![]() (Shaun T omson, MR, Rabbit, PT, in Free Ride) The kind of thing you can hark back to with an air of ‘don’t make em like they used to’/’you missed it’ dismissiveness.Īfter all, isn’t that what surfing’s all about? Take a great part, match with great music, and you’re into the realms of timeless classic. Similar to how the youth of today seem reluctant/unable to come up with anything new of their own, preferring to instead ape bygone eras, with or without irony, so too thus does much of the best accompanying surf movie tuneage often emanate from the era that the on screen surfer’s parents were likely rocking out/getting high/heavy petting.īe that as it may, a great tune is a great tune, and a good video part, like a party, becomes better if generously scored. These days of course, anything goes, as long as it’s in no way pioneering or original. In the 80’s surfing borrowed a bit of everything from popular culture before the 90’s and Taylor Steele in particular meant anything semi decent in terms of action was invariably scored with regrettable SoCal punk-pop. ![]() In the 70’s boards got shorter, hair and tube rides became longer, as did indulgent lead guitar solos. In the beginning of California surf culture, it was speedy surf guitar evolving into Beach Boy pop. Ever since The Duke first picked up a ukelele and plucked away.Īnd ever since Jürgen tucked half a dozen blond dreads behind his ear and did ‘Redemption Song’ on one of the surf camp bean bags. Surfing and music have endured an at times beautiful, at times strained relationship since the beginning of shred.
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