A-frame

Aaberg, Denny

Aaberg, Kemp

Abberton, Koby

Abbruzzi, Sid

Abellira, Reno

Abubo, Megan

academia and surfing

Adler, Tom

advertising and surfing

Aeder, Erik

aerial

Aguerre, Fernando

Aichner, Scott

Aikau, Clyde

Aikau, Eddie

Aipa, Ben

air-drop

airbrush

Airshow

Ala Moana

Alabama

alaia board

Alaska

alcohol and surfing

Alexander, Kala

Alexandre, João (Dapin)

Allen, Chuck

Alms, Paige

aloha shirt

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Alvarez, Pepe

Ancell, Kevin

Andaman Islands

Andersen, Lisa

Anderson, Craig

Anderson, Simon

Andino, Kolohe

Angel, Jose

angle

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Angourie

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Apocalypse Now

Arabian Sea

Aragon, Janice

Arakawa, Eric

Archbold, Matt

Arena, Eduardo

Ashton, Juan

Association of Surfing Professionals (ASP)

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August, Robert

Aurness, Rolf

Auster, Ken

Australia

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Azores

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backside

backside attack, Pipeline

backwash

bail out

Bain, Rob

Baja California

Baker, Bernie

Baker, Grant “Twiggy”

Baker, Tim

Bali

Ball, John “Doc”

Ballard, Bill

Ballard, Rochelle

balsa

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Barbados

Barilotti, Steve

Barland, Michel

Barreda, Sergio “Gordo”

Barry, Michael

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Baxter, Jackie

Bay of Bengal

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Bedford-Brown, Stuart

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Bennett, Barry

Benson, Becky

Benson, Blanche

Benson, Linda

Bermuda

California filmmaker Bruce Brown's long-awaited and much-hyped 

 sequel, produced by New Line pictures and released in 1994, was a critical and box-office disappointment—but it was far from a total washout. Reprising the original film by taking a pair of surfers on a worldwide hunt for the perfect wave, 

 follows 26-year-old longboarder Robert "Wingnut" Weaver and 20-year-old shortboarder Pat O'Connell, both from California, as they visit Costa Rica, France, Fiji, South Africa, Hawaii, and Indonesia. Whereas the first 

 was an inexpensive one-man project (filmed, edited, narrated, and scored by Brown for $50,000), the sequel cost $3.5 million, was filmed by a team of cameramen (including surf world stalwarts Jack McCoy, Dan Merkel, and Don King), and was fraught with conflict between director/editor Brown and New Line.

Video had by that time wiped surfing off the big screen, where it had been a surf culture mainstay from the late '50s to the mid-'80s. Because

 was beautifully filmed and expertly edited, with high-performance guest appearances by world champions Tom Curren, Kelly Slater, and Tom Carroll—and because it was the first time that surfing had been given a full display in theaters since 1990's 

—it was a massive improvement over the previous few years' worth of VCR surf cinema. Brown, furthermore, hadn't lost his sense of proportion, neatly balancing his surfing and nonsurfing footage; and a midfilm sequence featuring tow-in master Laird Hamilton was spellbinding. But 

 lacked both the confidence and the charm of the original. Brown's narration, which played over the original like a relaxed jazz line, is weary, even creaky—not surprising, given his age (57), the time he'd spent away from the surf scene (more than 25 years), as well as the nonstop creative turf wars fought against New Line executives. The surf world's reaction to 

 was mixed, while mainstream film critics, overjoyed at Brown's work in 1966, were for the most part savage. Roger Ebert's review said, "The operative word is endless, not summer," while the 

 photography as "ravishing" in places, described the film overall as an "endless bummer . . . flat and corny . . . redundant and hackneyed."

, a $2.5 million film coproduced by Dana Brown (Bruce's son) and released in 2003, has been referred to as 

Endless Summer II

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Encyclopedia of Surfing

History of Surfing

Features

The Sunday Joint

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Encyclopedia of Surfing

History of Surfing

Features

The Sunday Joint

Videos