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‘Swastika boards’ and ‘surf Nazis’: New documentary explores surfing’s history of antisemitism
(JTA) — When he was 13 years old, Josh Greene moved with his family to San Clemente, California, a city known as one of the best spots for surfing on the West Coast. Greene quickly fell in love with the sport, even holding his bar mitzvah party at a local museum dedicated to it.
As a “skinny, very unathletic” teen, Greene said he endured a significant amount of bullying, including some that “extended itself into antisemitism.” Students at his school would compare his physique to that of a Holocaust survivor.
Surfing provided refuge.
“Surfing was my way to really carve my own niche and find the confidence, courage and physical strength I needed,” he told the Jewish Telegraphic Agency.
But years after his bar mitzvah, Greene learned that his parents had arranged for the Surfing Heritage and Culture Center to remove swastika-engraved boards that were on display, to avoid disturbing the partygoers. Wanting to learn more, he discovered that the sport’s history is full of Nazi imagery: Particularly in the 1960s, seeing surfboards with swastikas or surfers giving “Sieg heil” salutes was commonplace. Serious surfers called themselves “surf Nazis” as a way to signal their intense dedication to the sport.
An aspiring filmmaker — he received his first “real camera” as his bar mitzvah present — Greene decided to combine his two passions and delve into the dark history.
The result, completed before he graduated from the University of Southern California in May 2022, is a documentary called “Waves Apart,” which chronicles the history of antisemitism in surfing. Directed by Greene, the student-produced film was a finalist in the fall for a Student Academy Award, given by the Academy of Motion Picture Arts and Sciences.
“Waves Apart” made its global debut at the Santa Barbara International Film Festival on Thursday, before heading to other Jewish and documentary film festivals in California, Denver, Toronto and Maryland.
After chronicling his own journey with surfing and the bar mitzvah incident in the film, Greene interviews surf writer Dan Duane and Jewish history professor Steven Ross, who provide a fuller picture of Southern California’s history of both surfing and Nazism, and their unfortunate overlap. As Duane wrote in a 2019 New York Times article, that overlap runs deep — The first commercially made surfboards made in California are thought to be the “Swastika model,” sold in the 1930s by the Pacific Systems Homes company, which also made prefab houses. The 1960s surfer icon Miki Dora was known to have painted a swastika on at least one of his boards.
Duane cites arguments that claim early surfers, who wanted to be seen as a rebellious subculture, used the swastika only to irk members of mainstream society. But Duane argues back that their antisemitism was part of a clear culture of racism in the largely white surfer community.
“I’ve heard all the predictable excuses for this stuff, like that the swastika was an ancient Sanskrit symbol,” he wrote in The Times. “Putting a swastika on something to anger people means you know that it angers them and very likely why.”
In his movie, Greene also speaks with Jewish surfers, both his classmates at USC and Jewish surfing legends like Shaun Tomson and Israel “Izzy” Paskowitz. Paskowitz shares a story of encountering a surfer with a swastika spray-painted on his surfboard — which his father, the famous surfer Dorian “Doc” Paskowitz, destroyed out of anger.
“Right as I was about to graduate, we had the first screening of our film, in our school’s theater,” Greene said. “We drew a packed crowd, and it was so rewarding and such a great sign of confirmation about the film’s message and connectivity with our audience. We saw people crying, people smiling at the end, with the way our film ends with a hopeful tone and message for the future.”
That hopeful message is where Tomson comes in. A former pro surfer and now a motivational speaker, Tomson reached the pinnacle of the sport by winning the 1977 World Surf League championship. He won 19 major professional surfing events in total and is a member of both the Southern California and International Jewish Sports Halls of Fame.
Shaun Tomson is a former world champion surfer. (Courtesy of Tomson)
Tomson, born in Durban, South Africa, also had a surfing experience tied to his bar mitzvah that would prove foundational. Tomson’s father took him on a surfing trip to Hawaii, which Tomson called “the Mount Everest of surfing.”
“For me, it was a total representation of what a bar mitzvah is — it’s coming into manhood,” Tomson told JTA. “And here I was, a young boy paddling out in a 25-foot surf in Hawaii, which was a moment for me that changed my life. I came back to South Africa, and my career and my role in surfing changed after that bar mitzvah present.”
Tomson said he has faced antisemitism before outside of the sport — he was called a “Jew boy” by a fellow member of South Africa’s army as a teenager — but never as a member of the surfing community in the 1970s onward.
“While it’s not an excuse, I think there’s just a lot of ignorance,” Tomson said. “When I say ignorance, perhaps it wasn’t actually directed at Jews, it was more just blatant stupidity, and a lack of awareness of what actually happened in the Holocaust.”
There weren’t many Jewish surfers in South Africa when Tomson grew up, but he said he feels a direct link between his identities as a Jew and as a surfer.
“When you’re out in the ocean, there’s certainly a spiritual and a religious connectivity there, which is totally aligned with Jewish values,” he said.
No experience exemplifies this connection more powerfully than the tragic death of Tomson’s son, Matthew, who died in 2006 at the age of 15 as a result of a schoolyard “choking game” gone wrong. Tomson tells the story in the documentary.
Tomson explained that his particular expertise is tube riding — the picturesque but challenging technique of riding inside a tunnel-like wave. Two hours before Tomson’s son died, he called his father to share an essay he had written about how in tube riding, “the light shines ahead.” Just hours later, Tomson received the devastating news.
“So when I was trying to make sense of the world and my life, and why God had done this to me, I went back to my old shul,” Tomson said. “The old shul where I’d had my bar mitzvah. And I look at that lamp of everlasting light that represents the hope and faith of Judaism. And I thought of the words that my son wrote, ‘the light shines ahead.’ And I realized that Judaism’s about hope.”
The film ends on that hopeful tone: The last scene features a group of Jewish surfers at a beach in Malibu, reciting the Shema prayer in the water, before hitting the waves as the sun begins to set. In the last shot, the group sits down to a Shabbat meal on the beach.
“Surfing can be seen as a microcosm for issues like that and I think we would be doing our sport a great disservice if we ignored our own signs of darkness,” Greene said. “I think that by making a film like this, we can dispel ignorance and divisiveness, and instead promote inclusivity, community and equality for all surfers and all people.”
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The definitive Oct. 7 book was written — and sketched — before the attack
As Salomé Parent-Rachdi and Zac Deloupy worked on the drawings for a book about Israeli-Palestinian romance, they had no way of knowing the world they were depicting was on the brink of collapse.
The day they finished their pencil sketches, we learn in the book’s introduction, was Oct. 6, 2023. The next day, Hamas invaded Israel, killing about 1,200 and taking another 251 hostage. By the time the book was published in April 2024, Israel was locked in a multi-front war that still hasn’t quite settled.
That context — a looming attack, a forever war that has not yet begun — colors every panel of Love and Desire in the Promised Land: The Private Lives of Israelis and Palestinians, a French graphic nonfiction book whose English translation was released this summer. Reading the book feels like opening a time capsule that had been buried in the distant past: Even as it reminds you how bad the Israeli-Palestinian conflict was before Oct. 7, it leaves you wishing desperately you could restore things to how they were.
The book follows Parent-Rachdi, a French journalist, as she travels across Israel and the Palestinian territories to interview 16 subjects about their love lives. She talks to a mix of singles and couples, straight and gay, in Israel, West Bank and Gaza. (That’s one giveaway this book couldn’t have been made today: No journalist has been permitted to enter Gaza unaccompanied since Oct. 7.)
A few tell of dating across Palestinian-Israeli lines. Lana, an Arab Israeli, finds herself in a situationship with a right-wing Israeli — and ends up marrying him. Samira, an Arab Israeli woman, tells us about her Israeli ex, whose enlistment during the 2014 Gaza war — when they are living together — brings the unspoken tension in their relationship out into the open. And we learn the complex family dynamics of a celebrity Muslim-Jewish couple: Fauda star Tsahi Halevi and his Arab-Israeli wife, TV anchor Lucy Aharish.
The less politically fraught experiences are relayed with the same empathy. Avi, an ex-Hasid, reveals that, despite unbearable teenage horniness, he initially didn’t know how to find porn on the internet due to his insular upbringing. (He searches for “woman in pajamas” instead.) Rami, Parent-Rachdi’s fixer and taxi driver in Gaza, says, as a single man in his thirties, he told people he had erectile dysfunction so they wouldn’t grow suspicious.
In between these revelations are glimpses of life as it was in Israel and the Palestinian territories before Oct. 7. We ride shotgun as Parent-Rachdi navigates checkpoints on her way out of the West Bank and deals with Israeli and Palestinian officials on the way into Gaza. Rami — who did finally marry — says he made sure his son was born in Jordan so that he wouldn’t be trapped in Gaza as an adult. Parent-Rachdi has brought his stepson a remote-control car — the kind of toy Rami can’t buy in Gaza due to the Israeli blockade.
The love stories describe conflict, of course, and they do not uniformly lead to happy endings. (Or for that matter, breakups.) What they consistently show instead is people — as far as we can tell, basically good people — reaching out to each other in a pressure cooker of cultural, religious, sexual and political attitudes.
The stories also betray civilians’ genuine skepticism of their own communities with a frankness that seems unimaginable today. The clearest example of this comes in Gaza, where Mohammed, a closeted Palestinian looking for hookups, tells Parent-Rachdi about Hamas honor killings of gay men and his own brush with death. “They’re more likely to kill you if you’re a bottom,” he says matter-of-factly. Catfished by a Hamas intelligence officer, Mohammed escapes arrest by swearing he’s a virgin and flees to the U.S. a few days later.
Would Mohammed make the same disclosures today, when “What about Hamas?” has become a refrain for anyone defending Israel’s response to Oct. 7? The Gaza he left behind no longer exists. The book’s afterword, written in Feb. 2024, reveals that Rami’s wife’s cosmetics store — lovingly illustrated by Deloupy earlier in the book — was leveled in Israeli airstrikes; the family was now living in a refugee camp in Rafah. “We have gone from a life with all the modern comforts to a reality where we move with a cart, where we buy wood to split and burn in order to cook and take a shower,” he says.
As for Mohammed, his house was destroyed, as were many friendships with Jews and Israelis: “I write to them,” he says in the afterword. “They don’t respond, but they read my message.” As for Hamas, he says, “today, seeing the suffering, somehow I feel like I better understand their resistance.” When the authors checked in with the subjects, several did not respond. By then, some 30,000 Palestinians were dead.
As it reminds us what we’ve lost, Love and Desire in the Promised Land also points the only way toward a shared future: people on all sides defying the forces pulling them apart. It shows us it can be done. Even in the afterword, one of the interviewees, a Modern Orthodox Jew named Jean-Marc, is optimistic: “I am still convinced, even more so now, that we have to work with the Palestinians,” he says. “Our safety depends on it.”
The post The definitive Oct. 7 book was written — and sketched — before the attack appeared first on The Forward.
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Christian leaders are racing toward the Rapture. Is Israel really to blame?
End Times Fascism: And the Fight for the Living World
By Naomi Klein and Astra Taylor
Farrar, Straus & Giroux, 384 pages, $32
Judaism is not usually a religion associated with apocalyptic thought. There’s no Jewish version of the Book of Revelation. There is a concept of a Messianic Age, but most observant groups forbid interfering with — encouraging or discouraging — its arrival.
Yet Judaism, or at least Israel, is central to Christian apocalyptic thought. The lines that drive its connection to Israel are well-traced. The Book of Revelation requires Jews to return to the promised land, and a Third Temple to be built for Jesus to return, and so, for years, Christian Zionists like John Hagee, the founder of Christians United for Israel and Mike Huckabee, the current U.S. ambassador to Israel, have encouraged wars in the region, seeing them as part of prophecy.
Hagee and Huckabee have talked in glowing terms of the many lands they believe comprise “greater Israel” all becoming part of the modern nationstate, in fulfillment of biblical requirements for the Rapture. Byron Stinson, another wealthy evangelical leader, has worked to breed and import blemish-free red heifers to Israel, because their ashes are necessary to build the Third Temple that will herald the return of Jesus.
More recently, the Jewish extremists who are also hungry to build a Third Temple have moved from the fringe into the Israeli government. Several times now, Israeli security minister Itamar Ben-Gvir has stalked around the Temple Mount, where Jews are officially forbidden from prayer, and led a large group in prayer, flanked by the police force he heads. Bezalel Smotrich, Israel’s minister of finance, has promised to fund the construction of a Third Temple.
But as powerful as these Jewish leaders are, the Christians are far bigger. CUFI, the group led by Hagee, is the biggest Zionist group in the U.S., far larger than AIPAC.
And yet End Times Fascism, a new book from activists and writers Naomi Klein and Astra Taylor — Klein is known for books like No Logo and Shock Doctrine, where she coined the relevant term “disaster capitalism” — focuses largely on Israel, and the extremists in its government.
The book’s central argument is that accelerationist fanatics believe an apocalyptic future will benefit them — whether in heaven or on earth. And they’re racing toward that future with increasingly fascistic terms.
These apocalyptic futures vary. For Christians, it might be the Rapture, and ultimately heaven. For AI techies, it’s a world ruled by the silicone grip of an all-knowing machine — or at least a world ruled by the superrich and filled with AI-driven propaganda masquerading as the voice of God while it surveils its users. For ethno-nationalists, it’s a homogenous country in which they can live out their nostalgia for an imagined perfect past. End Times Fascism is divided into sections, each taking on one of these groups and its ravenous vision for the end of the world, and how it is leading the world into fascism — through moral policing, surveillance, xenophobia.
But in the section on religious extremism, Israeli extremists get at least as much airtime as the Christians, despite the fact that these end time fanatics have far less global influence and don’t represent the vast majority of Jews.
It is, of course, important to understand the interplay between Christian apocalyptic thought and Judaism, and this is where things can get tangled. Christian Zionists’ desire for the Rapture leads them to support Israel and, sometimes, to display a kind of philosemitism. Ultimately, they are neither true friends to the Jews nor supporters of Israel; Hagee once gave a sermon claiming God sent Hitler as a kind of shepherd to force Jews back to Israel, in alignment with the biblical plan — when, of course, Jews will convert or burn in hell. But these beliefs have not made most Jewish groups cut ties with CUFI; Israel’s prime minister, Benjamin Netanyahu, has, for decades, referred to U.S. Christian Zionists, and Hagee in particular, as beloved supporters of Israel, and has said that Christian Zionists made Jewish Zionism possible. Many Jews are similarly grateful for evangelical support of Israel, regardless of what less supportive beliefs might undergird it, and are willing to ally with these religious extremists if it means support for Israel’s wars and annexations.
Certainly, all of these thoughts build on one another, and are difficult to untangle; plenty of hawkish Jews and Israelis want Israel to expand for non-biblical reasons. But the vast majority of Jews are not actively working to build a Third Temple and bring about the end of the world as we know it. Yet Klein and Taylor represent Jews largely through extremists like Ben-Gvir, and even focus their discussion of Christian apocalyptic thought on its overlap with Judaism and Israel. These religions share the Hebrew Bible, but little else.
There is far more to Christian apocalyptic thought than Israel. Plenty of Rapture-hopefuls in the U.S. believe their own country is the promised land; indeed, theological power is shifting away from Israel, as a new cohort of Christian extremists like Candace Owens, Nick Fuentes and Tucker Carlson catch hold of the political discourse and steer it toward open antisemitism and harsh scrutiny of U.S. support of Israel.
The old guard is being replaced by a new Christian right that is suspicious of Israel’s every action, and doesn’t egg on its wars. When Tucker Carlson interviewed Ted Cruz, a staunch supporter of Israel, the senator explained the Christian theological grounding of his support for Israel; Carlson, also a loudly devout Christian, jeered.
That’s not to say, of course, that there aren’t still many Christian Zionists in power in the U.S., shaping its foreign policy regarding Israel. But End Times Fascism feels as though it is stuck in a previous era of American Christianity, and of U.S. politics.
This problem is not limited to the section on religious apocalypse. The second part of the book, focused on the AI hunger of transhumanist tech titans, spends time on neoreactionary thinker Curtis Yarvin’s plan for a New Gaza, as it was presented at a Peter Thiel conference. Thiel is, himself, a Christian who is famously obsessed with the antichrist and the end of the world — once again, there is crossover, and these topics all share threads. But Israel is not the major driver of the race toward AI killing us all, or any other tech-related doom.
The fundamental idea of Klein and Taylor’s work is that rapturous obsessions drive not only worldly destruction — that much seems obvious — but also fascism. It’s a smart idea, and they have plenty of examples, whether surveillance by our internet overlords or ICE raids pushed for by white nationalists. But the book spends so much time on its trendiest target — Israel — when it should direct its energy examining figures like U.S. Secretary of Defense Pete Hegseth and the muscular Christianity driving his new testosterone regime for the U.S. military, or influential online figures like Owens or Fuentes agitating for a white, Christian U.S. (Some of these influencers are mentioned, but not as primary drivers.)
Certainly, Israel is involved in U.S. politics, in Christian nationalism, in the building of an ethnostate. (Israel in fact appears least in the third section on ethnonationalism, which is surprising given its identity as a Jewish state.) But despite Israel’s importance, the U.S., and its leaders, are still far more powerful.
The issue might be the book’s structure. The idea that apocalyptic thought drives fascism is a fairly simple one, and many of Klein and Taylor’s examples are familiar. The idea that is more subtle, and harder to grasp, is the way the threads of eschatological thought, ethnonationalism and tech wealth all share ideas and shape each other.
Peter Thiel alone, given his tech companies, his antichrist obsession, his love of Nazi theorists and his influence over Vice President JD Vance, could generate at least a chapter in any of the book’s three sections, or serve as a throughline for the entire book. Yet the topics are divided, as though each form of apocalyptic thought is its own entity, instead of woven together to show the ways they all reinforce each other.
End Times Fascism closes with a section on how to fight the rising fascism. Perhaps this should be the main focus of the book; many people who read the news already feels as though our leaders are racing toward the apocalypse, or at least WW III and a second Great Depression. The real question is what to do.
End Times Fascism offers some inspirations, including New York City’s mayor, Zohran Mamdani, as well as the Jewish Labor Bund. At least if the focus is once again on Jews, this time it’s positive.
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Why Dolly Parton sang a song about a Jewish journalist
A Broadway show, a star-studded television tribute, a new hotel and museum in Nashville. As odes to Dolly Parton keep coming, a recording of the late country music singer honoring an American Jewish journalist has recently surfaced.
Never before released in America, the song, “A Bridge Across,” sung by Parton and accompanied by the Nashville Symphony, honors slain journalist Daniel Pearl.
The song features spare lyrics set to violin music composed in honor of Pearl, a Wall Street Journal reporter who was brutally murdered by terrorists in Pakistan in 2002.
Originally recorded in 2008 by Parton, renowned fiddler Mark O’Connor, and the Nashville Symphony, the song was intended to be part of a compilation album called This is My America, produced and funded, oddly enough, in Canada but never released in the U.S.
It was O’Connor and his wife Maggie who resurrected the recording this fall, shortly after the deaths of Parton and another musician that connected the four artists: Oregon violinmaker Jonathan Cooper, who died in September.
Deeply troubled by the journalist’s murder in 2002, Cooper learned Pearl was an amateur fiddler and set out to create a quartet of string instruments – two violins, a viola and a cello – in the journalist’s honor. He entrusted the instruments to O’Connor to use during his annual summer music camp in North Carolina. Every year since, four students from the camp have received one of the Daniel Pearl memorial instruments to play for a year.
“These young people carry the message that love fights hatred through music-making and understanding that Daniel Pearl’s family want him remembered for,” O’Connor told The New York Times. Likewise, Cooper’s loving gesture inspired Parton, O’Connor said.
Canadian violinist Samantha Robichaud received one of the violins in 2005 and has gone on to become a successful recording artist with more than a half dozen albums. She has toured North America as an ambassador for the Daniel Pearl Foundation, sharing Pearl’s story, including his passion for
music and its power to change lives. Enter songwriters Tom McBryde and Lynn Wilbanks, whose introduction to Robichaud inspired verse.
On the album, the Nashville Symphony played one of Robichaud’s compositions while Parton introduced Pearl to listeners.
“He believed that music was something that could cross all social barriers, political borders and imaginary boundaries,” Parton says, before singing McBride’s and Wilbanks’ lyrics.
“A bridge across a question one journey begins, one step at a time to a place within.
A bridge across a border, a hand reaching out one heart at a time to erase the doubt.
A bridge across a difference can close a divide, one song to be sung on the other side.”
“It was perfect. She knows what he stood for,” Pearl’s father, Dr. Judea Pearl, told the Forward. “She was such a giving person.”
Judea Pearl met Parton in 2018 at the Los Angeles Press Club where she received that year’s Public Service Award for Contributions to Civic Life for her Imagination Library, which sends free books to children. (It inspired the creation of the PJ Library for Jewish books.) The Press Club recently dedicated its upcoming National Arts & Entertainment Journalism Awards to Parton’s memory.
In 2018, Judea Pearl was there to present the Daniel Pearl Award for Courage and Integrity in Journalism to Saudi Arabian writer and blogger Raif Badawi whose wife accepted the award while he served a 10-year prison sentence for his online activism.
The foundation devoted to Daniel Pearl’s legacy has been less visible since the 2021 death of Pearl’s mother Ruth who, as a young girl, witnessed and survived the anti-Jewish pogroms in Baghdad known as the Farhud.
As the 25th anniversary of his son’s murder approaches in February, Judea Pearl said the foundation will start a new chapter under his daughters’ leadership. Parton’s song lends the effort a touching soundtrack.
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