S2 E26: Women On Waves - Chapt 23: The Resurgence of Glide

嘿，朋友们，你们好。

Well, hello, friends.

欢迎回到冲浪者图书馆。

Welcome back to the Surfer's Library.

我是比利·杰克，带你穿越冲浪历史、文化和传奇的向导。

I'm Billy Jack, your guide through the pages of surf history, culture, and legend.

今天，在我们继续向女性冲浪者致敬、庆祝妇女历史月之际，我将朗读吉姆·肯普顿的著作《浪尖上的女性：冲浪文化史》中的第23章，这本书从古代女神和夏威夷女王，讲到马里布电影明星和千禧一代冠军。

Today, in our continued tribute to women surfers and an appreciation of Women's History Month, I'll be reading chapter 23 of Jim Kempton's book, Women On Waves, A Cultural History of Surfing, from ancient goddesses and Hawaiian queens to Malibu movie stars and millennial champions.

这一章的标题是《滑行的复兴》。

It's titled The Resurgence of Glide.

上一集，我们探讨了五六十年代那些开拓性的女性冲浪者，她们在冲浪运动的变革时期，帮助女性在冲浪界站稳了脚跟。

Last episode, we explored the pioneering women surfers of the nineteen fifties and sixties, Those who helped establish a place in the lineup during a transformative time in surfing.

现在，我们快进到八九十年代，女性继续在这个由男性主导的竞技运动中开辟自己的道路。

Now we fast forward into the nineteen eighties and nineties, where women continued carving out a path in the competitive, male dominated sport.

在短板革命和职业巡回赛的早期，她们不仅仅是参与，而是与男性并肩推动着这项运动的发展。

Through the shortboard revolution and in the early days of the professional tour, they weren't just participating, they were progressing the sport right alongside the men.

但这一章对进步的看法有点不一样。

But this chapter offers a little different perspective on progress.

它提醒我们，冲浪不只是关于更用力、更快、更激进。

It reminds us that surfing isn't only about pushing harder, faster, being more aggressive.

有时候，进步看起来像是回归到更深层的东西。

Sometimes progress looks like returning to something deeper.

风格、流畅感、与海浪的连接。

Style, flow, connection to the wave.

这一章讲的是动感中的美，是关于优雅和节奏，以及女性冲浪者如何帮助长板冲浪和滑行艺术重新回到聚光灯下。

This chapter is a story about beauty in motion, about grace and rhythm, and about how women surfers help bring longboarding and the art of the glide back into the spotlight.

我们出发吧。

Let's paddle out.

《滑行的复兴》，长板复兴提供了艺术性和优雅的迷人选择。

The Resurgence of Glide, a longboard revival offered attractive alternatives of artistry and grace.

1982年到1999年。

1982 to 1999.

我常常惊叹于说出真相是多么需要勇气和魄力。

I am constantly amazed at how courageous and radical speaking the truth is.

梅丽莎·埃瑟里奇，歌手、词曲作者、活动家。

Melissa Etheridge, singer, songwriter, activist.

女性优雅的风格和富有感染力的友谊，推动了八十年代长板运动的复兴。

Women's elegant style and infectious camaraderie elevated a eighties longboard renaissance.

六十年代末期短板的发展是一场真正的革命。

The late sixties shortboard development was a genuine revolution.

这种转变迅速而普遍。

The adaption was swift and universal.

全球各地的削板师和冲浪板制造商纷纷响应这股巨大的新需求，几乎停止了所有长板的生产。

Across the globe, shapers and surfboard manufacturers responded to the overwhelming new demand, dropping virtually all production of longer equipment.

这带来了许多后果。

The consequences were numerous.

超过七英尺十英寸的冲浪板变得过时了。

Boards over seven foot 10 inches became obsolete.

旧的长板文化，强调步法、滑行和优雅姿态，被追求机动性、紧贴浪壁和垂直而非水平的浪面轨迹所取代。

The old longboard culture, with its emphasis on footwork, glide, and elegant poses, was replaced by the quest for maneuverability, tight pocket positioning, and vertical rather than horizontal trajectories on the wave face.

在浪管里骑行取代了站在板头，成为最激进的表演动作。

Riding inside the tube replaced riding the nose as the most radical performance maneuver.

一种新的文化应运而生，与全球青年运动中的音乐、穿着和世界观同步，有时甚至走在前沿，更加理想主义，但同时也往往更加教条。

A new culture sprang up in sync with and sometimes at the forefront of the global youth movement of music, dress, and worldview, more idealistic, but simultaneously often more dogmatic.

许多年长的冲浪者退出了。

Many older surfers dropped out.

许多从战场归来的越战老兵发现，板子尺寸和态度的极端变化让他们难以适应。

Many Vietnam veterans returning from war found the extreme drop in size and attitude as well too difficult an adjustment.

对于初学者来说，用小型装备学习要困难得多。

For beginners, learning was much more difficult on tiny equipment.

但婴儿潮一代的崛起以及随后冲浪热潮的兴起，轻松弥补了第一代现代冲浪者的流失。

But the rise of the baby boomers and the subsequent surge in wave riding's popularity easily replaced the attrition rate of surfing's first modern generation.

这些因素，加上脚绳的发明和潜水服的改进，使得冲浪变得更加拥挤，也远不如以前那么友好。

These factors, coupled with the development of the leash and improved wet suits, made surfing far more crowded and considerably less friendly.

这种影响在女性身上体现得最为明显。

Nowhere was the effect more pronounced than for the women.

更拥挤的冲浪区域、对海浪的激烈争夺，以及短板冲浪对体力的高要求，让整个氛围变得偏向男性化，既不适合女性，也不欢迎她们。

Hostility in a more crowded lineup, aggressive competition for waves, and the physical power requirements of shortboard surfing shifted the atmosphere toward a masculine environment, neither best suited nor welcoming to women.

从1967年到1969年的短短几年间，长板几乎完全消失，导致本已稀少的女性冲浪者在水中的身影更加难觅。

Within the few short years from 1967 to 1969, the nearly total disappearance of longboards resulted in a visible reduction to an already scarce female minority in the water.

从六十年代末到七十年代末的十多年里，短板绝对主导，成为冲浪装备的首选。

The shortboard's absolute supremacy and equipment choice predominated for more than a decade from the late sixties to the end of the seventies.

阳光下的漫步。

Walking on sunshine.

八十年代初，复兴的苗头悄然而至。

The Renaissance began as a whisper in the early eighties.

到了八十年代中期，夏威夷和美国本土有一小部分特立独行的人选择回归长板。

By mid decade, modest numbers of iconoclasts in Hawaii and The US Mainland chose a return to longboards.

作为对主流的一种鲜明反叛，这群复兴者从车库甩卖或积满灰尘的阁楼里翻出了那些单鳍、九英尺长的冲浪老古董。

A marked alternative to the status quo, this small band of revivalists ferreted out single fin, nine foot wave riding relics at garage sales or in dusty rafters.

这是获得这些十多年来已经过时的长板的唯一途径。

It was the only means of acquiring these longer models that had been unfashionable for over a decade.

当时的泡沫坯料制造商克拉克泡沫仍然占据主导地位，但他们生产的坯料没有足够大的，能让制板师做出长板。

Clark Foam, still the dominating blank manufacturer of the day, was producing no blanks big enough for shapers to even make a longboard.

就像凯特琳娜与海浪乐队1985年的热门歌曲《走在阳光下》一样，长板对女性的吸引力是立竿见影、无法抗拒的。

Like Walking on Sunshine, the euphoric upbeat 1985 hit by Katrina and The Waves, longboarding's attraction for women was immediate and irresistible.

雪莉·克鲁默回忆说：“我已经十五年没碰过长板了。”她是一位资深选手，也是六十年代初以来的摄影记录者。

I hadn't ridden anything but shortboards for fifteen years, recalls Sherry Krumer, a veteran competitor and photographic chronicler since the early sixties.

我一参加长板比赛，就想起了我在冲浪中久违的东西。

The moment I entered a longboard competition, I remembered what I was missing for so long in surfing.

追逐潮流是多余的。

Trendiness was superfluous.

滑行的优雅、调整站姿的微妙之处以及流畅的转换，这些六十年代黄金时代长板运动的标志性特点，吸引着冲浪者热情地拥抱这种新古典主义的装备。

The elegance of glide, the nuances of trim positioning, and the smooth transitions, synonymous with longboarding in the sixties golden era, enticed surfers to enthusiastically adopt neoclassical equipment.

大多数接受新长板热潮的地区，都拥有在1969年到1985年这段黑暗时期之前就早已形成的深厚而持久的传统冲浪文化。

Most regions that embraced the new longboard pulse had sustained a deep and lasting traditional surf culture established long before the onset of its dark ages, 1969 to 1985.

最主要的是瓦胡岛的南岸，那里从使用一百磅重的考阿木冲浪板坯的时代起，就一直保持着近乎宗教般的长板冲浪传统。

Foremost was the South Shore Of Oahu, which had maintained an almost religious longboard art form since the time of 100 pound Koa wood blanks.

而且南岸的海浪通常更柔和、更平缓，更适合使用更长的冲浪板。

And the generally softer rolling waves of the South Shore were far more conducive to longer board lengths.

在过去的十年里，像来自瓦胡岛西岸的雷尔和玛莎·孙这样的年轻天才，开始提醒夏威夷人他们在长板冲浪上的深厚根基。

In the previous decade, young talent like Rel and Martha Sun from the West Side Of Oahu began to remind Hawaiians of their deep roots in the lengthier genre.

南希·埃默森，被许多人认为是她那个时代最杰出的冲浪天才之一，重新回到了长板冲浪。

Nancy Emerson, considered by many to be one of the preeminent talents of her time, returned to longboarding.

作为一名经验丰富的短板职业选手和成熟的冲浪学校创办人，埃默森决定创办夏威夷长板系列赛。

Already a seasoned shortboard pro and established surf school developer, Emerson decided to start the Hawaiian longboard series.

这个系列赛立刻得到了支持，为分散的爱好者们提供了一个聚集地，让他们可以庆祝传统。

Met with immediate support, it gave disparate enthusiasts a gathering place to celebrate tradition.

安娜·穆迪，来自毛伊岛基黑的一位本地人，就是那种以洛佩兹式的优雅风格冲浪的天才的完美例子。

Anna Moody, a Kihei Maui local, was a perfect example of the talent that surfed with Lopez style grace.

圣奥诺弗雷，加利福尼亚州奥兰治县最南端的地方，自三十年代以来也一直保持着一种夏威夷风格的冲浪文化。

San Onofre, the southernmost tip of Orange County, California, had also maintained a Hawaiian esque surf culture since the thirties.

和威基基一样，圣奥诺弗雷那些又长又慢的浪，通常也是经典长板的首选。

Like Waikiki, the long, slow rolling waves at San O were usually the prescribed preference for classic longboards.

很多年里，圣奥诺弗雷海滩只对精英的圣奥诺弗雷冲浪俱乐部成员开放，那里形成了一种丰富多彩又悠闲自在的生活方式。

Access to San Onofre was for many years limited to members of the elite San Onofre surf club, where a very colorful but relaxed lifestyle had evolved.

七十年代海滩对公众开放后，情况变化不大，冲浪者们早就熟悉传统长板的好处了。

Little changed as the beach became public in the seventies, and surfers were already well versed in the benefits of traditional longboards.

但到了八十年代，像南希·杜斯勒和波琳·拉顿这样的冲浪者，她们来自圣奥诺弗雷最早的家族，早期加州冲浪文化很多就是从那里发源的，她们已经接近冲浪生涯的尾声了。

But by the eighties, surfers like Nancy Duesler and Pauline Lutton, women from the first families of San Onofre, where much of the early California surf culture had emanated, were nearing the end of their active surf careers.

就在这个时候，第二代经典派冲浪者出现了，掀起了一场重要的复兴。

It was a moment when a second generation of classicists emerged, setting off a significant revitalization.

凯伦·威廉姆斯的父亲是传奇的冲浪板制作者，也是圣奥诺弗雷的常客，她是最早重新推广长板的女性之一。

Karen Williams, whose father was a legendary board writer and San Onofre fixture, was one of the first women to reintroduce longboards.

洛里·克雷格、琼·维特和黛安·乔普也都是来自显赫家族的杰出人物。

Lori Craig, Jean Vetter, and Diane Jopp were notable standouts from prominent families as well.

温迪·欧文，也是第一代加州冲浪者的女儿，正成长为一名出色的选手和海滩倡导者。

Wendy Irwin, another daughter of first generation California surfers, was becoming an outstanding competitor and beach advocate.

她的母亲莉兹·欧文是圣奥诺弗雷冲浪俱乐部经典创始时期的女元老之一。

Her mother, Liz Irwin, was one of the matriarchs from the classic founders period of the San Onofre Surf Club.

莉兹曾是一位优雅的长板冲浪者，和许多人一样，温迪也回归了长板。

Liz had been an elegant longboarder, and like many others, Wendy had returned from shortboarding.

事实上，几乎所有回归长板的女性，她们的父母甚至祖父母都曾使用过经典的九英尺以上的长板。

Nearly all of the women who reverted to the longer lengths were, in fact, surfers whose parents and even grandparents had ridden classic nine foot plus shapes themselves.

丽莎·彼得森、洛里·罗斯、杰米·吉和贝克特姐妹都来自五十年代就扎根圣奥诺弗雷的家族，他们的父母是南加州冲浪文化中的标志性人物。

Lisa Peterson, Lori Roth, Jamie Gee, and the Beckett sisters were all part of longtime San Onofre families from the fifties whose parents were iconic figures in the Southern California surf culture.

马里布也再次成为一群女孩的天地，她们在传统长板上展现风采，而短板的冲浪者则轻蔑地称这些长板为“老式板”。

Malibu too was again home to a crew of girls styling on traditional logs as the shortboard generation dismissively called them.

布列塔尼·伦纳德和卡拉·罗兰是引领这股复兴潮流的代表，她们选择了厚重玻璃纤维、无绳的单鳍冲浪板。

Brittany Leonard and Carla Rowland were among those leading the resurgence, choosing heavily glassed, leashless single fin equipment.

伦纳德性格害羞，有时有点古怪，是个独立思考的金发女孩，以优雅的步法著称。

Shy and sometimes quirky, Leonard was an independent thinking blonde known for her elegant footwork.

相比之下，她的姐姐考特尼则是一头深色头发，话也很多。

Her sister Courtney, by contrast, was dark haired and talkative.

罗兰后来成了冲浪学院的首席教练，她记得自己多年来一直在努力站稳脚跟，在充满男性荷尔蒙的冲浪区里争取自己的一席之地。

Rowland, who would later go on to become the head instructor at The Surf Institute, remembered enduring years of battling to hold my ground and earn my right in the testosterone filled lineup.

作为女性，我不仅受到歧视，还得经常证明自己。

Being a woman, I was not just discriminated against, but also required to prove myself on a regular basis.

正如罗兰所说，那里有石头大战、摔跤比赛。

As Roland described it, there were rock wars, wrestling matches.

我在众目睽睽之下被人扯掉裤子，被骂，被造谣，被抢浪。

I was pantsed in front of crowds, called names, lied about, snaked on waves.

甚至有人告诉我，在这个占据浪点的等级体系里，我的位置跟那些小屁孩一样。

I was even told my place in the hierarchy that possessed the point was on the same level as the Grom's kids.

女性在水里从来都不容易，但长板的回归让冲突更加激烈了。

It was never easy for women in the water, but the reintroduction of longboards intensified the conflict.

七十年代那一代人内心深处的怨恨在滋长，他们正努力应对越来越拥挤的冲浪区。

Deep seated resentment festered within a seventies generation struggling with increasingly crowded lineups.

尽管阻力重重，但板子变长这件事已经瞒不住了，谁也挡不住。

Despite the resistance, increasing board length was out of the bag, and nothing could stuff it back in.

已经太晚了，没法回头了，冲浪艺术家谢丽·克鲁默这样说道。

It was too late to reverse course, switch artist Sherry Krumer declared.

就连巴哈的常客也能在小浪间隙的日子里，在半岛经典的点浪上看到他们骑着长板冲浪。

Even Baja regulars could be seen riding the tip at the peninsula's classic point breaks on small days between swells.

大批南加州和东海岸的冲浪者开始出现在周六的庭院旧货出售中，寻找那些保存完好的50美元宝贝。

Hoards of SoCal and East Coast surfers began surfacing its Saturday garage sales in search of pristine $50 treasures.

这股热情甚至短暂地复兴了冲浪音乐和经典冲浪电影。

The infectious enthusiasm even spawned a short resurrection of surf music and classic surf movies.

随着兴趣的增长，一些真正的爱好者开始打破过去十年短板主导所固化的模式，而女性正是这股先锋力量中的重要部分。

As interest grew, dedicated aficionados began to penetrate the conformity entrenched by a decade of shortboard domination, and women were a major faction of the vanguard.

圣奥诺弗雷那时已经全面流行长板，像朱莉·惠蒂根和谢丽·克鲁默这样以前是短板选手的女性，转向长板后取得了更大的比赛成功。

San Onofri, by now in full length bloom, saw women like Julie Whittigan and Sherry Krumer, who had previously been shortboard competitors, move to the longer lengths with even more contest success.

到了九十年代初，这里已经形成了一个真正成熟且稳固的圈子，散发着像珍妮特·杰克逊的《Together Again》那样的姐妹情谊。

Together By the early nineties, there was a bonafide, well entrenched scene, exuding camaraderie like Janet Jackson's Ode to Sisterhood, Together Again.

这体现在像黛安·桑德斯这样的冲浪者身上，她闯入了马里布拥挤的第三点，最终成为洛杉矶女子冲浪冠军。

It was reflected in surfers like Diane Sanders, had broken into the crowded third point at Malibu, eventually becoming the LA Women's Champ.

她的生命在2009年因一种罕见的乳腺癌而戛然而止，但在此之前，她激励了一代又一代的年轻女性。

Her life was cut short in 2009 by a rare form of breast cancer, but not before inspiring a generation of upcoming women.

她总是特别关注女性长板冲浪者，尤其是那些在90年代初一起参加联盟比赛的我们，科里·舒马赫，这位长板冲浪界最能言善辩的代表之一，如此说道。

She always had her eye out for female longboarders, especially those of us who grew up competing at coalition contests in the early '90s, proclaimed Cory Schumacher, one of longboarding's most articulate representatives.

黛安抓住每一个机会支持女性长板冲浪，她是我们今天所达到的成就中不可或缺的一部分。

Diane rallied behind women's longboarding at every opportunity and was an integral part of where we are today.

在浪小的日子里，那些通常人少的礁石内侧区域，比如南边的卡迪夫和斯瓦米，北边的林孔和斯迪默斯巷，经常能看到像来自圣克鲁斯的简·伊莱恩·麦肯齐、圣巴巴拉的西蒙娜·罗丁格斯，以及恩西尼塔斯的珍妮特·普林斯这样的女性，她们展现出那种立刻吸引其他女性加入冲浪行列的优雅气质。

On smaller days, the frequently uncrowded inside cove sections at Cardiff and Swamy's to the South, Rincon and Steamer's Lane to the North would see women like Jane Elaine McKenzie from Santa Cruz, Santa Barbara's Simone Rodingus, and Jeanette Prince in Encinitas, displaying the kind of feminine grace that was immediately attractive to other women in the lineup.

在附近的圣地亚哥北县，普林斯的女儿科里·舒马赫，她一生都在长板和短板上冲浪，是卡特弗里兹最出色的年轻女孩。

Nearby in San Diego's North County, Prince's daughter, Corey Schumacher, who had been surfing all her life on longboards and shortboards alike, was the standout young girl at Carter Freeze.

她天生具备运动天赋和非凡的智慧，很快将成为冲浪文化中更为突出的人物。

Gifted with both natural athleticism and an exceptional intellect, she was soon to become a much more prominent figure in the surfing culture.

这些长板复兴的热情参与者常常独自享受那些被忽视的礁石和岬角区域，因为当时的现代短板并不适合小浪点浪况。

These enthusiastic members of the longboard reawakening often enjoyed the shunned sections of reefs and points by themselves, contemporary shortboards of the time being unsuited to small point wave conditions.

在澳大利亚，桑迪·卡尔顿在阳光海岸的鹅卵石岬角上连续赢得了10次澳大利亚国家长板冲浪冠军。

In Australia, Sandy Carlton won 10 Australian national longboard titles back to back along the cobbled points of the Sunshine Coast.

科琳·迪恩和朱莉·莫克西就是那些重新发现断头、努萨和月牙头的人，这些地方因其长板冲浪条件而备受推崇，如今又重回时尚。

Colleen Dean and Julie Moxie were among those rediscovering Broken Heads, Noosa, and Crescent Heads, revered for their longboard qualities that were now returning to vogue.

来自新西兰的珍妮·尚克斯与加州和夏威夷的女性们建立了联系，这种纽带持续了几十年。

Jeanie Shanks from New Zealand connected with the women from California and Hawaii, a bond that continued for decades.

在美国东海岸，类似的情况也在上演。

On America's Eastern Seaboard, a similar scenario was unfolding.

佛罗里达州的丽莎·摩尔·韦克利在夏威夷待了十年后归来，再次成为彭萨科拉的佼佼者。

Floridian Lisa Moore Wakeley, returning from a decade in Hawaii, was once again a Pensacola standout.

六十年代的神童咪咪·门罗也重返冲浪圈。

Mimi Monroe, a child prodigy in the sixties, returned to the scene as well.

她说：“感觉就像他们这么多年一直为我留着位置。”

It was like they saved a spot in the lineup for me all those years, she said.

在新泽西，玛丽·安妮·海斯和冲浪音乐人桑迪·斯梅德利重新审视了自己早年的根基。

In New Jersey, Mary Anne Hayes and surfer musician Sandy Smedley reexamined their earlier roots.

在夏威夷，那里的氛围向来低调，但表现往往令人印象深刻。

In Hawaii, the scene was customarily low key, but the performances could often be impressive.

克里斯汀·科尔在北岸大放异彩。

Kristen Cole dazzled the North Shore.

威基基海滩女孩皮诺伊·马卡莱娜和洛里·萨克斯曼在檀香山表现出色，而德西蕾·德索托和玛莎·孙在玛卡哈继续表现优异。

Waikiki Beach Girls Pinoy Makalena and Lori Saxman were standouts in Honolulu, while Desiree DeSoto and Martha Sun continued to perform exceptionally at Makaha.

孙、德索托和马卡莱娜都来自夏威夷著名的冲浪世家，她们后来多年一直担任年轻冲浪者的导师。

Sun, DeSoto, and Makalena, all from storied Hawaiian surf families, would go on to become mentors to young surfers for years to come.

在每个地区，优秀的冲浪者都有自己最喜欢的冲浪点。

In every region, good surfers had their favorite surf spot.

在加利福尼亚，年轻的微风与海浪俱乐部成员珍·史密斯喜欢拉荷亚礁石，而玛丽·博加尔索则偏爱欧申赛德的海浪尖。

In California, Jen Smith, a very young wind and sea club member, took to the La Jolla Reefs, while Mary Bogalso preferred oceanside's peaks.

吉尔·尼卡诺后来成为成功的冲浪教练，她最初在托尔马林冲浪公园开始，但搬到亨廷顿后，成为博尔萨奇卡和悬崖的常客。

Jill Nicano, who later became a successful surf instructor, started at Tourmaline Surf Park, but became a regular at Bolsa Chica and the cliffs after transplanting to Huntington.

九十年代美国冲浪队成员凯莉·斯隆从内陆维斯塔开车出来，在外堤坝表现出色，一直是半决赛的常客。

Kelly Sloan, a member of the US surf team in the nineties, drove out from Inland Vista to excel at the outside jetties, a consistent semifinals performer.

顶尖的冲浪高手黛比·特罗特根喜欢林康的海浪线，而梅尔维斯·莫里斯曾指导过许多年轻新秀，她把海滨礁石当作自己的地盘。

Top trim expert Debbie Trotgen loved the lines at RingCon, while Melvis Morris, who had mentored many of the younger upcomers, adopted Seaside Reef as her own.

对于这些新兴的长板冲浪者来说，要融入冲浪队伍还得等上几年。

For this burgeoning breed of new longboarders, acceptance in the lineup would be a few years off.

那些被视为过时的装备常常招来嘲笑，有时甚至遭到彻底的鄙视。

Disdain for writing equipment considered archaic often triggered ridicule and, in some cases, outright contempt.

但长板冲浪者能从外围抢到每一波好浪，这才是大家心照不宣却更让人担忧的威胁。

But the capacity for longboarders to pick off every good set wave from the outside was really the unstated but more worrisome threat.

对女性来说，一个积极的变化开始显现。

For women, one positive outcome became apparent.

随着冲浪人群重新拥抱这项被遗忘的艺术，很多人发现它是一个有吸引力的选择，重新找回了大家渴望已久的风格和优雅。

As surfing's populace reaffiliated with the lost art form, a large cadre found it an attractive alternative, incorporating a return to style and grace that many had been longing for.

长板也为女性增加了比赛机会。

Longboards expanded competition opportunities for women too.

美国冲浪联合会设立了女子长板组别。

The United States Surfing Federation included a women's longboard division.

冲浪俱乐部联盟本身也是一种复兴，它在加州沿海各地举办了比赛。

The coalition of surfing clubs, a revival in itself, hosted contests up and down the coast of California.

玛丽·施温是马里布俱乐部的核心人物，而马卡·普阿则自豪地代表了毛伊岛的代表队。

Mary Schwinn was the Malibu club kingpin, while Maka Pua'a proudly represented the Maui contingency.

施温成为了马里布冲浪板作家协会的副主席。

Schwinn became the vice president of the Malibu Board Writers Association.

玛丽在九十年代末和两千年代初统治了马里布的第一和第二冲浪点，珍妮特·普林斯回忆道。

Mary dominated first and second point Malibu in the late nineties and early two thousands, remembered Jeanette Prince.

Roxy品牌在女性沙滩装领域大放异彩，在圣奥诺弗雷举办了纯娱乐活动，由冲浪文化推手艾伦·西摩执导。

The Roxy brand enjoying a rain in women's beachwear held just for fun events at San Onofre, directed by surf culture impresario, Alan Seymour.

Roxy和西摩一起为年轻女性点燃了热情。

Together, Roxy and Seymour lit a flame for young women.

很快被贴上“Roxy女孩”标签的年轻海滩爱好者们，突然被允许单纯享受海浪的乐趣。

Quickly labeled as Roxy Girls, young beach lovers were suddenly allowed to simply experience the joy of the waves.

在这个文化中，并不需要高超的技巧才能被接纳。

High performance was not required to gain acceptance in the culture.

实际上，这场运动还创造了自己的文化仪式。

In fact, the movement created its own cultural rituals.

最重要的是展现出一种无忧无虑的态度，带着俏皮的活力。

The most important was exhibiting a carefree attitude with playful intensity.

无论从社交还是商业角度来看，把包容性作为冲浪生活方式的核心要素，简直是天才之举。

From both a social and commercial standpoint, offering inclusiveness as an essential component of surf lifestyle was pure genius.

我是不是一直视而不见？

Have I been blind?

我是不是被眼前所见迷惑、催眠了？

Have I been hypnotized, mesmerized by what my eyes have found?

娜塔莉·默钱特在纽约街头漫步，用徕卡M3相机拍照，同时写下《狂欢》的歌词，这首歌在1995年夏天登上了公告牌前十名。

Natalie Merchant asked as she stalked the streets of New York, shooting photographs with a Leica m three, writing the song lyrics to Carnival, her top 10 billboard hit in the summer of nineteen ninety five.

世界也许没有在看，但再也无法视而不见了。

The world may not have been looking, but they could no longer be blind.

到了90年代中期，女性在冲浪队伍中的身影越来越多，这一点终于无法否认了。

By the mid nineties, the increased presence of women in the lineup was finally undeniable.

仅在南加州，长板的数量就迅速接近与短板五五开的比例，而女性冲浪者的增加也推动了这一趋势。

In Southern California alone, the number of longboards fast approached a fifty fifty ratio to shortboards, and the increasing number of women in the lineup helped tip the scale.

像拉荷亚的Surf Diva和墨西哥本土的Los Olas这样的女性专属冲浪营蓬勃发展。

Female exclusive surf camps like Surf Diva in La Jolla and Los Olas in Mainland Mexico flourished.

像塔尼娅·布斯这样炙手可热的年轻冲浪板设计师，她是圣奥诺弗雷州立公园救生员的女儿，成了海报女郎。

Hot young board writers like Tanya Booth, a San Onofre State Park lifeguard's daughter, became a poster girl.

真的，圣奥诺弗雷经典赛在1996年和2000年都用她的形象做活动海报。

Literally, the San Onofre classic used her image for the event poster in 1996 and 2000.

到1995年夏天，随着罗西之后大量新女性冲浪板公司涌入市场，营销资金如潮水般涌来，成千上万的女性大胆无视了冲浪只属于男人的陈旧观念，纷纷加入冲浪行列。

By the summer of nineteen ninety five, spurred by a deluge of marketing dollars from an influx of new women's surfboard companies who followed Roxy into the marketplace, thousands of females boldly ignored the entrenched stigma that surfing was only for the guys and entered the lineup.

零售需求已经足够强劲，世界上第一家全女性冲浪店在恩西尼塔斯开张了，叫Water Girl，这个趋势还会继续蔓延到各个领域。

Retail demand had grown strong enough for the world's first all girl surf shop to open, Water Girl and Encinitas, and the trend would continue across the spectrum.

当世界冠军短板冲浪手丽莎·安德森成为十五年来第一位登上《冲浪者》杂志封面的女性，马德琳·奥尔布赖特成为美国历史上第一位女性国务卿时，长板冲浪的浪潮与女性冲浪或国家政治中的任何大事一样具有历史意义。

As world champion shortboarder Lisa Anderson became the first woman on the cover of Surfer Magazine in over fifteen years and Madeleine Albright made history as America's first female secretary of state, the longboard groundswell was as historic as anything else that was happening in women's surfing or perhaps in national politics.

西海岸各地，这个趋势都在扩大。

Up and down the West Coast, the trend was expanding.

住在马里布内陆的年轻女孩，包括卡西娅·米多尔和阿什利·劳埃德，注意到了这个趋势，也跟着效仿。

Younger girls living inland of Malibu, including Casia Midor and Ashley Lloyd, noticed the trend and followed suit.

这两位女性在接下来的几十年里，会成为长板冲浪和整个冲浪文化中的重要人物。

These two women would become major figures in the longboard and general surfing culture in decades to come.

但在九十年代末，她们还是充满热情的青少年，第一次尝到了冲浪带来的纯粹快乐。

But in the late nineties, they were eager teenagers getting their first taste of surfing's unmitigated joy.

没有残酷的夏天。

No Cruel Summer.

对于卡西娅·米多尔来说，那种滋味是在1997年夏天尝到的，那时她15岁，父母开始把她送到马里布的第一点。

For Cassia Medor, that taste came in summer of nineteen ninety seven when she was 15 and her parents started dropping her off at 1st Point Malibu.

虽然七十年代的短板革命和八十年代的专业巡回赛还在继续发展，这个世界闻名的右手浪点已经回归了它的经典传统。

While the shortboard revolution of the seventies and the pro tour of the eighties had continued to grow, the world famous right peeling brake had returned to its classic roots.

正如那些长期学习冲浪的人所知，第一点几乎就是为长板冲浪而设计的。

As those who were longtime students knew, First Point was practically engineered for longboarding.

米多尔立刻被迷住了，很快掌握了基本功，并发展出了自己的风格。

Meidor immediately became captivated, quickly mastering the fundamentals and developing her own style.

她非常独特，两届世界长板冲浪冠军乔尔·图多尔这样评价道。

She was so distinctive, contended Joel Tudor, a two time world longboard champion.

她的表现没人会错过。

No one could miss her performances.

加入马里布冲浪俱乐部后，她沿着海岸线到处参加比赛。

Joining the Malibu Surf Club, she traveled to competitions up and down the coast.

Ace of Bass三人组可能在1998年有一首关于夏日酷热和爱情烦恼的热门歌曲，但梅多尔和她的伙伴们可没有那种糟糕的夏天。

The Ace of Bass trio may have had a huge 1998 radio hit singing about summer's oppressive heat and the misery of romance, but Mador and her companions had no cruel summer.

对他们来说，更像是雪莉·克劳的《我只想找点乐子》。

For them, it was more like all I wanna do is have some fun by Sheryl Crow.

接下来的几年里，梅多尔几乎每天从早到晚都在冲浪。

Over the next few years, Mador surfed nearly every day from dawn till dusk.

冲浪对她来说，不再只是普通的爱好。

Wave riding became no ordinary love.

她第一次受邀参加国际冲浪比赛，是来自1999年哥斯达黎加的Rabbit Kikai长板经典赛。

Her first invitation to an international surf competition came from the Rabbit Kikai nineteen ninety nine longboard classic in Costa Rica.

她父母没钱送她去，所以梅多尔在Smart and Final折扣杂货店买了糖果，然后加价卖给同学。

Her parents didn't have the money to send her, so made her bought candy at Smart and Final discount grocers and sold it to her classmates at markup.

她赚了1500美元，足够买去哥斯达黎加的机票了。

She made $1,500, enough for the ticket to Costa Rica.

她用同样的办法，自己凑钱去了澳大利亚努萨的一场比赛，在那里引起了著名长板制板师唐纳德·高山（Donald Takayama）的注意。

Using the same tactic, she covered her own travel expenses to a competition in Noosa, Australia, where she caught the eye of renowned longboard shaper Donald Takayama.

高山当时和Quicksilver的联合创始人杰夫·哈克曼（Jeff Hackman）一起在水里。

Takayama was in the water with Jeff Hackman, cofounder of Quicksilver.

高山主动提出为梅多（Mador）定制冲浪板。

Takayama offered to shape boards for Maydor.

哈克曼帮她争取到了Roxy的赞助。

Hackman helped secure her sponsorship from Roxy.

短短几个月后，梅多就登上一艘冲浪探险船，在印度洋上探索马尔代夫群岛。

Within a few short months, Mador was on a surf adventure vessel in the Indian Ocean, exploring the Maldives island chain.

她错过了高中毕业舞会，却用她疯狂的脚步动作吸引了所有人的目光。

She was skipping her senior prom, but turning heads with her frenetic footwork.

梅多展现出一种极其自由奔放、独树一帜的风格，她会用脚趾抓住板头，让身体完全悬空保持平衡，然后转身、交叉步后退，重新调整板位，继续做出各种挑战重力的动作。

Implementing a wildly free spirited and original style, Mater would grip the nose with her toes and suspend herself in full trim, spin around and cross step backward to reposition the board for additional feats of gravity.

这些优雅的表现让她获得了媒体的关注，也提升了女性长板冲浪的吸引力。

These elegant performances earned her media attention and bolstered the appeal of longboards for women.

卡西就像一块磁铁，马里布女孩团队的成员朱莉·考克斯回忆道。

Cassie was like a magnet, fellow Malibu girls crew member, Julie Cox, remembered.

她非常有风格。

She had such a style.

她能让你笑，同时也很会做生意。

She could make you laugh and at the same time be very entrepreneurial.

她的时机似乎恰到好处。

Her timing seemed ideal.

在充满活力的长板杂志、更广泛的媒体报道以及女性冲浪专属时尚的兴起的支持下，长板冲浪的重新流行加速了整个女性冲浪运动的接受度。

Supported by vibrant longboard magazine, heightened general media coverage, and a boom in women's surf specific fashions, longboarding's rekindled popularity accelerated the acceptance of women's surfing as a whole.

对于全球众多参加长板比赛的女选手来说，现在唯一缺少的就是一个配得上称为世界级比赛的赛事。

To the mass of women competing on longboards across the globe, all that was missing now was an event worthy of being called a world contest.

哥斯达黎加长板经典赛的组织者汉克·雷蒙德站出来填补了这个长期存在的空白。

Hank Raymond, organizer of the Costa Rica longboard classic, stepped in to fill that long standing void.

他自称的世界冠军赛事——‘脚踩鼻尖’女子世界长板冲浪锦标赛，是自六十年代末短板革命以来，首届女子长板世界锦标赛。

His self proclaimed world title event, the toes on the nose women's world longboard championship, was the first women's longboard world championship since the shortboard revolution of the late sixties.

从1999年到2003年，这项赛事每年在哥斯达黎加举办，与Rabbit Kikai经典赛同期举行。女子世界长板锦标赛（WWLC）成为迄今为止世界上举办时间最长的女子专属冲浪比赛。

Held annually in Costa Rica from 1999 to 2003, in conjunction with the Rabbit Kikai Classic, the Women's World Longboard Championship, WWLC, became the world's longest running women's only surf competition to date.

接纳和机遇鼓励了新一批女性走上职业道路，但对许多人来说，这并非没有代价。

Acceptance and opportunity encouraged a new wave of women into the professional career path, but for many, it would come with a price.

美丽是只野兽。

Beauty is a beast.

随着市场需求带来商业繁荣，拥有合适特质的女性获得了更多机会。

As market demand created a commercial boom, opportunities expanded for women with the right characteristics.

但这种新星地位也有其阴暗面。

But the results of this new stardom had its dark side.

与男性不同，女性并非仅凭运动能力被评判。

Unlike the men, females were not judged strictly on their athletics.

她们还需要具备其他素质。

They were required to have other qualities as well.

这是一种令人困惑、有时甚至让人身心俱疲的矛盾处境。

It was a confusing and sometimes debilitating juxtaposition.

在Mater成名前几年，Veronica Kaye也加入了Roxy团队，既是选手也是模特。

A few years before Mater's rise, Veronica Kaye also joined the Roxy team as both a competitor and model.

她当时14岁，聪明又活泼。

Bright and effervescent, she was 14 at the time.

Kaye回忆说：“我的体重在冲浪和模特工作之间来回波动。”

My weight went up and down between focusing on surfing and modeling, Kaye remembered.

我会有模特身材，非常瘦。

I would have a model body and be really skinny.

然后我试着划水出去，就会想，天哪。

Then I'd try to paddle out and be like, oh my god.

我力气不够。

I'm not strong enough.

然后你专注于当运动员，但你又觉得，穿泳衣不好看了。”

Then you focus on being an athlete, but you're like, I don't look as good in a bathing suit.

这真的让人很纠结。

It messes with your head.

一个优雅、有才华、坦率得让人着迷的女性，17岁就成为了1997年全国学术冲浪协会冠军，却对自己的外表有着如此强烈的不安，甚至到了纠结的地步，这恰恰说明了女性相比男性要面对更多的挣扎。

That a graceful, talented, compellingly candid woman who became the 1997 National Scholastic Surfing Association champion at 17 should have insecurities about her appearance strong enough to mess with her head illustrates the added struggles women face compared to their male counterparts.

尽管凯作为职业运动员和冲浪界最大公司的品牌大使走遍了世界，还成为了纽波特海滩一家杂志的时尚编辑，但对外表的担忧在女性冲浪者中依然普遍存在。

No matter that Kay had traveled the world as a professional athlete and brand ambassador for the largest company in surfing and became a fashion editor for a Newport Beach magazine, The apprehension about looks was endemic among women surfing.

这种担忧不分性取向，无处不在。

The worry was pervasive regardless of sexuality.

基拉·肯内利，当时排名前十的短板冲浪手，有着破纪录的履历和驾驭大浪的能力，但在比尔邦团队接受品牌赞助的那些年里，她仍然觉得必须隐藏自己的性取向。

Keela Kennelly, then a top 10 ranked shortboarder with a record breaking resume and big waves, still felt compelled to conceal her sexuality during her brand sponsored years on the Billabong team.

肯内利坦言：“我当时确实在努力让自己看起来更女性化。”

I was definitely trying to fem it up, Kennelly divulged.

对大多数品牌来说，如果你想获得赞助，你就得表现得女性化、直率、漂亮。

For most brands, you need to be feminine and straight and pretty if you wanna be sponsored.

塔尼娅·布斯，一位来自圣奥诺弗雷冲浪世家的漂亮造型师，当她的赞助没有续约时，她感到非常沮丧。

Tanya Booth, a beautiful stylist from a longtime San Onofre surfing family, was crushed when her sponsorship was not renewed.

艾伦·西摩，他创办了Roxy长板赛事，并帮助她获得了赞助，他看到了这种情感上的伤害。

Alan Seymour, who had created the Roxy longboard events and had helped her obtain her patronage, saw the emotional damage.

不管她多漂亮、冲浪多好，也不管品牌削减预算有多少其他原因，他感叹道，当一个年轻、容易受影响的女孩被解约时，她会把这理解为是自己不够漂亮。

No matter how gorgeous you are or how well you surf, no matter how many other reasons the brand might have for cutting back on budget, he lamented, when a young impressionable girl gets cut, she can take it to mean she isn't pretty enough.

另一位来自青少年时期的Roxy团队成员朱莉·考克斯也记得那种压力。

Another Roxy team member from the tweens decade, Julie Cox remembered the pressure.

我身高五英尺十英寸，又瘦，所以我是被接受的典型形象。

I'm five ten and skinny, so I was the accepted stereotype.

但我看到很多更有才华的人得不到赞助，考克斯回忆道。

But I saw much more talented people not getting sponsorships, Cox recollected.

支持女性的品牌并不多。

There weren't that many brands supporting women.

如果你符合Roxy的标准，并为他们的团队效力，你会非常兴奋。

If you fit the Roxy mold and rode for their team, you were stoked.

但如果你不符合，你就运气不好了。

But if you didn't, you were out of luck.

考克斯在水里水外的优雅风格为她赢得了很多仰慕者，她比大多数人更好地平衡了这些相互冲突的要求。

Cox, whose elegant style in and out of the water brought her many admirers, balanced the competing demands better than most.

传统意义上的美并不是唯一的标准，但在很多冲浪品牌中，它往往是长期职业生涯中很重要的一部分。

Conventional beauty was not the only thing, but it was often a big part of a long term career with many of the surf labels.

令人瞩目的是，这些女性中的每一位都没有放弃，而是找到了自己的成功之路。

What was remarkable was how each of these women found a path to success by not giving up.

维罗妮卡·凯后来搬到纽约，跟随丹尼·克鲁克训练，他是三州地区最前卫的瑜伽教练之一，最终她成为其独特方法DCM的唯一另一位教练，这种方法融合了热瑜伽、新兵训练营、CrossFit和全身健身。

Veronica Kay would move to New York, train with Danny Crooker, one of the most avant garde yoga instructors in the Tri State area, and eventually become the only other instructor of her method, DCM, a fusion of hot yoga boot camp, CrossFit, and total body fitness.

卡萨·梅德创立了自己的品牌，针对女性冲浪服的一群特定消费者，为努力谋生的女性职业选手绘制了全新的蓝图。

Casa Meder would start her own brand, targeting a distinct set of consumers for women's surfwear, drafting a fresh blueprint for female pros struggling to earn a living.

朱莉·考克斯创建了自己的冲浪板系列，以及一个创新的混合型冲浪店，既是女性社交俱乐部，又是冲浪学校，还是旅行目的地，满足女性的各种需求。

Julie Cox would create her own surfboard line, an innovative hybrid surf shop, part women's social club, part surf school, and part travel destination, serving a myriad of female needs.

从加利福尼亚的海洋海滩到新泽西的海洋城，成群的女性冲浪者现在挤满了冲浪区。

From Ocean Beach, California to Ocean City, New Jersey, pods of women surfers now filled the lineups.

那些深深扎根于这种生活方式的冲浪家庭的年轻女儿们也加入了进来。

Young daughters of surf families entrenched in the lifestyle slipped into the mix.

詹妮弗·特雷西、克里斯汀·摩尔，还有莫莉和阿曼达·赫尔赛泽，都在圣塔诺弗里附近的海浪中找到了自己的路。

Jennifer Tracy, Kristen Moore, and Molly and Amanda Hulseizer all found their way around the breaks of Santa Nofri.

九十年代上半叶对长板重新燃起的热情，感觉像是一次范式转变，但实际上更像是一连串的爆发，一系列喷发，是真正的进步，但只部分代表了女性这边，而Roxy品牌正是在这里爆发的。

The renewed enthusiasm for longboards in the first half of the nineties felt like a paradigm shift, but it was really a blast pattern, a series of eruptions, real progress, yet only partially representing the female side where the Roxy brand exploded.

随着冲浪文化的基础本身分裂成各个分支，长板、大浪、职业比赛、业余排名，甚至站立式划桨，选择变得更多了。

As surfing's cultural foundation itself splintered into divisions, longboard, big wave, professional competition, amateur rankings, and even stand up paddling, the options expanded.

在这个分裂的格局中，涌现了各种各样的赛事和新面孔，她们以截然不同的方式挑战着表达自我意识女性身份这一课题。

Into this fractured landscape came a diverse array of events and new names who took on the challenge of expressing self aware womanhood in very different ways.

当千禧年的钟声跨过午夜，一个新的黎明开始了。

As the millennium clock crossed midnight, a new dawning began.

好了，这一集就到这里了。

Well, that is gonna do it for this episode.

我真的希望你们喜欢今天朗读的吉姆·肯普顿那本了不起的书《海浪中的女性：冲浪文化史》，从古代女神和夏威夷女王，到马里布电影明星和千禧一代冠军。

I really hope you enjoyed today's reading from Jim Kempton's incredible book, Women On Waves, A Cultural History of Surfing, from ancient goddesses and Hawaiian queens to Malibu movie stars and millennial champions.

这一章真棒。

What a great chapter.

这很好地提醒了我们，冲浪的发展并不总是一条直线。

It was a great reminder that surfing's evolution isn't always a straight line.

在短板上追求性能、速度和力量几十年之后，我们在这一章里看到了一种回归，回归到更流畅、更贴近冲浪根源的东西。

After decades of pushing performance, speed, and power on shortboards, we see in this chapter a return to something more fluid, something that feels more deeply connected to surfing's roots.

通过拥抱长板，这些女性重新引入了一种冲浪方式，这种方式同样重视优雅和风格，而不只是进步。

By embracing longboards, these women reintroduced a way of surfing that values grace and style as much as progression.

她们证明了冲浪中的力量不仅仅在于猛和激进，还在于控制、创造力和流畅感。

They showed that strength in surfing isn't only about force and being radical, but about control, creativity, and flow.

这本书里还有很多精彩的故事，所以希望你能去买一本自己看看。

There's so many more great stories in this book, so I hope that you're gonna go out and pick up a copy for yourself.

如果你喜欢这一集，能分享给喜欢冲浪、冲浪文化或者只是喜欢听过去好故事的朋友，我会非常感激。

If you enjoyed this episode, it'd mean a lot to me if you shared this podcast with a friend who loves surfing, surf culture, or just a good story from the past.

如果你想支持这个播客，可以访问 buymeacoffee.com/surferslibrary。

If you'd like to help support the podcast, you can visit buy me a coffee forward slash the surfers library.

你的支持有助于支付平台费用，让节目每个月都能继续播出。

Your support helps cover the platform fees that keep the show going each month.

另外，如果你想赞助这个播客，或者有任何故事想法或反馈，请通过Instagram联系我们，或者发邮件到thesurferslibrary@gmail.com。

Also, if you'd like to sponsor the podcast or have any story ideas or feedback for the podcast, please contact us on Instagram or at the surferslibrary@gmail.com.

好了，说了这么多，感谢你再次收听。

Well, with all that said, I'd like to thank you for tuning in once again.

下次再见，祝你保持冲浪的热情，快乐满满，并且永远、永远、永远支持你当地的冲浪店。

And until next time, keep your toes on the nose, your stoke high, and always, always, always support your local surf shop.

我们海里见。

I'll see you in the lineup.

吉姆·肯普顿是冲浪和极限运动界的先驱人物。

Jim Kempton is a pioneering figure in the surf and action sports world.

他是一位作家、编辑、编剧和历史学家，他的作品出现在领先的冲浪出版物以及《纽约时报》和《时代》等主要媒体上。

An author, editor, screenwriter, and historian whose work has appeared in leading surf publications, as well as major outlets like The New York Times and Time.

他目前担任加州冲浪博物馆的执行董事，之前还担任过《冲浪者》杂志的编辑和出版人、Transworld Publishing的集团出版人，以及Billabong的媒体总监。

He currently serves as executive director of the California Surf Museum and previously held top roles, including editor and publisher of Surfer Magazine, group publisher at Transworld Publishing, and media director for Billabong.

在职业生涯早期，他在恩西尼塔斯的Surfboards Hawaii工作，并在1970年代的冲浪探索时代广泛旅行，帮助将冲浪引入欧洲，并创办了有影响力的《全球冲浪报告》，该报告后来成为《冲浪者》杂志的一部分。

Earlier in his career, he worked at Surfboards Hawaii in Encinitas and traveled extensively during the 1970s era of surf exploration, helping introduce surfing to Europe and launching the influential Global Surf Report, which later became part of Surfer Magazine.

作为获奖编剧和作家，肯普顿创作了《大浪守护者》和《形状之物：迪克·布鲁尔的故事》，这两部作品以及其他冲浪主题的项目在多个电影节上获得认可。

An award winning screenwriter and author, Kempton wrote Big Wave Guardians and The Shape of Things, The Dick Brewer Story, both recognized at multiple film festivals along with other surf focused projects.

他写了四本书，包括《浪尖上的女人》，这本关于女性冲浪历史的非虚构作品获得了南加州书展奖，还有《先冲浪，再吃饭》、《手册》和《圣奥诺弗雷冲浪俱乐部》。

He has authored four books, including Women On Waves, a history of women surfing that won the Southern California Book Festival Award for non fiction, as well as First We Surf, Then We Eat, The Manual, and The San Onofre Surfing Club.

他出生在关岛，在南太平洋长大，曾在30多个国家冲浪或生活，拥有国际商务MBA学位和新闻学学士学位，并在英国、夏威夷和圣地亚哥学习过。

Born on Guam and raised in the South Pacific, he has surfed or lived in more than 30 countries and holds an MBA in international business and a BA in journalism, studying in England, Hawaii, and San Diego.