Inside the Green Room!Shedding Light on the S.B. Native Who Inspired a Surfing Revolution

by Kerry Blankenship Allen

Raw Footage:If George Greenough's feet could talk, they'd tell stories of innovation, invention, travel, and trailblazing. They've only been confined by shoes but a few times in their 63-year lifetime, so they've seen everything Greenough's seen. They started their journey in Santa Barbara, where George first fell in love with all things ocean. Those feet were there when Greenough used the hull of a 16-foot Boston Whaler to fashion a homemade boat; they were there when he taught himself how to build an underwater camera housing; they were there when he designed and shaped the world's first kneeboard; and they were there when he took his ideas to Australia, where Greenough lives today.

'When I took my designs to Australia, the reaction was huge, in fact bigger than here. All the Australian surfers immediately started making and riding shortboards, and then the movement came to the States.'

I had heard his name long before I came to know what a surf icon George Greenough truly was. The revolutionary surfboard designer, gifted filmmaker, and all-around renaissance eccentric pioneered many of his famous innovations in the waters off Hammond's Beach near his parents' Montecito estate. Growing up during the '50s and '60s, the golden days of Santa Barbara surfing, Greenough embraced the laid-back lifestyle while pursuing, with an obsessional focus, any method, however strange, that would enhance his experience of the waves. Eventually his experiments spawned a surfboard design movement that has turned Greenough into a living legend.

As an early member of the Santa Barbara County Surf Club, Greenough was able to test his radical designs in the challenging waves of Hollister Ranch, then still owned by the

Hollister family. Except for this privileged handful of Santa Barbara surfers, no one was allowed access to the beach, which was often patrolled by gun-toting cowboys.

Many other surf icons came out of that early club, but probably not one was as unique as Greenough.

"George was the club's only non-surfing member," said Arlen Knight, founder of the Santa Barbara County Surf Club. "He never stood up on his board, he never cut or even combed his hair, and always was a bit disheveled, but he was a very inventive guy, and certainly a great waterman."'I surf with dolphins a lot, and they are always in the water.

Greenough is widely credited with convincing an entire generation to abandon their longboards and join the shortboard revolution. Now at 63, Greenough, who continues to live a reclusive and eccentric life - in three decades he's never held a job and has rarely worn shoes - is being honored with a traveling exhibition, which is at the Santa Barbara Maritime Museum this summer. The exhibit displays many of Greenough's board and fin designs, artwork, and is screening his films, including his most recent, Dolphin Glide, which debuted at this year's S.B. International Film Festival. All this solidifies Greenough's place in history.

The Designer

By his early teens, Greenough (pronounced green·o) himself had already abandoned traditional surfing in place of kneeboarding and soft mat-riding, two sports few others were participating in at that time. "I really never liked the longboard, it had no flexibility or spontaneity," recalled Greenough from his home near Byron Bay, Australia. "You couldn't really do anything with it, and the boards were heavy and hard to handle. So, I made what I needed to help me fit tighter into the pocket of the wave."

Greenough's parents' expansive Romero Canyon home and lawns provided him with the space - as well as financial and family support - to fulfill his creative drive, and to produce a board to fit his unique style. His experimentation and love affair with the water led him to create boards that challenged riders and were, in fact, more fun to ride. During this time, most surfers were using cumbersome longboards (9¢6≤ in length, weighing 25 pounds), which lacked flexibility and allowed a surfer to do little more than ride straight down the face of a wave.

While in wood shop at Santa Barbara High School, Greenough completed a rough kneeboard design made from balsa wood, launching the "spoon" kneeboard. "I needed a project for wood shop, and everyone else was making birdhouses and such," said Greenough. "I needed a board that would fit deeper into the wave's tube, so I created the spoon. It was a great project, and the teacher gave me an A."

The spoon was a short board - just under 5 feet and weighing only 6 pounds - made of an all-fiberglass kneeling area with foam on the nose and sides. "A few versions later, I shaped a spoon with a fin design that I borrowed from a tuna. It made the board easy to maneuver in the water," added Greenough.

For surfers, the difference between the spoon and the longboard was immediate. Both the spoon and Greenough's ultra-modern fin design were groundbreaking movements in the evolution of surfing. With the

spoon's intuitive steering attributes, and some good surf, Greenough was not only able to turn, but to completely change direction with his board, float on the whitewater, and perform other maneuvers considered progressive - maneuvers that had never before been done.

Eventually, Greenough's fins moved from home experiment to retail item when Morey-Pope Surfboards, a San Diego shop spearheaded by Boogie Board creator Tom Morey, started manufacturing Greenough's fins. The most popular design, and Greenough's favorite, was the Greenough Stage IV, shaped for power turning, and now readily available to every surfer, not just Greenough's friends.

In 1962 Greenough shaped the Baby, a 7¢8≤ board designed for shortboard surfing. It boasted technical attributes never before seen in board design: It was short, its deck was slightly curved, its sides - or rails - were thick and round, and it had one of Greenough's innovative fins, all of which gave it more responsiveness and maneuverability. Now surfers could carve up the face of a wave standing on a surfboard rather than kneeling on a spoon or other kneeboard. What added to the board's distinctiveness was that Greenough borrowed a pint of color from fellow Surf Club member and surfboard shaping genius Renny Yater, and tinted his Baby the color of the sky. "I hardly ever rode that board," Greenough said. "My friends loved it, so they'd take it out at Rincon and have a lot of fun."

By the time the 1966 World Surfing Championship rolled around, the event's champion, Australian Nat Young, won the contest by riding his winning wave on a surfboard featuring a Greenough-shaped fin, and later credited Greenough for his success.

"When I took my designs to Australia, the reaction was huge, in fact bigger than here," said Greenough. "All the Australian surfers immediately started making and riding shortboards, and then the movement came to the States."

While others in Santa Barbara and Australia, where Greenough now calls home, rode his boards, he continued his passion and devotion to kneeboarding, leading the kneeboard craze in the late 1960s and 1970s. Still, what really turns on Greenough is a truly obscure obsession - inflatable mat-riding.

"I love mat-riding. The mats are very easy to transport, and you don't need high-quality surf to catch waves and have fun. And with mats, it's all about the fun," said Greenough. "The mats let you get closer to a wave than a board does. You're laying flat, right on the water, and you can feel every movement of the wave."

Greenough's experimentation and design didn't stop at surfboards and kneeboards. There was also his homemade boat, The Coupe de Ville, fashioned from fiberglass and the hull of a 16-foot Boston Whaler. Its crowning glory: a rear window lifted from a 1957 Plymouth that functioned as its windshield.

"The Coupe was a great boat to take out to the [Channel] islands," said Greenough. "Hardly anyone went out there at that time, but we'd go out there as often as we could." The boat was featured in a documentary (eponymously titled The Coupe) Greenough made about a trip to Santa Rosa Island on what appears to be a quintessential California day: glassy waters, head-high surf, abalone hunting, and wreck scavenging.

The Filmmaker

Greenough also broke boundaries in surf filmmaking. His only full-length feature film, The Innermost Limits of Pure Fun (which opened in 1969 at the Lobero Theatre), offers a nostalgic look at Santa Barbara during the late 1960s with familiar scenes from Montecito to the Channel Islands, including Greenough shaping boards in his parents' backyard. But the film's surf sequences laid the groundwork for generations of surf filmmakers. To capture tube shots from in the water, Greenough outfitted himself with a shoulder-mounted waterproof camera that weighed 28 pounds, donned a diver's full-length wetsuit, and waited patiently. He had begun developing this cinematic technique for still photography several years earlier when he was the first person to shoot a surfer inside the wave's tube.

In Echoes, a 23-minute short filmed in 1972, Greenough fine-tuned his water photography skills by primarily focusing on underwater "in-tube" shots. His 1971 short film Rubber Duck Riders was his tribute to mat-riders, by then a vanishing sport. His expert filmmaking and intuitive eye landed him several assignments on feature films including Big Wednesday and Rip Girls. In 1973, Greenough himself was a subject of documentary short Crystal Voyager, filmed entirely in Santa Barbara to record the making of The Coupe.

Greenough's latest project, Dolphin Glide, is a 35-millimeter, 24-minute short film that vividly portrays inner ocean travel from a dolphin's-eye view. "What started as pieces of film spliced together to show at parties around Santa Barbara turned into this film. It all started to change when I modified a camera to look like a baby dolphin, and then took it into the surf with me," said Greenough. In Dolphin Glide, Greenough looked to mimic the dolphin's movement in the water by rigging an underwater camera to himself, to surfboards, and to the side of his boat. "I surf with dolphins a lot, and they are always in the water," said Greenough. "I

wanted everyone to have the chance to experience that feeling, the feeling of surfing with a dolphin." The result is a hypnotic, if not mystifying, combination of underwater scenes of dolphins swimming, playing, and eating.

Today Greenough can be found where I found him: at his home on Australia's east coast. His filmmaking, surfing, and beach lifestyle keep him busy, with little time for pontificating about the past. "I'm busy with two more films that document the making of Dolphin Glide, and I have to get into the water every day," said Greenough. "But someday, I need to get back to Santa Barbara. The surf is crowded there, but I have a lot of friends that I'd love to see. Y'know sometimes I miss the place."

Beyond Surfing

It is hard to put your finger on why George Greenough is a living surf legend. Some say it is his innovative surfboard, kneeboard, and fin designs. Others claim it's his intuitive love of the ocean and the films he makes that portray that relationship. And finally, many attribute it to his mysterious and eccentric lifestyle. The Santa Barbara Maritime Museum offers the chance to decide for yourself with its current exhibition, George Greenough: Beyond Surfing.

Beyond Surfing peeks into Greenough's experimentation and design work. The exhibit includes Greenough's original model of the modern high-aspect ratio fin, and several of Greenough's negative-buoyancy spoon kneeboards, the design of which allowed riders to stay longer in the wave's tube than was possible with other surfing devices. Carbon-fiber surfboards and sailboards constructed by Greenough, as well as the first carbon-fiber windsurfing mast and Greenough's hand-cut surfboard templates, are also on display.

Beyond Surfing also includes paintings by area artists based on Greenough and his life's work, and a surf film series to run the duration of show. (Call museum for lineup and show times.) The exhibit hangs through October 31 at the S.B. Maritime Museum, 113 Harbor Way, 10 a.m.-5 p.m. daily, closed Wednesdays. Call 962-8404, ext. 100; fax 962-7634, email museum@sbmm.org, or visit www.sbmm.org.

For information about the S.B. Maritime's surf exhibit and the screenings of Greenough's Innermost Limits of Pure Fun and Echoes at the museum's Munger Theater, visit www.sbmm.org or call 962-8404, ext. 100.'