Surf Guitar Guy

Clint: Attention: If your band has a music video or you know of a surf music video, please pass it along and I’ll add it to my YouTube channel: www.youtube.... Thanks!

Funny story! I believe(Although I'm sure I'm partially wrong) that guy was just a hunk of surfer that photographer Bob Perine paid to surf with a jag.

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I'm retracting my earlier comment, after some internet research I can find no evidence that it's Johnny Fain. So my answer is I don't know.

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Preston, you are correct in that he is a handsome boy, though I was always under the impression he was someone of note.

Mosquito, I have done some research myself, as I had been told by a friend that it was a young Dick Dale. He just doesn't look like Mr. Dale to me, which sent me on this quest in the first place.

There is an interview with the surfer out there somewhere. Definitely not Dick Dale. Knowing Klas, (who posted this), if this had been a well known surfer he would have mentioned that fact, I think. You could always try to send Klas PM and see if he remembers anything else.

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Shivers13 Here you go Klas! The classic ad... probably one of the coolest ad ideas ever!! Yeah, definitely a cool concept for a surf guitar ad. I remember reading a short interview with the surfer about the photo session but unfortunately can't seem to remember any details. I first thought he had said that the guitar didn't have a single drop of water on it after the session but I don't find that very likely, haha.

Surfersvillage Global Surf News, 3 September, 2008 : - - Fender said, 'Surf it!' I waited 40 years for that call. I was impressed with Johnny Fain surf guitaring in an ad for Surfer and always wondered how hard it would be. So I 'test drove' the Surf Fever model on Maui on some smooth glassy walls.

Weird that Severson would say that it was Johnny Fain because it doesn't look like him at all. Aside from being Dora's arch nemesis Johnny Fain was also an extra in the Beach Party Movies. He's on screen a lot and this guy in the Fender ad doesn't look like him. I'll try to dig up a pic.

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On three occasions, I was plenty relieved when instruments entrusted to my care were spared damage; once when it was necessary to trust an itinerant surfer to paddle out and catch a wave with a Jaguar strapped on his back; again when we handed over a Jazzmaster to a skydiver we had hired and watched fall from 10, 000 feet and float majestically to the ground in front of us; and once again when another shiny new Jag endured a swift run down the ski slopes on Jim Williams’ back. In all three cases, the instruments received nary a scratch nor a dunking.

I made a number of calls to the Fender museum, but no one there could tell me anything except to try Fender's main office, so I did. The person with whom I spoke, immediately knew the ad I was asking about. He said that Bob Perine did the photos for that ad campaign, except for the one in question (for reasons unknown). Evidently Fender no longer has much information regarding even such iconic prints as the surf guitarist.

That would actually explain why Fender Artehouse does not offer that print. I would have so ordered the largest size if they did!

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Several years ago they were selling prints of that ad. I didn't buy one because they were a bit too pricey for me at the time. I really wish I had now.

ScottO1 wrote: He said that Bob Perine did the photos for that ad campaign, except for the one in question (for reasons unknown). That would actually explain why Fender Artehouse does not offer that print. I would have so ordered the largest size if they did! —

Dick

Randy Nauert of The Challengers says.... this is Jon Martin. i spoke with him a few days ago. We'll be visiting in Newport when he returns from Idaho in a few months. The photo was taken at Doheny, in one ride. Jon knee paddled out with the new Jag and caught a wave, stood up and swung it around for this photo. They put the guitar back into its case and sold it.

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That pic was on the cover of the material that came with Rhino Records surf compilation, Cowbunga. Here is the note that describes the picture:

Jon owns the Bob Perine photo rights, outside of the Fender ad. Its been used a lot and he's never asked for money and never been given credit. I think that he deserves the credit. Jon had Doheny wired. He always had style. I'm thinking that we should do a then and now photo playing guitar in his garage when he returns.

Its a big deal for Jon, as his photo has been used a lot... though never credited properly. Its a big deal for me as we are friends and used to surf and play guitar together in the early 60's at his Mom's place on Harbor Island... and I always feel good when I see the photo. We're still best buddies!Richard Anthony Monsour (May 4, 1937 – March 16, 2019), known professionally as Dick Dale, was an American rock guitarist. He was a pioneer of surf music, drawing on Middle Eastern music scales and experimting with reverb.

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Most of the leading bands in surf music, such as The Beach Boys, Jan and Dean and The Trashm, were influced by Dale's music, and oft included recordings of Dale's songs in their albums.

He has be credited with popularizing tremolo picking, a technique that is now widely used in many musical gres (such as extreme metal, folk etc.).

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Working together with Leo Fder, Dale also pushed the limits of electric amplification technology, helping to develop new equipmt that was capable of producing thick and previously unheard volumes including the first-ever 100-watt guitar amplifier.

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The use of his recording of Misirlou by Qutin Tarantino in the film Pulp Fiction led to his return in the 1990s, marked by four albums and world tours. He was also nominated for a Grammy in the Best Rock Instrumtal Performance category for the song Pipeline with Stevie Ray Vaughan.

Dick Dale was born Richard Anthony Monsour in Boston, Massachusetts, on May 4, 1937. He was of Lebanese desct from his father, James,

His family subsequtly moved to Quincy, Massachusetts, which at the time had a significant Lebanese population in the neighborhood of Quincy Point. He learned the piano wh he was nine after listing to his aunt playing it.

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He was giv a trumpet in sevth grade, and later acquired a ukulele (for $6 part exchange), after having become influced by Hank Williams.

Dale th bought a guitar from a frid for $8, paying him back in installmts. He learned to play the instrumt, using both lead and rhythm styles, so that the guitar filled the place of drums. His early tarabaki drumming later influced his guitar playing, particularly his rapid alternate picking technique. Dale referred to this as the pulsation, noting all instrumts he played derived from the tarabaki.

He was raised in Quincy until he completed the elevth grade at Quincy High School in 1954, wh his father, a machinist, took a job working for Hughes Aircraft Company in the Southern California aerospace industry.

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As a Lebanese-American, he retained a strong interest in Arabic music, which later played a major role in his developmt of surf rock music.

Dale began playing in local country western rockabilly bars where he met Texas Tiny in 1955, who gave him the name Dick Dale because he thought it was a good name for a country singer.

Dale employed non-Western scales in his playing. He regularly used reverb, which became a trademark of surf guitar. Being lefthanded, Dale would become known for his unorthodox method of playing a right-handed guitar upside-down, doing so (like Albert King) without restringing the guitar (while Hdrix, by comparison, would restring his guitar). Ev after he acquired a proper left-handed guitar, Dale continued to use his reverse stringing.

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He partnered with Leo Fder to test new equipmt, later saying Wh it can withstand the barrage of punishmt from Dick Dale, th it is fit for the human consumption. His combination of loud amplifiers and heavy gauge strings led him to be called the Father of Heavy Metal.

After Dale blew up several Fder amplifiers, Leo Fder and Freddie Tavares saw Dale play at the Rdezvous Ballroom, Balboa, California and idtified the problem arose from him creating a sound louder than the audice screaming. The pair visited the James B. Lansing loudspeaker company and asked for a custom 15-inch loudspeaker, which became the JBL D130F model, and was known as the Single Showman Amp. Dale's combination of a Fder Stratocaster Fder Showman Amp allowed him to attain significantly louder volume levels unobtainable by th-convtional equipmt.