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.
The stability of American society depends on conservatives finding a way forward from the Trump dead end.
Election 2016 looked on paper like the most sweeping Republican victory since the Jazz Age. Yet there was a hollowness to the Trump Republicans’ seeming ascendancy over the federal government and in so many of the states. The Republicans of the 1920s had drawn their strength from the country’s most economically and culturally dynamic places. In 1924, Calvin Coolidge won almost 56 percent of the vote in cosmopolitan New York State, 65 percent in mighty industrial Pennsylvania, 75 percent in Michigan, the hub of the new automotive economy.
Not so in 2016. Where technologies were invented and where styles were set, where diseases cured and innovations launched, where songs were composed and patents registered—there the GOP was weakest. Donald Trump won vast swathes of the nation’s landmass. Hillary Clinton won the counties that produced 64 percent of the nation’s wealth. Even in Trump states, Clinton won the knowledge centers, places like the Research Triangle of North Carolina.
A tanker that sank off the Chinese coast was carrying “condensate,” a mix of molecules with radically different properties than crude.
Over the last two weeks, the maritime world has watched with horror as a tragedy has unfolded in the East China Sea. A massive Iranian tanker, the Sanchi, collided with a Chinese freighter carrying grain. Damaged and adrift, the tanker caught on fire, burned for more than a week, and sank. All 32 crew members are presumed dead.
Meanwhile, Chinese authorities and environmental groups have been trying to understandthe environmental threat posed by the million barrels of hydrocarbons that the tanker was carrying. Because the Sanchi was not carrying crude oil, but rather condensate, a liquid by-product of natural gas and some kinds of oil production. According to Alex Hunt, a technical manager at the London-based International Tanker Owners Pollution Federation, which assists with oil spills across the world, there has never been a condensate spill like this.
The national-security adviser is one of the biggest hawks in the Trump administration.
In the increasingly urgent, dramatic debate about the North Korean nuclear threat, National Security Adviser H.R. McMaster stands out in the Trump administration as the strongest advocate of a hawkish position. But where do H.R. McMaster’s views on North Korea really come from? Why, to pose a question The Atlantic’s Uri Friedman recently did, is he so worried about North Korea? Notwithstanding the suggestion, in Friedman’s piece and elsewhere, that McMaster’s views represent some kind of heresy of nuclear deterrence, his worries must be seen in light of how he views Kim’s motives. Indeed, those motives mean the possibility of military action against North Korea could be understood not as a “good thing,” but as the “least bad.”
Advocates are tracking new developments in neonatal research and technology—and transforming one of America's most contentious debates.
The first time Ashley McGuire had a baby, she and her husband had to wait 20 weeks to learn its sex. By her third, they found out at 10 weeks with a blood test. Technology has defined her pregnancies, she told me, from the apps that track weekly development to the ultrasounds that show the growing child. “My generation has grown up under an entirely different world of science and technology than the Roe generation,” she said. “We’re in a culture that is science-obsessed.”
Activists like McGuire believe it makes perfect sense to be pro-science and pro-life. While she opposes abortion on moral grounds, she believes studies of fetal development, improved medical techniques, and other advances anchor the movement’s arguments in scientific fact. “The pro-life message has been, for the last 40-something years, that the fetus … is a life, and it is a human life worthy of all the rights the rest of us have,” she said. “That’s been more of an abstract concept until the last decade or so.” But, she added, “when you’re seeing a baby sucking its thumb at 18 weeks, smiling, clapping,” it becomes “harder to square the idea that that 20-week-old, that unborn baby or fetus, is discardable.”
Allegations against the comedian are proof that women are angry, temporarily powerful—and very, very dangerous.
Sexual mores in the West have changed so rapidly over the past 100 years that by the time you reach 50, intimate accounts of commonplace sexual events of the young seem like science fiction: You understand the vocabulary and the sentence structure, but all of the events take place in outer space. You’re just too old.
This was my experience reading the account of one young woman’s alleged sexual encounter with Aziz Ansari, published by the website Babe this weekend. The world in which it constituted an episode of sexual assault was so far from my own two experiences of near date rape (which took place, respectively, during the Carter and Reagan administrations, roughly between the kidnapping of the Iran hostages and the start of the Falklands War) that I just couldn’t pick up the tune. But, like the recent New Yorker story “Cat Person”—about a soulless and disappointing hookup between two people who mostly knew each other through texts—the account has proved deeply resonant and meaningful to a great number of young women, who have responded in large numbers on social media, saying that it is frighteningly and infuriatingly similar to crushing experiences of their own. It is therefore worth reading and, in its way, is an important contribution to the present conversation.
Years after his daughter reiterated her allegation that the director sexually abused her, more actors are voicing their regret for collaborating with him.
Woody Allen won an Academy Award, the fourth of his career, just six years ago for writing Midnight in Paris. He was nominated again two years later for Blue Jasmine, a film that won Cate Blanchett a Best Actress Oscar. The last year that Allen didn’t release a movie in theaters that he wrote and directed was 1981. Despite the controversy that has dogged him since the early 1990s—when he was revealed to be having an affair with his girlfriend’s daughter and was subsequently accused of molesting his adopted daughter Dylan Farrow—Allen has continued to make movies with the same once-a-year regularity as always, and usually with major stars. He has long denied that he abused his daughter.
But the film industry’s willingness to turn a blind eye to the allegations against Allen seems to be coming to an end. More and more actors who have worked with him in the past are announcing that they regret the collaboration, and it appears the sheen of Oscar-winning prestige he has relied on to attract big names to his projects is fading. Allen, who released Wonder Wheel last month and is set to come out with A Rainy Day in New York this year, may try to helm more movies. But with Hollywood finally beginning to grapple with his enduring presence as an artist, could that be enough to destroy his career?
Corporate goliaths are taking over the U.S. economy. Yet small breweries are thriving. Why?
The monopolies are coming. In almost every economic sector, including television, books, music, groceries, pharmacies, and advertising, a handful of companies control a prodigious share of the market.
The beer industry has been one of the worst offenders. The refreshing simplicity of Blue Moon, the vanilla smoothness of Boddingtons, the classic brightness of a Pilsner Urquell, and the bourbon-barrel stouts of Goose Island—all are owned by two companies: Anheuser-Busch InBev and MillerCoors. As recently as 2012, this duopoly controlled nearly 90 percent of beer production.
This sort of industry consolidation troubles economists. Research has found that the existence of corporate behemoths stamps out innovation and hurts workers. Indeed, between 2002 and 2007, employment at breweries actually declined in the midst of an economic expansion.
Can a 3-D printed model of the organ change views on female sexuality? Yes and no. An Object Lesson.
The clitoris really isn’t that confusing. Or it shouldn’t be, anyway. Nonetheless, acknowledging the shape, size, or even existence of this essential body part has not always been par for the course—even in the medical profession. As a 2005 report from the American Urological Association puts it, “the anatomy of the clitoris has not been stable with time as would be expected. To a major extent its study has been dominated by social factors.”
However, heralded by some as a sexual and physiological revolution, a new 3-D printed model of the clitoris is being used to change the public’s view of female sexuality. Free to download, the life-size model was designed by the French engineer, sociologist, and independent researcher Odile Fillod and released early last year.
Stories of gray areas are exactly what more men need to hear.
The story of Aziz Ansari and “Grace” is playing out as a sort of Rorschach test.
One night in the lives of two young people with vintage cameras is crystallizing debate over an entire movement. Depending on how readers were primed to see the ink blot, it can be taken as evidence that the ongoing cultural audit is exactly on track—getting more granular in challenging unhealthy sex-related power dynamics—or that it has gone off the rails, and innocent men are now suffering, and we are collectively on the brink of a sex panic.
Since the story’s publication on Saturday (on the website Babe, without comment from Ansari, and attributed to a single anonymous source), some readers have seen justice in Ansari’s humiliation. Some said they would no longer support his work. They saw in this story yet another case of a man who persisted despite literal and implied cues that sex was not what a woman wanted.Some saw further proof that the problems are systemic, permeating even “normal” encounters.
The discreet, disorienting passions of the Victorian era
Even by the formidable standards of eminent Victorian families, the Bensons were an intimidating lot. Edward Benson, the family’s patriarch, had vaulted up the clerical hierarchy, awing superiors with his ferocious work habits and cowing subordinates with his reforming zeal. Queen Victoria appointed him the archbishop of Canterbury, the head of the Anglican Church, in 1883. Edward’s wife, Minnie, was to all appearances a perfect match. Tender where he was severe, she was a warmhearted hostess renowned for her conversation. Most important, she was Edward’s equal in religious devotion. As a friend daringly pronounced, Minnie was “as good as God and as clever as the Devil.”
All five of Edward and Minnie Benson’s adult offspring distinguished themselves in public life. Arthur Benson served as the master of Magdalene College at Cambridge University, wrote the lyrics to Edward Elgar’s hymn “Land of Hope and Glory,” and was entrusted with the delicate task of co-editing Queen Victoria’s letters for publication. His brother Fred was a best-selling writer, well known today for the series of satirical Lucia novels (televised for the second time in 2014, on the BBC), which poked good-natured fun at the pomposities of English provincial life. Their sister Margaret became a pioneering Egyptologist, the first woman to lead an archaeological dig in the country and to publish her findings. Even the family’s apostate, the youngest brother, Hugh, a convert to Roman Catholicism, was considered a magnetic preacher and, like his brothers, was an irrepressible author of briskly selling books. All told, the family published more than 200 volumes.