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[man] And we're rolling.

Alright, here we go.

Strange beautiful grass of green

with your majestic silver seas

Your mysterious mountains

I wish to see closer.

May I land my kinky machine?

Although your world wonders
me...

[Jimi Hendrix]
with your
majestic and superior

cackling hen.

Your people, I do
not understand

So to you, I shall
put an end...

and you'll...

never hear surf music again.

Those are the words of
Jimi Hendrix

that have have been cited

thousands of times, as if Jimi
was saying

surf music had died in the 60s

And it couldn't be further from
the truth.

Hendrix was wrong.

[The Madeira plays
“Sandstorm ” ]

[waves crashing ]

[The Eliminators plays
“The Lonely Sea ”]

Just like Motown for Detroit and
Reggae for Jamaica

It was a local regional music
that came out

of the lives of young kids in
Southern California.

The growth of surf music was

really quite phenomenal.

It started in 1961 in Southern
California

with only a handful of bands

and a handful of recordings

And within a year or two, there
were

hundreds of recordings by
hundreds of bands

across the country.

In the beginning, it was just
about the

music and the surfers enjoying
the music

and embracing it and claiming it
as their own.

[Howard Kaylan] Surf music is a
bunch of kids on a beach around

a bonfire and just having the
best time

without any social obligations
or school pressures.

And there was no future and no
war and no

economy and nothing to worry
about.

[Bill Medley] I was attracted to
the simplicity and the energy
of it.

that's what rock and roll is and
was...

was simplicity and energy.

I dropped the flute like a hot
potato

because I loved the guitar.

[Bob Berryman] Because there
were no sound systems

we knew that we couldn't hear
the voice anyway.

And we were more interested in
the melodic

and in the power!

Surf music truly is rock
instrumental

with a reverb tank.

There's something about the
sound of instrumental

surf music that flips a switch
with people.

There's something magic that
happens.

Something magic that happens
with the audience.

They regress, they start feeling
younger.

They want to get up out of their
seats and dance.

[Will Glover] We had those amps.

It was that kind of music where
they didn't care.

It was the fun of the music,
because it was loud!

There's no pretension.

There's no hidden meanings.

There's no message.

It's just pure unadulterated
fun.

[sound of static]

[sound of film projector]

In the early sixties my family
lived

in Montclair, Southern
California.

A little dry dusty town in the
Inland Empire

on the edge of the Mojave
Desert.

Montclair was removed from
ground zero

of surf music by 40 or 50 miles.

But, I got a transistor radio in
1959

and that opened up the world to
me.

[radio tunes]

K-Earth 101, the king of the
surf guitar

Dick Dale and the Del-Tones.

[The Del-Tones play
“Surf Beat ”]

And one day, in 1961...

I'm listening to K-MEN in
San Bernardino

And they were the first radio
station to actually play...

Dick Dale's first record.

Once I heard my first Dick Dale
record

I was hooked on that kind of
music

And I started collecting surf
records left and right.

And at the same time, I was
learning how to play guitar.

Bands like Dick Dale and the
Del-Tones

The Challengers

they were like my teachers.

And a few years later, I
realized

that I had several thousand
records.

And I discovered that there had
been surf bands

from every state in the Union

and from almost every overseas
country.

It was just an amazingly diverse
form of music

that had spread like wildfire.

And so I wondered where did this
music come from

to begin with?
What happened to it?

Did it really go away?

If it did, why?

[The Tom Morey Band play
“Cannon Blues ”]

The outside world didn't really
view

surfers, all that much at first
because

there was just so few of them
and it was

more or less seen as a...

He-man athletic pursuit

that was very rare.

or drawing of surfers would
appear on

the travel magazines.

Surfing as a culture, kind of
flew in the face

of mainstream culture.

It was non-productive, kind of
hedonistic...

pleasure seeking, responsibility
avoiding kind of thing.

And no, self-respecting, parent
would

endorse their children pursuing
that

in exchange for school and
career...

because our parents were all
children of the depression.

For them it was security.

As a surfer

you were getting the idea

that maybe that was a false god.

Maybe there were other things
that were important.

There was a real high
priority on

having a job, everybody
wanted to have a job

and be productive and be
contributing to society

and all of that kind of thing.

If you said you were a surfer,
it was like

you were a drop-out of that.

And you were sort of.

By the time, surf music exploded

in Southern California

in the early 60s, surfing
culture had pretty much

been firmly established here

at least since the late 50s.

As surfers, we'd drive to the
beach and get jacked up

to the music on the car radio.

Interestingly, the music that
we were

surfing to at that time was
probably jazz.

[Jazz plays on radio]

We'd get some beer and go to
some guys house.

Trying to get some girls to come
over

and put on Jazz records.

Like
Herbie Mann at the Village
Gate.

Miles Davis, Henry Mancini,

the theme to
Peter Gunn,
theme
to
Black Saddle.

In Newport was a place called

The Rendezvous Ballroom and my
parents found

out about the Rendezvous and
started taking

me there when I was maybe
fourteen.

And during a wonderful several
year period

I heard every major big band
that would come through.

Gene Krupa's band, and Les
Brown, Woody Herman

Stan Kenton, Tommy Dorsey,
Jimmy Dorsey.

To be there on the Bandstand and

watching the band and the
vocalists

and the drummers and all that
was

God, it was marvelous.

And then we start going down to
the

Lighthouse in Hermosa Beach and
there's a

bunch of guys from
The Stan
Kenton Orchestra

that are playing, there's Shelly
Manne

is the drummer

Howard Rumsey on bass

Conte Candoli -trumpet

Shorty Rogers -trumpet, Bob
Cooper -sax

Bud Shank -sax.

And one of the more innovative
filmmakers was Bruce Brown

And Bruce Brown, would go down
to the Lighthouse

'cause that's where the jazz
was played.

[Jazz music plays]

The reason that jazz was adapted
to surfing

by surfers, was that it had kind
of a

lyrical flowing surf like
environment it created

and surfing the wave was a sort
of improvisational

and jazz was improvisational.

It was about virtuosity and Jazz
was about

individual instrumental
virtuosity.

So, there were really lots of

kind of symbiotic, aspects of
the two forms of expression.

[Jazz music plays]

These artists like Henry Mancini

Les Baxter and Martin Denny were
looking for

an atmosphere and that
atmosphere really

gelled with beach culture, and
ultimately

surf culture.

It really wasn't as much of an
idea of a

California culture, it was like
a transplanted

Hawaiian thing.

They kind of wanted to be like
Hawaiians.

In that kind of later 50s time
frame

the fact that the board went
from 100 lb

piece of dense wood to a light
30 or 40 lb

fiberglassed balsa wood board

surfboards became even more

accessible when foam came out in
‘59

so, they could make as many
boards as they

needed to fill the demand.

The sport had gone from maybe
500, 1500 surfers

to five, six, seven or 8000
surfers

And that's where it was

when the movie
Gidget
came out.

[Instrumental music plays]

One day, I came to Malibu and
there was a

shack there and I think Harry
Stonelake

and “Tubesteak ” built it.

Different guys would hang out
there 'cause there

was some shade. Terry Tracy, who
was living,

there was married and lived
elsewhere, like

Englewood or something.

He was at the shack a lot and he
would just

just hang there, you know, and
hang

out with guys and get them to
buy him some

beer and stuff like that, and he
named Gidget.

There was a girl midget that
arrived on the scene

and sets up headquarters.

She goes home and tells her
daddy all this stuff.

Her daddy writes a book.

I remember the day that my
father picked me

up at Malibu and drove me home.

It was in the Dynaflow Buick as
my board

was sticking out of the back.

I turned to him and I said: “I'd
like to write a story

about what's going on
at Malibu. ”

And my father said: “Why don't
you tell me

everything? And I'll write the
story for you.

I'm the writer. ”

So I started telling him...

that I was called Gidget at
Malibu

which meant girl midget.

I told him about Terry
“Tubesteak ” Tracy that

lived in a shack with Harry
Stonelake.

And I told him how incredibly
interesting

the lifestyle that I thought
Malibu was.

It was all about what was
outside and I

thought the whole sorta
lifestyle was

fascinating that there were
surfboards... young men

There was somebody living in a
shack and we

were waiting for the wave.

[Music plays]

That book really was... I don't
know

they're going: “bitchin”,
“rocket bombs ” and

“Go, Gidget, go! ” “Shoot the
Curl! ”

God! Can you believe that? I
can't.

Columbia Studios bought the
rights to the novel

and in 1959, the Hollywood
version hits theaters
nationwide.

[Music plays]

The movie comes out, everybody
loved the movie

except, for guess whom? Surfers.

The movie
Gidget
was kind of
interesting.

These days, it would be pooh-
poohed.

The surfers would sneeze at it.

But, when it came out, it was
the first acknowledgement

by the mainstream world of
surfing.

The theme song to the movie was
sung by James Darren.

It became a top 100 hit record

in the spring of 1959.

When the
Gidget
film comes out,
a teenage

culture, emerges in a completely
different environment.

You're not seeing skyscrapers,
you're not seeing

buildings, you're not seeing
metal microphones,

you're seeing a shack in the
sand next to

water and luminous waves that
people are

zooming in and out of with these
little boards.

This is just unprecedented and
no one's

seen anything like this.

It may me cool

and it glorified the surf
culture, even

though it did it sort of in a
dorky way.

Every time Hollywood touches
surfing

they goof it up.

Even when surfers try to do
surfing...

they don't get it right.

So when Hollywood does it, what
are they

going to get?

So, surfers were listening to
jazz, and

rhythm and blues.

But where was the surf music?

[Film projector turns on]

There was no such
thing as surf
music at the time.

I never heard that expression.

Surf music?

[Bongo plays]

But, maybe somebody had a bongo
drum.

When you're in the water

and Malibu is six to eight feet.

You're out there and here comes
a set.

I guarantee you, you're not
going to sit there

saying: “Oh, bro this is
music to surf by. ”

You don't do that.

You just take off on waves.

Surfing films of the 1950s, were
not seen

by all that many people.

Bud Browne had been making
surfing movies

from about 1942, or ‘43

and showing them just at

lifeguard stations.

Greg Noll was making little

tiny films called
Search for
Surf
.

Just before
Gidget
came out

Bruce Brown was doing his first
movie

Slippery When Wet
.

Gidget
gives the ability

for these people to make
full-length

features and draw larger
audiences.

Once
Gidget
becomes popular,
teenagers that

are into rock and roll, start
gravitating

towards surfing.

In the surf movies, they
wouldn't have

music synced on the footage
itself.

It was just they turn on the
projector.

He was just putting an album
on and he put

on the soundtrack to
Peter Gunn
.

[Henry Mancini plays
“Peter Gunn ”]

The Mancini Peter Gunn thing

was used for big waves
at Sunset Beach.

We'd be looking at the screen
and you'd see

this wave and you couldn't
really tell what

was going on with it and
all of a sudden you

see a couple of ants sweep up
the face and

the driving “boom-boom-boom-
boom ” and my God...

those waves were twenty-five
feet.

And, you know, you just get
jacked

out of your mind.

And so you started to
see a lot of

interesting things come about
from the filmmakers.

For instance, I remember a John
Severson in

a film sequence at Secos of a
hot

offshore morning, having Kemp
Aubrey

play Flamenco guitar.

[Guitar music plays]

I honestly think that Bud Browne
was

probably the first person to
connect

instrumental music to the surf
culture

because he acquired the
Fireballs music,

right when it came out in the
late 50s.

[The Fireballs play “Bulldog ”]

And he immediately started
playing those albums

with his movies.

Things were changing

Civil Rights Movement was
getting going.

Folk music was getting big

The Kingston Trio came along, so
they were all

these kind of hints at what was
going to

be developing culturally in the
60s.

it was still kind of in its
youth.

Kids weren't really paying that
much attention.

They were just doing their thing
but in

reality 1959-1960 was a pretty
bland

period musically.

What you were hearing on the
radio just

before surf music broke was
mostly teen idols in

heavily orchestrated material.

That was the era of Frankie
Avalon and Bobby Rydell.

What are generally regarded
as the

ones who tamed rock and roll
down to

where it was safe and the early
days of the

dangerous stuff were kind of
over and

it was still about four years
before

The Beatles
came along.

With Elvis in the Army

and Chuck Berry busted by the
Mann Act

and Little Richard finding
religion

Jerry Lee Lewis getting busted
for having a

wife who was 13.

On the flip side of that

big rock and roll stars were
gone.

[sound of radio tuning]

We started to hear instrumental
rock and roll

about 1956

with Bill Doggett and
Honky Tonk
.

[Bill Doggett plays
”Honky Tonk "]

And then Bill Justis had
"Raunchy"
in ‘57

And that had a really neat
little echoey

Nashville sort of guitar twang
to it.

[Duane Eddy plays
“Rebel Rouser”]

And that was really exploited by
Duane Eddy

who came out with "
Rebel
Rouser"
in 1958.

On the flip side of that you had
Link Wray,

"Rawhide"
and "
Rumble", and
eventually "
Jack the Ripper"
.

Then, there was Johnny and the
Hurricanes

with their full band, organ,
saxophone

guitar riffs...

The Fireballs were from New
Mexico

a little more Tex-Mex style

and starting to get a really
tough, rock and

roll sounds that were based in
guitar.

As a young guitar player, what
really held

the fascination for me and the
cool factor

was this new sound, this
instrumental

guitar led rock and roll.

I was particularly attracted
to the instrumental players

Duane Eddy, Link Wray.

That was probably the most vital
stuff that

was going on at that time.

It was spontaneous and

exciting.

And they pretty much started

the kind of music that evolved
into surf music in California.

And ultimately that

led to The Ventures.

[The Ventures plays
“Walk Don't Run ”]

The Ventures had "Walk Don't
Run" which was

like with Fireballs a straight
guitar sound

with no saxophone.

And that was like the shot heard
round the

world in 1960.

Walk Don't Run was a national
Top 10 record

that inspired and influenced,
thousands of

kids learning how to play guitar
at the time

myself included and all the
bands that we

played in, would play
Walk Don't Run

as well as all of the other

guitar dominant instrumentals,
that we were

hearing on the radio at the
time.

[Sound of waves crashing]

It was 1955

that I found, my dad went crazy

A 1941 WLD Flathead Harley.

It was like it just came out of
the military the way it was.

It was wild.

I lived in Southwest LA

My buddy Ray said to me, one day

“Let's go down to Balboa, check
out the babes. ”

So we went on down there and
pulled into

that town and it was something
like

Alice in Wonderland.

It had the ferry that would
take you

across the channel to Balboa
Island.

You were on a peninsula

that was three miles long.

Because of our motorcycles I
guess we scared

some of the people maybe and the
police

invited us to leave.

So we left and came back in the
car

brought our guitars with us.

A couple of guitars.

[Sound of film projector]

Well, as you walk down Balboa
Boulevard,

you have the Fun Zone on the
left, which is

bordering the bay and you have
the

Rendezvous on the right after
you've passed

the Balboa Theater, you're at

The Rinky-Dink.

This is an area that was
populated with

people coming down for Easter
Break.

For the summer time. We were
playing

at the Rinky Dink on weekends

our audience, became primarily
surfers.

And these were people that heard
about us

from other surfers, from other
people

even from Dick.

Everybody that was there looked

at least like they were part of
the surf culture,

so this looked like a surf
culture happening.

The Vox was for adults.

The Prison of Socrates was for
folk music

so, the kids had no place to go.

So, when we moved to the
Rendezvous, we were

a magnet.

Dick didn't set out to be a surf
guitarist.

He wanted to be a country
western singer.

What happened was he started
playing at

the Rendezvous Ballroom, even
though he

wanted to be up there singing

the kids say: “Play an
instrumental. ”

Next week, Dick Dale was playing
this song called

Let's Go Trippin'
,
that he made
up.

[The Del-Tones play
“Let's Go Trippin' ”]

The kids used to say: “Let's go
trippin' down to the

beach, to hear Dick Dale play. ”

So, he wrote a song about it and
it became

an anthem.

And from that grew another
instrumental,

that grew another instumentral

and Dick wasn't calling it

surf music, he was calling it

The Dick Dale sound.

We went to the Rendezvous, we
went there to

listen to the music and to dance
and to

just be part of the celebration
of all of

us having the common interest of
surfing

and surf music.

I was surfing with seventeen
surfers and I said:

“I'm playing tonight at The
Rendezvous Ballroom

the biggest ballroom on the

peninsula.

Come on down, and have fun. ”

17 surfers.

That was my first audience.

They go: “You're the king, man

You're the king. That sound on
your guitar. ”

Once we heard the Dick Dale
surfer thing

it was like there's no turning
back.

We had started surf music.

[Dick Dale & the Del-Tones play
“Miserlou”]

Miserlou
was an Eastern
Mediterranean folk song

that had been around for
centuries.

But I took it, from listening to
my uncle playing

on an oud, the traditional way
where it goes:

“Dong, da dong, da dong

dong, da dong, da dong. ”

And the belly dancers would come
out.

And I said: “Well, that's too
slow to play.

So, what do I do the Gene Krupa

drumming picking?

Tickety tockety, tickety
tockety, tickety tah... ”

So, I went:

“Yeeeeoh...Dockety dah dun dun,
dockety, dun dun dun

Diggity, dockety, diggity
dockety, dah! ”

That's how that came to be!

And this song comes on the radio
and I had never heard

anything like that before.

It really changed everything.

So all of a sudden kids were
talking about

who's going to drive this
weekend

to go down to the Rendezvous

to go to a Dick Dale stomp.

He was awesome.

Dick Dale was obviously a big
influence and we would

all go down there and watch him,
you know,

every Friday or Saturday night.

Everything was tight,
strong, with an attitude.

With the combination of the
bass, the rhythm guitar,

and the drums gave that animal
feel to it.

Dick Dale's sound was just
totally unique

from anything I'd ever heard
before.

This sound was intense

and it was big.

Our music was the template of
surf music in 1960

and we didn't have a name for
the band yet

and it happened that Dick's
sister Shirley

invited people to suggest names
and somehow

the name Del-Tones came out.

So we were called Dick Dale and
the Del-Tones

later it was changed to Dick
Dale and His Del-Tones.

We just started filling

up the place.

Playing with The Del-Tones was
just a gas.

It was like a dream come true.

I mean, I never thought in a
million years

that I would end up doing
anything like that.

And for a guy with all the
little surf girls

around here, the place being
packed

just seeing the lines of kids
around the block

waiting to get in.

I didn't care about getting
paid.

I didn't care about anything.

I just want to be a part of it.

We had a new sound, Dick
emphasized being loud.

I wanted that tribal sound and I
couldn't

find an amp that was powerful
enough

to sound like Gene Krupa's drums

until I met Leo Fender.

He was like Einstein.

He says: “Here, I just made this
one trying

to get the bugs out of it

why don't you bang on it and
tell me what you think. ”

That gave me this big tribal

thunder where I'm going:

“Dun-Dun-Dada, Dun-Dun-Dada. ”

Like that.

Leo used to say: “If it can
withstand the

barrage of punishment of Dick
Dale, then it

is fit for the human
consumption. ”

Leo Fender listened and worked
with musicians at the time.

It was the work he
did with Dick Dale

that led to the revolutionary

development of the Showman
Amplifier

the most powerful amplifier at
the time.

He also worked with Dick to
develop the

Fender Reverb unit in 1961.

[music plays]

This was a device that gave a
wet kind of a

drippy sound to the guitar and
later that

sound became strongly associated
with the

sound of surf music.

As soon as we started playing

they were on the dance floor.

Everybody reacted to the music.

Obviously, or they wouldn't be
lining up to get in.

You could see that everybody was
feeling the music

not listening to it, but feeling
the music.

And thus, they started the
Surfer Stomp

that went along with it.

[sound of stomping feet]

Of course you couldn't miss the
sound of the Surfer Stomp.

I remember the couples, facing
each other

just stomping away.

Kind of shuffling.

[The Del-Tones play]

There was an old wooden floor at
the Rendezvous.

The floor would move up and down

you could kind of feel the whole
building

moving, you know, it's sweaty

it's hot, they're stomping,
it's loud, it was great.

It goes up to 4,000 people a
night and

I kept adding to my band,
bigger and bigger and bigger.

[sound of spotlight turning on]

[sound of typewriter]

Our music, attracted some
attention with the

city officials.

[sound of police siren]

They said the guitar music was
evil and

devil music.

There was a suggestion that we
leave town.

They fired me and they didn't
realize that

people were standing out in the
line coming

in from all these places to
watch us do

what we were doing.

And all of a sudden bands
started playing

this new style of rock and roll
that Dick Dale

and the Del-Tones were doing

this sound called surf music.

We were hanging around Torrance
Beach in the early

summer of ‘61 and I kept hearing
the surfers

they're talkin' about:
“Hey man,

are you going down to the
Rendezvous this

weekend? We're going down to see
Dick Dale. ”

I had no idea what it was all
about.

We went down ourselves to see
what was

going on.

I was blown away.

[music plays]

I met this guy

Eddie Bertrand on a school bus
in 1959,

and we discovered that we were
both

fledgling guitarists.

Both Duane Eddy fans.

We got together and played
guitars

one day and went: “Wow this is
really neat. ”

I developed a style of rhythm
guitar

playing that covered

it to sound complete with just
Eddie and I.

[The Bel Airs play “Mr. Moto ”]

And that, ironically came to
sort of be

regarded as the surf-style of
rhythm playing.

The sound that we got

just fascinated us. So, we got a
drummer

and we got a sax player.

It became a band.

We just decided we needed to be
a band.

I was still learning my basic
chords and I

was just learning how to play a
bar

position B flat, and I was
switching back

and forth between that and the D
minor chord.

I started hearing this melody in
my head

to go with that.

Right about that time

there was this wrestler in LA
called "Mr. Moto".

That's the name for the song!
So, we titled it

"Mr. Moto".

"Mr. Moto" was one of the first
45 rpm records

I bought as a kid.

I really liked the chord changes

and the melody.

It was probably the first
instrumental

I learned how to play on the
guitar.

I did the musical arrangements
and Eddie

played the lead guitar and Delvy
was the business manager.

I said to them: “Would you guys

like to make some money? ”

And they said: “Sure. ”

So, I booked us a sock hop at
the high school I was going to.

The first dance we threw, we
passed out

flyers around the beach and sure
enough

We got about 200 kids to come.

Most of them were the surfers.

I remember one surfer came
up to me and

he simply said: “Wow man, your
music sounds

like it feels out there on a
wave.

You oughta call it surf music.”

I don't know if the Bel Airs
ever considered

themselves a surf band at first

I think people digging the band
kind of just

tagged us that.

The world of surfing claimed us,
so to speak

as theirs.

We went from 200 kids

begining of the summer, to 1500
kids at the

end of the summer.

We made an amazing amount of
money.

I couldn't believe it being a
kid making

all this money

everytime we did a dance.

That first dance we threw, I
remember going home

and we had about 600 bucks.

We threw it out all on a
mattress and we're

like you know doing this
with it.

We played at a party

and took that money and went to
Hollywood

and decided to make a record.

We rented some time at Liberty
recording studio.

Went in and spent about an hour
or two and recorded

five tracks.

"Mr. Moto" had two takes, 'cause
I didn't like how

I played the chorus.

Other than that, it was all
first takes

and we were out the door.

The record came out

and it didn't do anything for
like six months.

So, we started hyping the record
to the

radio stations.

We got our friends to call in
and request it.

And at that time, KRLA was
running

these things where they play the
top 10

from high schools every night.

Sam Riddle's show.

Came on at nine o'clock every
night and was called
Topic
Youth
.

Every night, he would highlight
a different

high school and he would play
the top 10

records that that High School
submitted.

We started creating these phony
surveys.

So I sent him a list of the
top 10.

Of course, "Mr. Moto" was
number one.

I created a whole bogus top ten
for the

Redondo High School, where I was
going.

And that night, it was all about

Redondo High School and

"Mr. Moto" was number one on the
Redondo High School survey.

And then one night he plays the
top 10

from Palos Verdes High School

He says: “I don't know who you
guys are, but good luck.”

And there it goes and I went
just nuts.

If you saw the movie
"That Thing You Do"

you know exactly what it was
like

for a bunch of young kids to
hear the

song playing on the radio.

I got a-- I got a big boost

every morning at 8 o'clock, as
I'm getting ready

to go to school

I could turn on the radio and
hear "Mr. Moto".

Big thrill.

After "Mr. Moto" became a small
hit, I'm getting phone calls

from parents in the group
trying to

tell me what their direction is
for the group.

Some of these people, I'd never
even talked to.

I got real upset and my mother
said:

“Well quit the band.

Start another one. ”
I said: “I can't do that. ”

I remember crying.

Something happened to kind of
split that

group apart and that something
that

happened was the Fender Reverb
unit.

Eddie Bertrand, decided he
really wanted to

start using that to modify his
sound in the band.

Paul Johnson, the other guitar
player,

really didn't want to go in that
direction.

So there was a separation of the
ways.

Eddie Bertrand left the group to
form

Eddie and the Showmen
and
continue with his

powerful reverb, driven guitar
instrumentals.

[Eddie and the Showmen play
“Squad Car ”]

"Squad Car" was written by Paul
Johnson but

Eddie recorded the most powerful
and

frantic version of the song that
became a

local radio hit.

It was kind of an easy

thing to do and it all happened
within,

probably, a couple-- three weeks

after The Bel Airs broke up.

We played the Rendezvous

Ballroom in Balboa, and we just
kept

playing louder and louder and
louder.

[screaming guitar riff]

By the end of the night that
speaker was shredded.

I thought, well I'll go to
Fender

he'll fix this.

Showed up, and he looks up, he
says "Now, how can I help you?"

I said: “Well, I have

a Bandmaster piggyback and

I ripped the speaker to shreds.

I was just thinking, what if we
put two

speakers in there? ”
And he said: “Tell you what,

you leave that stuff with me.

I'll give you something to play
out of until then. ”

Went back in two weeks

and here's this cabinet with two
speakers in it.

And I played it...

[Eddie and the Showmen play
“Squad Car ”]

And I went: “My God, this thing
sounds huge. ”

The last thing Leo said to me:
“Whatever

you do, don't tell anybody what
we've done

because we don't produce these
amps. ”

Other musicians would come,
like, bam up to the stage.

“What's that? ”

And I'd say: “What's what? ”

Anyway, within probably a month

I'm guessing, it became the
standard

Bandmaster, had two 12s from
then on.

He wanted to model his sound

after Dick Dale's sound.

He was totally blown away by the
power of that Fender

guitar, reverb and amp
combination.

They really got a foothold
locally when

they became the house band at

the Retail Clerks Hall in
Buena Park

and started to attract

as many kids there, actually on
weekends as

Dick Dale was bringing to
Harmony Park.

In November of 1962, we came out
with an album

called
Surfers' Choice.

A number of the songs

on the album were recorded at
the Harmony

Park Ballroom in Anaheim.

[Dick Dale & the
Del-Tones play]

In 1963, Dick Dale and the
Del-Tones, were

having such success that they
booked a tour

up and down the East Coast.

[radio chatter]

Must have been ‘63,
where we had

a small tour back East.

Mainly, we played at this
nightclub in

New Jersey.

Of course, it was a drinking
crowd

much different crowd than we had
in Southern California.

And when we went on stage and
played, it

was like we were from Mars, they
could not

relate to this music.

Now here's the youngster, you
read

about recently in Life Magazine,
here from

Boston and Quincy Mass and now
the coast

Dick Dale,
Surfing' and a
Swingin'

So, let's have a fine hand!

[sings]

It was a disappointment for
Dick.

We had to play behind a curtain
while

Dick was up front, probably
because they didn' t want

to pay us union scale or
whatever.

[Dick plays guitar riff]

Let's have a nice hand for this
youngster.

Capitol in their wisdom had
decided that they
didn't want to use

the Del-Tones on the records.

They want to use studio players,
big mistake, I think.

Dick said: “Well if I can't have
my band, I

got to have at least one of my
guys, ”

and he chose me, thankfully.

While we were back East...

[The Beach Boys sing
“Surfin' Safari ”]

The Beach Boys

had like their first hit.

The talk around the beach was:

“Who are these gremmies? ”

The whole feeling behind it was
that

these guys were just a bunch of
inlanders

who were trying to jump on the
trend

as it was developing. It only
sounded

vaguely like it related to the
kind of music

we were playing, there was a big
question mark

as to how authentic this was.

In fact, some of the surfers
were so annoyed

this was candy coating

and commercializing the sport.

And I remember hearing a bunch
of surfers

saying: “Hey, let's go beat
those guys up. ”

This is my favorite sport next
to skydiving.

[audience laughs]

Look what just drove up.

Looks like a couple of senior
citizen drop outs.

[The Beach Boys sing
“California Girls ”]

The Beach Boys were booed

vegetables and fruit were
thrown at them on the stage

by the surfers because they
thought they

were quote: “Rank ”.

“Who wants to hear these stupid
lyrics? ”

It wasn't heavy duty, it
wasn't power.

I remember listening to the
radio and going:

“How do they get to spread the
word about

surf music? And here we are
trying to do it

and here's Dick, the innovator

the father of surf music.

You know, he doesn't get to
partake

in spreading this word. ”

Dick Dale is the

originator, not one of the
originators

THE originator.

Here are
The Challengers
.

[The Challengers sing
“Seventh Son”]

I just quit, walked away from
The Bel Airs

and I started
The Challengers
.

I was booking these little
Legion Halls

I call up the Pepsi company to
bring down a truck.

I call Brian Wilson, I have him
come down and

It'd be us and
The Beach Boys

Next thing you know the place
was crowded and then

cops and fights would break out
and then that was the

last time we could use that
hall.

That happened to us
about three or four times.

The Challengers
were
the hardest working band.

We backed more artists, made
more recordings

than all of the bands combined.

We were always the dependable
band that

could back you live and then do
our show

and draw a certain the number of
people to

the venue, so that really set
the stage for

credible appearances on
television and radio and we

would play the theme song for
Lloyd Thaxton's

TV show.

My name is Lloyd Thaxton.

So what!

The Lloyd Thaxton Show
was
hugely popular

here in Southern California.

We would all rush home from
high school to

watch Lloyd Thaxton.

His was the only TV dance hop

that featured surf music on a
regular basis

including
The Challengers
.

In fact, they asked him to
endorse their

second album,
Surfing With The
Challengers
.

[The Challengers sing
“Secret Agent Man ”]

I played what I wanted to play

and it just so happened that I
liked

the music that the kids liked.

Here they are,
The Astronauts
!

Most shows came from New York
and they had

the New York look.

No one saw the surf music back
East. They didn't see this.

But, they could come to
California by turning on their

television set and watching
The
Lloyd Thaxton Show
.

That's what made surfing move

out of Southern California

to go all across the nation and

eventually, all over the world,
and it

happened because of the Dick
Dales

happens because of The
Challengers, they brought the

surf to me.

The Challengers gained a
national

reputation and became one of the
most

successful surf instrumental
bands by

virtue of their many appearances
on local

TV shows and syndicated TV shows
like

Hollywood a Go-Go
and
Shebang.

On behalf of myself

and the rest of the guys in the
group, we

would like to thank you all for
making our

song
Pipeline
such a big hit
throughout the nation.

We would like to play it for you
now.

What ended up becoming
Pipeline

it was at one time called
44
Magnum.

Next time, we called it
Liberty's Whip

but, we went to this Bruce
Browne movie

they showed the sequence of
Banzai

Pipeline, and we're going:
“Whoa, this is cool.

Why don't we call the song
Pipeline? ”

The first time I heard the
opening glissando to

Pipeline
, I was impressed.

It was the first time I'd heard
anything like that.

And as a result of
Pipeline
, the glissando

became a standard technique used
by surf bands.

When
Pipeline
came out, we were
playing at the

Rendezvous Ballroom, we'd have
thousands of

people in there doing the Surfer
Stomp.

All the surfers will show up in
their huaraches

and the whole place would
start rocking

'cause everybody stomping on the
floor.

It was wild frenzied dancing,
you know

the people would just let
themselves go.

Every time I walked into that
Retail Clerks Hall

or the Rendezvous, either
one of those

giant places, I would have to
hold my ears

and it would take me ten or
fifteen minutes just

to get through the DB level,
that was being

pumped through that room.

Everyone sort of jumped up and
down

in unison to the music

and the building would move like
a wooden

gym floor and it was flexible.

And I think it bounced the
musicians on

the stage, from the crowd going
up and down.

The Rendezvous was a lot of fun,
but also

kind of dangerous.

But there were confrontations
between the

people from the beach and the
Inland people.

And I can remember, going out
dancing

and some big nasty looking biker

type hodad coming up to me and
saying:

“You dance shitty. ”

A whole line of people would
link arms

and then facing them was

another line.

They would run up to the other
line. They

would come up like this and
go back...

destined for trouble.

[stomping to the beat]

This guy got into a fight with
this other guy

one of the fighter's
girlfriends got involved

and started mouthing at the
other guy

all of sudden

this guy pulled out a
switchblade and

stabbed at the guy and missed
him and hit

the girl, and it went into her
eye or something...

and my girlfriend and I just
fled, never went back.

Surf music was a male-dominated
cultural event.

And that's why

Kathy Marshall's presence on the
scene was

extremely significant.

She could have been a huge star
if the future

had unfolded a bit differently,
but she

does deserve a unique place in
the history books.

Kathy never released a
commercial

recording, but she went in the
studio with

Eddie and the Showmen
to record
a demo of

Bullseye
.

Being a girl and playing guitar

I don't know if I was good
enough to have

said: “Come on in, let's play, ”
like a guy but

it also rubbed me wrong when:

be good for a girl.

I want to be as good as the
guys.

My grandmother had a little
get-together on

a Sunday afternoon and she
invited one of

her friends and he brought his
electric guitar.

I just was mesmerized.

The transistor radio was how I
learned

how to play the guitar.

[radio chatter]

I would come home from school,
turn on the

transistor radio, pick up my
guitar and

learn whatever song was on the
radio.

I was so devoted to it and I
think my mom

could see me getting
better at it.

It was her suggestion that I
take guitar lessons.

The first time I heard a surf
band live

was the time I played with one.

My sister was having a
graduation party at her

house and so, they hired a local
band

called The Blazers and my mom
mentioned that

I played guitar.

Their manager says: “Let me hear
her.”

So, I sat down and I played
Pipeline.

So, the day of the party I got
up and I

played with
The Blazers
.

When the party was over with,
their manager

said, to my mom: “I don't think
I've ever

seen a girl rock and roll
electric guitar player before.

What do you think about her
playing with
The Blazers
?”

And she said: “Okay.”

The Blazers

they were all surfers.

We'd get up at five in the
morning.

My mom would take us all down to
Huntington Beach.

They would surf

and we'd sit on the beach and
just

play our guitars.

It was surf music.

The Retail Clerks Union Hall
in Buena Park

it was like the mecca for all
the stars to go.

It's the first time I ever saw
Eddie and the Showmen
play.

Eddie and the Showmen
, to me

were like a huge step up in
musician quality

and I was kind of in awe of
them.

He's a good-looking guy.

What impressed me more, was his
presence.

Just before
The Righteous
Brothers

were to go on, Eddie's dad came
to my mom

and said: “Would she go on with
Eddie and the Showmen
?”

And my mom said: “Yes. ”

I would play a lick and then
he'd play a lick.

It was like a battle going
back and forth.

Then, the next thing I know, he
starts stepping

on my licks and I walked up to
his guitar

like I was really going to watch
him play

and I just pulled his plug.

[feedback]

After that, I had a really good
following

because of this little rivalry
that went on between Eddie and I

from that point on.

I was fourteen.

Eddie was 18, or 19

our relationship was rocky at
times.

I don't want to say a love-hate
relationship.

I mean, I cared for him and I
think

he liked me and I liked him.

It seemed like he resented
me at times

but he always tried
to help me, too.

And he was the star, 'cause he
had the presence.

He was very patient with me.

Dave and the Marksmen
,
Eddie and the Showmen

and Kathy Marshall, went
out on

the road and toured California,
like a little review.

And it was just like one big,
happy family

having a great time on the road
like that.

We had some really great times
on those tours.

The first time I heard Dick Dale

play live was the day I played
with him.

I was not allowed to go to
Harmony Park,

which is where his venue was,
most of the time.

Harmony Park had a

reputation of being a kind of, a
rough place.

So, I never got to see him
in person.

My manager, booked me to play
with him at

the Huntington Pavilion.

And I was scared to death.

I had heard stories that he's
very rough

and he's not a nice guy and all
this stuff.

When they brought me up on
stage, he was

playing with me at the same time
he was

just like being a rhythm guitar
player

playing behind me and he stopped
what he

was doing and he walked over and
he stood

there for a minute in front of

the whole crowd and then
he threw his hands up

like he couldn't compete and
went over and

put his guitar down and stood
off to the side.

I gave her a title and I called
her

Queen of the Surf Guitar.

I never heard of another girl

rock-and-roll, electric guitar
player

at the time.

I was an anomaly, I mean, it was
something

very different.

I didn't think about being
well known, or

being even compared to someone
like Dick Dale.

My impetus was, I just want to
play guitar.

None of us really

could comprehend how big it was
going to get.

Within a short period

the large movie studios

saw an opportunity and started
producing

teen exploitation movies in the
form of

beach party films.

The mainstream jumped on it and
began to

merchandise the heck out of it.

It was just like in the movies.

Those depictions of fights and
stuff like that

those fights actually happened!

Beach Party
with Frankie and
Annette.

[singing]

That made more money than
Cleopatra
did.

So, find the beauty in
commercialism.

The good part is, they woke up
the world

to the world of surfing.

And that blew it up into
a hula hoop

kind of fad, from which it never
recovered.

Thank you very much Keith.

Thank you,
Mixtures
.

And, um, just about ready?

Eddie and the Showmen
got to do
the Hollywood Bowl

which in itself, was insane.

I'd like to tell you about
Eddie and the Showmen

I walked out and here's 10,000
plus people!

These boys come from the South
Bay, Palos Verdes.

The feeling I had was like,
whoa...

Allright Eddie, tell them what
you're gonna play...

[music playing]

Is surfing a fun sport?

There was a period of time that
you could

open up Time Magazine, Sports
Illustrated

and surfing was included as
part of mainstream America.

It just became an

industry, just like music
business.

And they got swept up into this
romantic wave

that if you go out west, it's
not movie stars.

It's the beach, it's blondes,
it's surf music.

It's all the freedom that you
could ask for

because there wasn't anything
else on the horizon yet.

The media just glamorized it
even more,

but it was glamorous.

There was this desire for
everybody to have

this identity with the surf
culture.

Suddenly you're bleaching
your hair

you had a flat top, with a
little bit of peroxide on it

so you look like you've been to
the beach

but you haven't been there, but
you look like it.

Kids would drive around in the
Midwest in the United States

with the half a surfboard

hanging out the trunk of the car
to emulate

being a surfer and they never
seen the ocean.

The surfing community

at the time wasn't
really thrilled

about going national

having surfing get that big.

because, now it's bringing
a lot of people

who aren't really true surfers
into the field

but it happened, because of the
music.

In 1961, there was a literal
explosion of

bands and dances and 45 RPM
records

Within a short period

thousands of garages across
Southern California

began to fill with teenagers,

who were eager to form their own
bands

and jump on this new phenomenon.

[music playing]

The 45 RPM record became a way
for these

bands to market themselves and
their music.

The number of recordings
steadily escalated

and peaked during the summer of
1963.

But only a handful found their
way onto the

radio and even fewer were picked
up by

major labels and became hit
records such as

Pipeline
by
The Chantays or
Wipeout
by
The Surfaris.

[drum solo]

Ronnie being the consummate
musician he was

starts this drumbeat and we go:

“Well, we better put some chords
and a

melody to this, because it'll be
a drum solo if we don't!”

Got a shingle from the roof.

Bob cracked it over his knee

sounded like a surfboard
cracking and then Dale had

this crazy laugh that he did at
parties.

[ “Wipeout” plays]

Pretty soon,
Wipeout
went
worldwide.

So, we were having a really good
time.

Then...

[music playing]

When The Beatles came out

surf music suffered, a lot.

The Beatles
changed everything.

I don't think people wanted to
sit and just

listen to instruments anymore

they wanted lyrics, and they
wanted voice.

The song, instead of being about
surfer girl

or your hot rod, it became

protest songs, and it just
became a very

unhopeful time.

The surf bands

for the most part, just sort of
like

one day, they were not there
anymore.

The marketing people were just
gearing up

to really cash in on the surf
culture.

when
The Beatles
showed up.

I had other bands after
The Bel Airs in the surf vein,

but it all was gone by 1965.

The folk rock thing was just
starting

and I jumped on that.

Lyrics tell you what to think.

Instrumental music doesn't.

It gives you the freedom to
think what you want

and go where you will.

That's why I loved instrumental
music.

To me, it was bubble gum

because, once again we were
doing this rock and roll

and rhythm and blues.

The artists that were just
breaking out

climbing up the charts

it was just like they hit a
brick wall.

In 1966,

the Rendezvous Ballroom, the
legendary home

to Dick Dale and the birthplace
of surf music

burned to the ground.

Surf music should never be
anything but fun.

It just happened

that it ended and it couldn't
support.

It couldn't pay its way,
anymore.

The music changed and the people
changed

and their attitudes changed.

And you'll never hear surf music
again.

Jimi Hendrix may have been
right.

Surf music experienced an
existential crisis,

the music of the 70's was
characterized by

long drawn-out solos,
overproduced

arrangements, conceptual album
music with

hidden meaning.

And there was disco.

I mean it just seems like nobody
was

interested in surf music anymore

but that wasn't true for me.

So it occurred to me one day,
that it might be

fun to put a band together and
make a surf record

which is something
I wanted to do

back in the 60s

but I never had the chance.

[music plays]

Surf music died a long time ago.

Nobody even knew

what surf music was.

There were no surf music crowds.

There was no such thing, unless
The Beach Boys

big-name bands, like that

Jan and Dean
probably were

doing something somewhere.

As time went by

in music, in the 70s, everything
was overblown

overproduced, big guitar, big
hair

I think people started getting
tired of that.

I think the main appeal of
Jon
and the Nightriders

It was just the pulse. It was
primal to the nth power.

[music plays]

This was recorded at a friend's
house in

Orange County on a 4-track

Reel-to-reel tape recorder, and
I took the

tape into Los Angeles, to have
it pressed up

by a record company and I asked
them to do it

on blue vinyl, because I thought
it looked cool.

[music plays]

I took this record and I drove
it to

K-ROQ, which were in Pasadena,
I walked

right into the control room and
I said:

“Hey, you got to play
this record. ” And they put it

on and they played it
immediately right on the spot.

That's how cool the station was.

And then we booked a studio in
Los Angeles

and recorded

What eventually became
Surf Beat ‘80.

This album hadn't been out
longer than a couple

months when I had a phone call
from a

concert promoter, who
wanted to hire us to open

a big show at the Santa Monica
Civic Auditorium.

It's historically known as the

concert that revived surf music.

It was The Surf Punks and
Dick Dale

at the Santa Monica Civic and
we're the opening act.

[music plays]

Jon and the Nightriders,
we were like doing

lightning speed versions of... I
mean we were

like surf music on drugs or
something.

That just opened the door.

All the LA bands like
The Go-Gos
and

Missing Persons
,
they all wanted

Jon and the Nightriders
to
open for them.

Alright, surf's up!

More and more people

were picking up on this sound.

I mean, in the 1960s, I don't
believe any

surf band ever played at
The Whiskey a Go-Go

and yet in the 80s

several surf bands played at the
Whiskey A Go-Go.

[music plays]

The only gigs they could even
get were

with areas of the punk rock
audience.

And if
Jon and the Nightriders
came out and rocked

they'd slam dance to them, too.

As long as you ducked the beer
cans

It was fun!

A very exciting time in
Hollywood.

Lot of punk bands playing

LA Weekly and Bam Magazine, and
all these

trades were talking about the
band.

The punk scene had been given
birth, you had

X and The Germs
,
that whole
scene was going on.

People had just embraced it
again into

this whole era of the early 80s.

But when you got off into surf
punk world

we just found our little slot
right in that.

So there was a whole
instrumental revival

like nobody'd ever seen before,
and it started

happening all over the world.

All of a sudden John says: “Ok
guys, we're going to Europe.”

That was almost shocking.

Are these people nuts?

They want surf music in Europe?

That first show that we did in
Holland

was at a huge rockabilly
festival.

At the time

what was very current and trendy
and

popular in Holland, was the
Clark Gable movie

Gone With the Wind
. And they
were all

like into the southern motif.

We were playing in a very large
Hall and

there must have been several
thousand

rockabilly fans there.

And I remember being constantly
booed

by the audience.

And then a bunch of German
rockabilly guys

were kind of yelling at us:

“Rockabilly, man, rockabilly!”

The promoter had told us before
we left:

“You need to learn the
Song of
the South

surf style.”

So we flew right off into
Dixie.

[music plays]

The moment we did that song that
crowd

erupted and loved us.

Everybody in the crowd, man

just started waving flags and
everybody

started cheering.

The crowd did a complete
180-degree change in their

attitude and we walked off that
stage

as heroes.

I think if we wouldn't have done
that, they

may have stormed the stage

Jon and the Nightriders
may have
never

come back to America, you know.

I remember thinking on the
flight home that

European audiences, really
weren't that

much different than those in the
states.

It was obvious to me that surf
music

had a universal appeal.

There was a place for it in the
pop music scene.

[music plays]

We came home to do more tours.

Make more records and play
more venues.

Throughout the 80s new surf
bands continued to form.

Bands like
The Surf Raiders
,
Paul Johnson and the Packards

The Evasions
,
The Surf Punks

The Insect Surfers
and the
Malibooz

were among a growing number of
surf bands

that all helped draw
attention to the music.

Dick Dale was featured in a
segment on KABC's

Eye on LA

He was interviewed at his home
in Newport Beach

when he felt he was ready for a
comeback

after battling cancer and being
absent from

the concert scene throughout the
1970s.

And he did come back to tour and
record again.

It was really great to see
somebody make a

comeback like that.

The Ventures
, who toured

exclusively in Japan for years,
returned to US

stages after a decade of
absence.

Reunion concerts were held.

[music plays]

And people remembered the fun
again.

And then something happened in
1994 that

sparked the popularity of surf
music to a

greater degree than ever before.

[narrator reading]

For just sheer rock-charged
viscera

I think it would have to be
Miserlou
.

Pulp Fiction
really cemented
surf music into the

consciousness of the world.

As a result, surf bands started
forming in even greater

numbers all across the globe.

This time period became known as
the third wave.

All around Europe, the same
story is repeating

Pulp Fiction
clearly presented

surf music to a wider audience,
instead of

using the words surf music, a
lot of people now

tell us: “You're playing
Pulp Fiction
music.”

Founded in the late 80s, the
Huntington

Beach International Surfing
Museum

continues to support the surf
music

community with Sunday afternoon
concerts

during the summer.

For the last several years,
Livorno a small

Tuscany town on the west coast
of Italy has

been the location for a huge
three day

International surf music event,
called

The Surfer Joe Festival
.

The Surfer Joe Summer Festival
was born from my idea

a few years ago, with the
purpose to put together

all Italian surf bands.

But people was thinking that I
was crazy

trying to put together shows and
push the

entire surf music movement in
Italy.

We had the first Festival in
2003 and the

festival was absolutely great.

[Los Straightjackets play
“Calhoun Surf ”]

Los Straightjackets have
recorded over thirteen

albums to date and have appeared
several

times on the Conan O'Brien show.

Not surprisingly, they're hugely
popular

in Mexico.

The first time Los Straitjackets
went to Mexico

We weren't sure how they were
going to receive us.

If they would have thought that
we were

making fun of them or something,
which we

weren't, we were inspired by
their culture.

There were two shows, one in
Mexico City and

one in Guadalajara and they were
both sold out.

It was a shock.

We had no idea we were that
popular there.

Dick Dale started to tour,
headlined in

Vegas and made records again.

And every so often I'd hear
about surf bands

popping up in some of the most
surprising

places like Japan, Finland,
Croatia. Countries

you'd never expect to hear surf
music from.

The appeal of the music was

cross cultural.

And even more diverse than
before.

Surf music had experienced a
full-fledged

revival.

It became obvious to me

that surf music was very much
alive with a universal

appeal that I hadn't imagined a
few years earlier.

Surf music is my life.

Unfortunately.

Surf music for me, it's a
religious

life form, it just gets in your
heart it gets in your soul, it
gets in your spirit.

For me, it's my childhood.

Takes me back.

It’s all in the melody and the
beat.

It's still all about escapism.

Enjoying the moment, dancing,
having fun.

[soulful music plays]

Even though we're slowly
losing the

pioneers and the people who
first played

around with it, it's bigger than
it's ever been, by far!

The spirit of surf music fans

has not been dampened by the
test of time.

That spirit still represents

all of the things that made the
sound of surf

popular in the days before
The Beatles
.

It's commonly assumed that when

Jimi said: “You'll never hear

surf music ever again, ” that he
was saying: “We're

here now and screw you, ” but he
apparently

was a really big fan of Dick
Dale and the

real reason he said it was
there'd been a

false news report at the time
that Dick Dale

was ill and dying.

I had collapsed.

And then I was at the hospital.

Jimi was recording at the time.

“Hey, I heard Dale did a
no-show. ”

And his guitar player said:

“No man.

He's dying. ”

And then Jimi said: “Man, you'll
never hear

surf music again. ”

But he knew what a fighter I was
and he said...

“That sounds like a lie
to me. ”

I have that on tape.

Somewhere.

The King of Surf Guitar has
passed away.

Dick Dale, led the way for
generations.

Dale performed

at blazing speed until the end.

Dick Dale was 81 years old.

You'll never hear surf music
again.

That's a big lie.

[crowd cheers]

[music plays]

Duh-nuh-nuh-nuh-nuh-nuh

Da-nuh-da-nuh-da-nuh

That's about it.