Just too great a feel-good story not to point out, as ‘Skateistan’ has set up Afghanistan’s first co-educational skateboarding school in the ravaged capital city. Check out an article on Drift or go straight to the Skateistan site:

http://www.driftsurfing.eu/index.php/archives/4196#more-4196  http://skateistan.org/

The best films all seem to have a certain timeless feel. Maybe all the best works of art have that; I remember a quote by André Malraux claiming that exceptional art is an ‘anti-destin’, as if it could transcend the moment in which it was created. It is as if it has an anti-ageing process which means that it avoids being pinned down to a particular period and always remains relevant. So even if Picasso’s Guernica is rooted in 1937 and the atrocities of the Spanish Civil War, it could have been painted yesterday. Or tomorrow for that matter. If we expand that idea to surf films and in particular the movies I have previously raved about here on ‘Olu Olu’, then they too have that lack of the ephemeral. I recently discussed the Mick Waters film ‘Believe’. When do you think it was actually made? The 60s, 70s, 80s or 90s? Or last year? I actually had to dig out my dusty copy to find out. Whether the surfers involved are riding the most modern surfboard or the most primitive piece of wood imaginable, there is no impression of fleeting fashion; rather something durable and significant. A mark of true quality.

It was with real expectation that I approached the recent film by Nathan Oldfield called ‘Seaworthy’. Oldfield has built a reputation for making contemporary classics like ‘Morning of the Earth’. Within ten seconds of watching we are aware of his distinct style, with the simplicity of the opening words, the mellow music, the beautifully crafted images and the usual suspects (Tom Wegener, Dave Rastovich, Beau Young and Belinda Peterson-Baggs et al). Yet this initial veneer of apparent simplicity actually masks something much more profound and complex. Take for example Tom Wegener’s early scene on the Hawai’ian ‘olo’. The ‘olo’ is the much neglected 16 foot traditional plank of wood that is far more unwieldy than its light-weight modern-day counterpart. As a result what we watch is not radical manoeuvres in exquisitely punchy and hollow waves but a man simply trying to get to his feet and glide across an average wave. Wegener himself explains that after a while he realized: “maybe there is something ok with being difficult, even if modern day boards are all about making things easier”.

‘Seaworthy’ could well be described as the film equivalent of the ‘olo’ board. It is simple yet deceptively difficult to watch. At one stage the screen is split into four, with each quadrant worthy of centre stage. How can we watch all four at the same time? In reality, we may have to watch it more than once to appreciate the smaller details. For whatever reason, the first time I started watching the film I didn’t even make it past the first half hour. Yet by the second I was vowing to watch it again the moment I had a spare second. This cinematic version of the ‘olo’ may well be just as rewarding given time and a little effort.

For the official trailer click here:

No art news today as we move from the ’useless’ to the ‘useful’. The Scotsman newspaper has reported that last year the RNLI lifeboat crews were busier than ever. Interestingly, the number of call-outs involving commercial mariners and fisherman remained stable. So that means that it is largely those of us who use the sea for recreation that are causing the surge in numbers. Now I’m not claiming that surfers alone are causing the rise, it is more likely that ‘stay-cationers’ (horrible word I know) are getting caught out with the tide or dragged out to sea in powerful ocean vessels such as lilos! However, big rises in the number of surfers has to play its part, so it is safe to say we should contribute to a charity that rescued almost one thousand people last year alone in Scotland. The RNLI’s fundraising day is this Friday (the 29 January) so buy those red wristbands or support anyway you can. Otherwise karma may come looking for you…

Lacking an action RNLI shot, here is a NASA image of a snow-covered UK

JP 2010 surf count: 4

Having recently written about Nathan Oldfield’s view on the importance of surf movies on the big screen: “a time when we have traditionally gathered to enjoy the shared experience of celebrating surfing together”, Edinburgh – or rather Shredinburgh – is ready for our next gathering. More than just a surfing get-together, this time it is for anyone who enjoys the feeling of ‘glisse’, including our snowboarding cousins. I suspect it won’t have the soulful feel of a retro Nathan Oldfield film but what I can say is that it is directed by Thierry Donard and is called “Perfect Moment: Instant”. From what I can gather (and I may well be wrong), the ‘instant’ is a bit of a mistranslation from the French; what it means here is more like our ‘moment’ or in surf terms that split-second of joy that a barrel brings. The film features Taj Burrow and from the trailer there is at least one heavy, heavy wave.

The night to be there is Tuesday 9^th February at 1830 at the Edinburgh Filmhouse. Here is the official trailer (watch out for that funky electro French beat, it is a bit dangerous). Even if it doesn’t look like your cup of tea, let’s support these films so the Filmhouse put on some more regular showings.

P.S. 2010 surf count: 2

Following my very recent musings over the cult classic film ‘Believe’ – inspired no doubt by my recent transition from thruster to fish – I was surprised to see that director Mick Waters has just made another underground film that looks set to be a special one. The film again looks like it will combine his uniquely beautiful surf images with mellow and hypnotic tunes. All with a whacking great big dollop of soulfulness. The strong ‘family’ feel that pervades ‘Believe’ (a film that makes the most of various significant father-son pairings) is once more present in ‘Little Black Wheels’. Although stars such as Beau Young and Rasta feature once more, the focus this time is on his own family as Waters sets off on a big road trip with wife and three kids in tow. To read more, you will have to go to the North American version of that bible of surfing, Drift: http://driftsurfing.com/features/2009/wheels_go_round/p1.html for a great interview. Here is a taster:

“I see beauty in everyday life and the little things that make it beautiful, like a smile or cuddle from my kids, an early morning sunrise, surfing good barrels, peacocks in the backyard, a beer or seven with friends and family, listening to vinyl records or a nice meal with my wife. Being aware of how good we have it compared to others and acknowledging that makes it easier to find beauty”.  

 Unfortunately it looks like only the Aussies can see the film at the moment, so let’s keep our ears to the ground for any more details. I’m going to try and find out some more details so I’ll update if I hear anything. In the meantime here is a trailer to whet the appetite:

Regular readers will know that I often ponder about the future of Scottish surfing. As we lie some way behind the first wave in surfing trends, it is interesting to question how closely we will follow the example that places such as Newquay have set. So it was interesting to see in ‘the Sunday Times’ a snapshot from the past, in the form of a 1964 article by Nicholas Tomalin (not a surf-writer). Tomalin appears to have mixed feelings about the art of wave-riding. Here are some highlights from the article:

“Why has no-one noticed surfing? If ever I saw a fanatical sporting cult about to burst on an unsuspecting Britain, this is it… There is undoubtedly something unhealthy about this obsession. It catches people, enslaves them and it forces the surfers into virtually outlaw bohemian lives… It’s magic. It can’t fail”.

Although it no doubt would provide insight to the average ‘Times’ reader of 1964, it is far too simplistic to be able to accurately reflect UK surf culture in 2010. There is one nail he hits on the head, however, by quoting Bill Bailey (father of UK surfing): “This thing mustn’t explode, it so easily becomes an excuse for mucking about on the beach. We’ve got to keep control or all sorts of things will happen”.

 Hopefully Scotland is too far removed from the tropical climes of Newquay to entertain the ‘faddish’ side that surfing is often associated with.

A classic - and rare - surf poster at a friend's flat in Biarritz

To read the full article, get yourself down to the Times online: http://www.timesonline.co.uk/tol/life_and_style/health/article6974027.ece

MY END OF YEAR SUMMARY 2009:

• 60 Outs (only a couple until July!)
• Best Wave: Montalivet, the Landes in September
• Most ridden wave: Belhaven

Happy New Year everybody!

‘Believe’ is a stunning celebration of surfing as an art-form. It has been said that ‘Believe’ has no agenda, that it is a cool surf flick that just ‘goes with the flow’. True, it transmutes the joy of wave-riding in a way that a series of radical surf moves set to punk music cannot, but the film certainly seems to have high aspirations to communicate a particular message to share… something. Gandhi is quoted at the end of the film and it is his spirit of non-violence, tenacity, freedom and the power of a collective that pervades the work. The individuals we meet are presented as just ordinary men, but in reality are often pioneering and influential figures in the world of surfing (Terry Fitzgerald, Alby Falzon, Chris Brock, Rasta as just a few examples). Various shapers lament the perceived ‘violence’ and superficiality of modern-day surf culture and they are here to fight – peacefully – against that trend. Unlike many surf films, it is also a must-see film for anyone interested in surfboard design. Various influential shapers expound their philosophy and promote the deep importance of handcrafted designs, that are constantly evolving (“the only constant thing is change”). Like the variety of boards featured in the work, everything ‘Believe’ reveals is handcrafted and genuinely heartfelt. The music is mellow, soothing and yet arresting; the images are often original, combining clever angles with careful choice of light and colour; the words are understated and sparse, but with real resonance. For a film that on the surface is so simple, it also delivers a profound message.

‘Believe’ is a ‘little house production’. It will set you back around 12 squid in the UK. For a trailer, here is a link for you to have a look at:

The best surf I have seen all year has coincided with all the snow. The drive down the coastal roads can be precarious at times but what you are rewarded with on entering the water is priceless. Scotland really comes into its own when the waves are on form, and best of all, it is usually just you or an equally stoked friend who is present to enjoy the experience (as long as you make some effort in choice of location). Monday, like the day before and the day before that, was Belhaven at its finest. The only other surfer out said to me: “it really isn’t bad when you can see the sun going down, the red sky, the moon and the snow-covered hills”. Not to mention the near perfect four foot waves. Lefts and rights. The waves are still going today, but alas, the snow is just too thick to budge.

My new board also arrived yesterday so here is a sneak preview. More on that later once I have been able to take her out.

Semi-trad quad shaped by Rob Lion

For now, I just want to wish everyone a Happy Christmas and to thank everyone who has taken time to read the blog and who has supported the whole process.

A winter ‘Mahalo’ to all!

The colours are actually much brighter in normal lighting

The new surf documentary from the crew at ‘Relentless’ has just landed. Yet does ‘Lives of the Artists’ live up to its much hyped predecessor, ‘Powers of Three’? Far more than just stunning images of the exquisitely rugged Irish coastline, ‘Powers of Three’ was an epic glorification of the fiercest and most dangerous surf conditions: gnarly waves at virtually glacial temperatures exploding onto enormous cliff-faces. Even more important was the deep bond formed between these monsters of nature and three pioneering UK and Ireland surfers who shied away from the surfing mainstream and documented their extraordinary quest. Such was the quality of the production, that it was with real anticipation and expectation that I approached the latest film.

Immediately we are in for a surprise. Instead of opening with the three surfers we are already well acquainted with, we actually start with a new addition to the crew, and he is not even a surfer, but a snowboarder. Instead of a documentary focusing solely on surfing, it works as a triumvirate elevating surfing, snowboarding and punk rock to the realm of artistry. In order to achieve this ambitious aim, we switch regularly between the tale of Xavier de la Rue (snowboarder); Tom Lowe, Fergal Smith and Mickey Smith (surfers) and ‘Gallows’ (the punk rock band). What conceptually is a different and intriguing idea for the surf genre did not initially captivate me as much as I had hoped. Perhaps the problem was that since each individual had such a compelling story to tell, we naturally want to learn more before the focus switches to another element. As an example Xavier de la Rue (which would really be better as ‘Xavier de la Montagne’) provides a fleeting glance of what a deeply thoughtful and interesting man he is when reflecting on his conflict between the aesthetic and the technical, the emotional and the rational. Yet the film quickly changes tack. Onto the surfers, and it may not be impossible that if we watched ‘Powers of Three’ we may feel a slight tinge of disappointment. Instead of them further pushing down the surfing boundaries of what is still a relatively unexplored Ireland, they leave behind the slack summer waves in search of the well-trodden – but nonetheless spectacular – path to the almost mythical wave at Teahupoo. Nonetheless, this move to warmer climes is far less striking than the decision to follow their tale with that of ‘Gallows’. Indeed, irrespective of musical taste we may initially question exactly why the band is so unique as to merit their place among this miniature pantheon of young greats. They continually tell us that they are different, that they have ‘a point to get across’, a ‘message’ and ‘things to say’. Yet what are these things?

Ultimately, we need not worry. The three disparate strands all come together at the end to form a cohesive whole. Xavier de la Rue’s closing statements about his love of the mountain – and the sea – put him comfortably at one with the surfers. The punks also proclaim the wonders of a simple life. Their message? Simply a rejection of the mainstream. Voltaire defined a philosopher by a long series of negations: he is not a prophet, not inspired by God, not a rule-maker. ‘Gallows’ have a similar distrust of constructions, thriving by breaking down the rules in search of something deeper. The surfers are equally challenging of the status quo. As they sit in the circus-like crowds of Teahupoo they proclaim the virtues of pushing one’s limits, adventure, isolation and hostility. Each group shares these core values to a certain extent. A more linear presentation of the three strands would have failed to capture this bond and an important concept that is omnipresent in the film: soul. If, as Xavier de la Rue claims, a mountain has ‘soul’, then certainly so does this film.

To watch this film, follow this link: http://www.relentlessenergy.com/films/view/lives-of-the-artists

For just a taster, try the trailer:

 

Yes! The eagle-eyed among you spotted that the flowing locks have been severed. Please now stop making the Samson and Delilah comparisons, they may have been good to start with, but…

One of us attracts a load more women than the other one...