a particularly important pivot point in American history. It was the year of the Warren Report; the year of the Gulf of Tonkin episode that led to the disastrous escalation of America's involvement in the Vietnam War; the year of Barry Goldwater and the Civil Rights Act. These momentous events were happening—shaping a generation—and yet these guys were chasing waves from here to (literally) Timbuktu without an apparent care in the world. They were tuning out in the sun and the surf long before their contemporaries began tuning out with drugs.
The Sandals performed the music for the film, and the surf rock themes are, you might say, epic. Here's the score:
The documentary was released in 1966 to surprisingly good reviews from mainstream movie critics. The timing was serendipitous. The technology of filmmaking would not have allowed the film to be made five years earlier. And five years later, in 1971, the sun and fun would have seemed far too frivolous following the race riots, Kent State, and the body bags coming home from Southeast Asia. For these reasons, The Endless Summer seems as much of a period piece as Citizen Kane or Gone With the Wind. Yes, son, there really was a time when the beaches were clear and no one bugged you to put on sunscreen.
The film indeed revels in the absence of anything weighty. There is a single remark by Brown about South Africa's apartheid—he lamely notes that the area's sharks and porpoises segregate themselves in the water. There is a sexist remark about the bathing suits of Australia's female surfers. A few locals here and there are made fun of. And that's about the extent of the film's political message. We don't know what the boys think about anything beyond what they think of the water and the waves and the size of the surf. They aren't characters so much as props.
The film's philosophical message, on the other hand, is front and center: There is art and science in most human endeavors, including the ones that ultimately matter the least to the story of our existence on Earth. The "perfect wave" doesn't exist only in the perfect world these men inhabited during their journey. And yet the surfers were as beautiful and as graceful as the beaches and waves upon which they played. They were as carefree as the fish they saw in the water or the animals they saw on land. No wonder the Beach Boys used the title for their 1974 memorable compilation album (Side 1: "Surfin' Safari," "Surfer Girl," "Catch a Wave," "The Warmth of the Sun," and "Surfin USA").
The Endless Summer, the movie, became an anthem to the world's surfing community. And it helped inspire an international boon in surfing while continues unabated to this day. "Now it's mainstream," Brown told an interviewer last year, "but in the '50s and '60s you were an outcast, you didn't want to mention it in some circles." I'm no movie buff, and I'm sure y'all will correct me if I am wrong, but I cannot name another movie that led a cultural revolution as much as this one evidently did. The Endless Summer introduced world-class surfing to the world and the world was ready and delighted to make the acquaintance.
No doubt there are young men and women in America today who, like me, have seen the old movie on ESPN and become inspired by the grace it portrays. Good for them. I won't ever make it onto a board. But, alas, those who will are likely to search in vain for the empty beaches and mellow pace the boys found, the boys exuded, when they went on their worldwide tour in 1964. Everything has changed since then—everything but the waves of course.
“Don’t underestimate me,” declared newly announced Presidential candidate Bernie Sanders to George Stephanopoulos on Sunday. That may be good advice.
By conventional standards, Sanders’s candidacy is absurd: He’s not well known, he doesn’t have big money donors, he’s not charismatic, and by Beltway standards, he’s ideologically extreme. But candidates with these liabilities have caught fire before. Think of Jerry Brown, who despite little funding and an oddball reputation outlasted a series of more conventional candidates to emerge as Bill Clinton’s most serious challenger in 1992. Or Pat Buchanan, who struck terror in the GOP establishment by winning the New Hampshire primary in 1996. Or Howard Dean, who began 2003 in obscurity and ended it as the Democratic frontrunner (before collapsing in the run-up to the Iowa Caucuses). Or Ron Paul, who in 2012 finished second in New Hampshire and came within three points of winning Iowa.
Two recent events—the spectacle of Garry Trudeau, the Doonesbury creator, attacking a group of murdered cartoonists for offending his sensibilities, and the protest organized by a group of bien-pensant writers against the PEN American Center for planning to honor those cartoonists tonight in New York—have brought the Charlie Hebdo controversy back to public consciousness. So has the failed attack Sunday in Texas on a group of anti-Islam militants staging a Prophet Muhammad cartoon contest, though, unlike Charlie Hebdo, the organization that sponsored the Texas event is run by an actual anti-Muslim extremist who, I'm proud to say, is a personal nemesis of mine.
Much has already been written about both the Trudeau and PEN controversies. I particularly recommend David Frum on Trudeau, and Katha Pollitt and Matt Welch on PEN, as well as this fine op-ed by Andrew Solomon and Suzanne Nossel, the president and executive director, respectively, of the PEN American Center. These represent only a handful of the many dozens of writers who have risen in defense of free speech, and of Charlie Hebdo’s right to lampoon religion.
Marilyn Mosby's press conference Friday shocked residents of Baltimore and everyone else watching protests over Freddie Gray's death. Barely 24 hours after police had completed their investigation into the death of the 25-year-old black man in police custody, the Baltimore City state's attorney announced a strong slate of charges against the six officers involved. It wasn't just the speed (Mosby said her office had begun investigations the day after Gray's arrest, and six days before his death) but the charges: second-degree depraved-heart murder against one officer, with the others facing a mix of manslaughter, assault, misconduct, and false imprisonment.
The decision was met with jubilation in West Baltimore, where protestors had rioted just four nights before. But almost immediately, critics began to second-guess Mosby, who's been on the job for just a few months. Were her charges politically motivated, or perhaps calculated to calm protests? Had she overcharged the officers, picking unfair charges, or ones she couldn't win? Did she move too fast to charge the officers?
The Onion had a problem: It fell behind the times. The mock newspaper hadn’t printed an issue on actual paper since 2013, and in the period since, it never redesigned its website. As the media world changed—as the New York Times and the Washington Post adapted the ways they published stories online—The Onion lost a key satirical weapon. Visually, it no longer looked like many of the publications it parodied. And so, like it had done many times before, The Onion tagged along.
Where did it come from, and what are its intentions? The simplicity of these questions can be deceiving, and few Western leaders seem to know the answers. In December, The New York Times published confidential comments by Major General Michael K. Nagata, the Special Operations commander for the United States in the Middle East, admitting that he had hardly begun figuring out the Islamic State’s appeal. “We have not defeated the idea,” he said. “We do not even understand the idea.” In the past year, President Obama has referred to the Islamic State, variously, as “not Islamic” and as al-Qaeda’s “jayvee team,” statements that reflected confusion about the group, and may have contributed to significant strategic errors.
The simplest way to reduce the number of Americans who are abused by police officers is not to retrain cops or to reform their subculture. It is to significantly reduce the number of adversarial interactions people have with police.
Questions about how frequently Americans ought to interact with law enforcement are often associated with the debate over Broken Windows theory. Its proponents champion a model of policing where foot patrolmen are a regular presence in high-crime neighborhoods, vigilantly guarding against the sorts of low-level disorder that ostensibly leads to more serious crime if left unchecked.
For now, let's defer debate about Broken Windows theory.
Even if it is correct, there are still a number of reforms that would reduce adversarial contacts with police officers without increasing disorder on the streets.
The characters of the TV show Girls have the kinds of problems only childless people complain about. A fight with a partner over whether the songs you write together sound like those of a popular indie band. A fight with a friend over how long it took them to come over. A chilly reception to one's modern-art show.
It's no wonder Millennial audiences relate to the show so well: Today's twentysomething women have been slower to have children than any previous generation.
In a new report, the Urban Institute think tank writes that in 2012, there were only 948 births per 1,000 women in their 20s, "by far the slowest pace of any generation of young women in U.S. history." In 2007, the rate was 1,118 births per 1,000. The decline in births was largest among Hispanic women, at 26 percent, followed by black women, at 14 percent, and an 11 percent drop for white women.
I recently spoke with Pugh about what this means for American workers, society, and public policy. A lightly edited transcript of our conversation follows.
Rebecca J. Rosen: A central premise of your research is that work is about more than money—it's also about identity and relationships, particularly within a family. How does work shape us beyond our bank accounts?
Last year, as part vanity project, part science experiment, I decided to adopt a new skin-care routine, something that an aging celebrity might use on a daily basis. My goal was to determine whether, in fact, a high-tech routine can make a difference. Are beauty products worth it?
A dermatologist friend introduced me to Marie, who ran a “skin science” clinic next to his office in Calgary, Canada. This was not a medical office, but a clinic that provided cosmetic services and products aimed at helping people enhance the look and condition of their skin. “I am, really, a skin coach,” Marie told me as she showed me around the office. She had a degree in microbiology, was infectiously good-natured, and had absolutely flawless skin.
But there's just as rich a cultural tradition of not-so-epic love songs, opting for plain language and hedged declarations and a negotiator's precision. Three rock albums out this week work in this mode, offering examples of what makes a good relationship-real-talk song and what makes a generic one. Mumford & Sons, Best Coast, and My Morning Jacket all aim to portray feelings that fall somewhere between total infatuation and absolute heartbreak, an emotional zone that's not very cinematic but that certainly can be relatable and, occasionally, devastating.