through music Anne Barjolin

To cite this version:

Anne Barjolin. Surfing through music: Sharing the surf lifestyle on a frequency. 2018, pp.42-47. ￿hal-02133185￿

HAL Id: hal-02133185 https://hal.archives-ouvertes.fr/hal-02133185 Submitted on 15 Jul 2019

HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés.

Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Surfing through music Sharing the surf lifestyle on a reggae frequency

approach to surfing and allows them the experiences of various Floridian Anne Barjolin-Smith to collectively define their local surfers, among whom are two DJs: When I say I try to understand community in a global surf culture2. Lance-O, a specialist of reggae the ways in which surfers interact Reggae is not the only music surfers music, and Bart Kelly, the anchor with music in their everyday life, listen to but it seems to be the of a local surf radio station called I hear a lot of “Yeah, the Beach common denominator among Cocoa Endless Summer Radio. Both DJs Boys!” or “Yeah, the Beach surfers. Through concerts and work in coordination with local effect!” I am not really sure what radio programs, reggae has enabled surf businesses such as Sun Bum, this means. What I do know, as surfers to share their culture with a lifestyle brand, which hosts in a lifestyle sports participant and their beach community, “getting its backyard free intimate concerts former snowboard instructor, is that everybody on that frequency.” In called Sonny’s Porch4 (reggae music has always been an important my research3, interviews with local artists like and Collie part of my practice on and off the surfers highlight the ways in which Buddz have performed there—see terrain. When I moved to Florida six a sense of social identity is built, videos). The two DJs and the surf years ago, I was astonished by the articulated, and shared through brands sponsor musical events effervescence of its surf industry. musicking, a concept borrowed including the annual Rootfire at the The peninsula is known for its poor from Small (1998) for whom Park festival in Cocoa. In order to surfing conditions but in spite of this “To music is to take part, in any understand how these surfers share bad reputation, the Space Coast is capacity, in a musical performance, their lifestyle through their surf recognized as the crib of surfing on whether by performing, by listening, music, they and I had to consciously the East coast of the United States. by rehearsing or practicing, by question the paradigm of historical The beach lifestyle has blended providing material for performance surf music. I asked participants to with a surf lifestyle influenced by (what is called composing), or by reflect on their own musicking and the Caribbean and the intrinsically dancing” (p. 9). This piece reflects to define their aesthetic preferences diverse nature of the Floridian because in my research, I do not just population to form a singular surf 2 Forming the hub of the surf work on subcultural communities, culture in which surf music has industry on the East coast of the United States, Cocoa Beach surfers have I collaborate with them. This become a local surfers’ construct. contributed to build the global perspective has enabled me to In this article, I look at the ways and industry through their technical and argue that surfing is characterized in which surfers from Cocoa practical innovations (some of the world’s by a lifestyle crossover founded on Beach1, while acknowledging the best surfers and shapers such as a cultural palimpsest: surf music historical heritage of surf music, Matt Kechele, Kelly Slater, or the Hobgood can only be known as such by have developed a taste for a style of brothers are from the area). participants whereas non-surfers music that reflects their laid-back 3 In my doctoral thesis, entitled may simply view it as reggae, rock, 1 Cocoa Beach is a surf town Ethno-aesthetics of surf in Florida: Musical located south of Cape Canaveral expression and identity marking (translated 4 As part of my research, I and an hour east of Orlando. The from French), I explore the ways in which participated in these concerts—sometimes city has developed a strong tourism Floridian surfers interact with music in as a photographer for the events (Sun Bum, industry based on surfing and the their everyday lives. n.d.). beach lifestyle. 42 punk, etc. According to a surfers’ Surf music does not constitute a the social ecosystem of the surf saying, “only a surfer knows the consistent and homogeneous genre lifestyle. feeling,” then only they know such as for instance, , what constitutes the surf music which arguably in the United States Reconstructing surf music that they use as a platform to share follows a consistent thematic logic through palimpsests their subculture. Therefore, my (oversimplified as manual labor, approach to surf music as a cultural trucks, love, and beer) as well as In my research (Barjolin-Smith vector is a three-step process that characteristic vocal and instrumental 2018), I claim that regional first deconstructs the paradigm of techniques (twang, banjo, guitar, contemporary surf musics (each historical surf music, then lets the etc.). On the contrary, surf music is surfing community builds a surf lifestyle participants redefine their a movement or a super-category that music from various music genres) music through sonic, semantic, and comprises a multitude of musical have diverged from a generic cultural palimpsests so that finally genres determined by spatiotemporal movement and emerged following only they can claim ownership of factors as well as by the cultural and two different processes: by creating their ethno-aesthetic5 signatures aesthetic capitals of the subculture’s new content with old content, or founded in a lifestyle crossover that members. In my work, I question by completely shifting away from is shared through local reggae radio the canons of surf music that rest on the historical movement. Hence, programs, concerts, and festivals. a nostalgic and idealized conception surf music has been subject to of surf music that intrinsically a form of cultural palimpsest, Deconstructing the aesthetics confines it to white which in its original acceptation of surf music from a set period spanning from is a physiological mechanism that the 1960’s to the 1980’s (Crowley allows newly memorized data In this article, aesthetics is 2011; Blair 1978, 2015). What I call to replace those that pre-existed conceived in relation to surf historical surf music is characterized in memory. In the surf culture, music: it consists in the activation by semantic and sonic elements such palimpsests happen beyond sonic of stylistic choices implemented as the texture of the reverb sound memory and can be cultural. according to expressive and repre- of electric guitars still functioning They occur in the surf lexicon sentational criteria of various surf today as a reminder of a so-called (anglophone words have replaced subcultures. The aesthetic trend authentic surf music discourse. Hawaiian technical terms and have we look at here is understood as Anybody who does not surf can become the norm around the world), the experiences of an idiosyncratic assign this music to the surf music in history (the historical Hawaiian reality6 that pertains specifically to category. Therefore, a more relevant origins of surfing are mythified the Cocoa Beach surfers community approach is to identify surfers’ while the birth of the Californian through their construction of musics (constituting strands of surf surf culture is enthroned), in the a surf music adapted to their musics) that are deprived of these practice and the ideology (the implementation of a surf lifestyle. obvious sonic characteristics and Hawaiian royal sport7 has become that can only be understood as surf a global counter culture). To 5 My doctoral thesis is based on music by participants who share a a rehabilitation of the concept of eth- understand a cultural palimpsest, no-aesthetics developed by anthropologist knowledge of their subculture built one must possess the linguistic and Jacqueline Delange (1967). I use it to through collective praxis. Their cultural tools to decode and perform determine the aesthetic relations between implementation of semantic and the substitutions and to appreciate surf and music in the singular space of a sonic discourses distinct from the their sonic, cultural, practical, given surf community constituted through historical surf music rests on their identifiable history, cultures, and society. and historical foundations. The 6 There are various ways of cultural capital, their identificatory palimpsest is not meant to provide conceptualizing surf culture. The needs and appropriation skills. In an interpretation of the surf lifestyle idiosyncratic approach focuses on the other words, one musical genre but it is meant to highlight cultural possibilities to organize one generic surf can bear different meanings and variations within a subculture, discourse in different ways according to foci according to its audiences’ the affective, experiential, and cognitive and to allow participants to keep inclinations of each individual. Cocoa socio-cultural objectives, control of their subculture. The Beach participants consume commodities perceptions, evaluation, and means coding and decoding induced by but also produce trends and evaluate surf of implementation. More than a the palimpsest imply a knowledge praxis within their subculture. Through set of symbols, surf music as it 7 In 1911, Jack London published their professional activity as surfboard is implemented by communities his Cruise of the Snark travelogue in which shapers, lifestyle brand managers, DJs, etc., he described his surfing experience in the participants I interviewed set up trends of surfers is a space dedicated to Hawaii. In this ode to surfing, he called the in what surfing and the surf lifestyle ought the articulations of the being, the practice “A royal sport for the natural kings to be in Cocoa Beach. thinking, the acting socially within of earth” (p. 75). 43 of the culture which gives the to surfers’ everyday lives and Meccas of surfing such as Hawaii participants the means to recognize practices—according to the DJ, but justify their attachment to each other and to mark out their “Most people, if they didn’t have Florida based on its ability to communication space8 (Galisson music, they would feel like their provide a laid back all waterman 1993: 43). The capacity to partake surfing is missing something” lifestyle12. They conceive the region in the conversation legitimizes (ibid). All these implementations of as an ideal space located in the heart participants and confirms their their music take place in the public of the Caribbeans, and they praise belonging to the group. For instance, space so that surfers’ musicking Cocoa Beach’s singular capacity to this occurs when a surfer shows spontaneously involves both surfers produce surf champions, creative awareness of a region’s surfing and non-surfers. But surfers can also surfboard shapers, artists, etc. There style or aesthetic trends that are actively and voluntarily share their is a mix between the objective validated by the community even world when they implement and geographic characteristics of the if they do not reflect a mainstream sponsor concerts and festivals such region and the construction of a approach to surfing. Surf music as Rootfire at the Park in which surf sociocultural identity that does not conceived through the lens of the music functions as a cultural vector. stop with surfing but involves all palimpsest aggregates individuals In other words, music becomes a the aspects of the lifestyle including who recognize themselves in it way to diffuse the subculture, or the ways in which surf music is because they master the know-hows rather, the ways it is perceived11 conceived. Floridian surfers find of a subculture built collaboratively. (Benard 2009: 70). Thus, surf themselves at the ideological and In Cocoa Beach this is achieved by music bears a cultural mandate that physical crossroads between several substituting historical surf music affords it a power of transmission, cultures (Caribbean, redneck, for reggae music. As surfboard representation, and inclusion. In Hawaiian, Californian, etc.) and shaper9 and musician, Ricky Carroll, a dialectic of openness, the surf between several identificatory fluxes explains: “nowadays each area just lifestyle is shared with outsiders (surf lifestyle, social status, etc.). kinda does their own thing and through all the forms surf music According to DJ Lance-O, “as far claims it as that’s their surf music” may take. as scenes, . . . Florida is different. (June 13, 2017). This form of Tallahassee is very different than cultural palimpsest endows surfers’ Reggae frequency: Sharing an Miami, and Orlando is very different communities with the cultural, ethno-aesthetic signature of than Titusville. . . . Then you go linguistic, and aesthetic tools that surfing south, you’ve got the Latin mix, enable them to distinguish their you’ve got the Caribbean mix” subculture from the stereotypes of Regardless of its stylistic (January 16, 2016). Surfers navigate surfing and to share their approach characteristics, music is a way for from one cultural identity to the of the subculture with the beach participants to manifest a sense of other and are able to reorganize their community or anyone willing to belonging through various aesthetic position in their musicking. experience their lifestyle, to be on experiences. Musical belonging is Therefore, in order to accurately their frequency. materialized in groups of affinity determine the characteristics of surf Moreover, the role of music in the inscribed in a complex network of musics pertaining to specific groups singularization of surf subcultures regional, national, and transnational of surfers, I have developed the is significant owing to the fact that sociocultural dynamics that give notion of ethno-aesthetic signatures music is omnipresent in surfers’ birth to communities on the beach, of surfing. Apprehending musicking lives. Admittedly, it constitutes the in concerts, in competitions, etc. within a singular cultural context has lifestyle’s background in several Drawing from my participant allowed me to highlight the aesthetic ways: it enhances surf movies to observations, I argue that the trends of a cultural community and such an extent that for DJ Bart notion of belonging sets cultures their implementation of music as a Kelley, “There cannot be surf and subcultures in space and time cultural tool. Tendencies observed films without music” (June 13, thanks to discourses justifying among Cocoa Beach surfers 2017); it animates competitions; their geographic, temporal, 12 The surf subculture is built on it reinforces forms of expression sociocultural, aesthetic, and identity the idea of a lifestyle crossover in which 10 related to surfing ; it gives texture legitimacy. For instance, most of authentic surfers are all around watermen 8 Translated from: “c’est donc ce my interviewees have travelled to experienced in boating, fishing, diving, etc. qui donne aux interlocuteurs le moyen de hosts exhibits commemorating great As one interviewee put it: “I think it’s not se reconnaître, de baliser leur espace de surfers’ achievements on the water or in the only about being the lifestyle of the surfer, communication.” arts. Local bands animate private viewings. I think it’s the lifestyle of a waterman. And 9 A shaper builds . 11 Translated from: “un moyen so it’s feeling comfortable in and around the 10 The surf museum in Cocoa Beach water. It’s fishing, it’s boating, it’s the beach, 44 de diffuser la subculture, ou plutôt la water lifestyle...” (September 10, 2016). façon dont elle est perçue.” converge toward a lifestyle, which surf music was built as a cultural they claim is founded on a “fun aesthetic inspired by optimism, [P]leasure in live performance . . . is and simplicity” axis influenced by hedonism, and inclusive forms of not innocent. It transforms audience the Caribbean culture of reggae. In sonic experimentation. The music members ‘in the know’ into subjects fact, surfers interviewed in Cocoa that Cocoa Beach surfers relate of community and, simultaneously, Beach share a vision of surfing to, implements their perception of it constitutes the outsider as the that is sometimes opposite to that their practice, which they share necessary, even welcome—even of their neighboring regions. For at-large with the beach community. though not fully accepted— instance, interviewees criticize other Live or broadcasted surf music as counterpart of its formation. In so communities of surfers for being too it is conceived by Lance-O and doing, pleasure then becomes a “aggro.”13 They consider that their Bart Kelley allows outsiders to productive force of power. (287) own practice and lifestyle should be experience the relations that surfers laid back and simple because their entertain with their activity in a In the demonstration of pleasure goal in surfing is to have fun. When positive and fun spirit. Accordingly, (in concerts or through repertoires asked what a good surfer is, most the emotional response triggered built around this axis—see videos interviewees respond that it is an by musicking gets people together. and radios) participants adhere easy-going person who is having the According to Small (1998): to the aesthetics of the Floridian most fun. This “fun and simplicity” surf subculture and valorize the motive needs to be present in a “So, if ‘to music’ is not just to character of the beach community music which according to Lance-O: take part in a discourse concerning as a whole. The music that prevails “[i]s very deeply rooted in a the relationships of our world but in Cocoa Beach reflects the state positive message. It’s about love, is actually to experience those of mind of the Floridian surf or it’s about having fun” (January relationships, we need not find it subculture that participants qualify 16, 2016). For him, music should surprising that it should arouse in as positive and fun. Even though display optimism, love, and joy and us a powerful emotional response. other genres are included in this the melody should convey these The emotional state that is aroused surf music, a majority of surfers notions that are evident in reggae. is not, however, the reason for the incorporate reggae in their surf The same semantic imperatives performance but the sign that the music in a movement that goes are shared by Bart Kelley: “I try performance is doing its job, that it beyond principles of collective to keep everything positive, and I is indeed bringing into existence, consent and toward a collaborative try to keep everything fun” (June for as long as it lasts, relations effort. For one interviewee, surf 13, 2016). This is especially true among the sounds, and among the music “has some sort of element for one of his programs called Sun participants, that they feel to be of rock’n’roll, and then some sort Bum Positive Sunday14 in which good or ideal relationships. (137)” of element of reggae . . . where it’s the DJ mainly broadcasts reggae. slower, and just associated to those According to him, this genre The success of the two DJs’ things, the sunshine, the beach, the constitutes the positive and fun performances as well as the success water, things like that” (September music that best represents the surf of local festivals and concerts 10, 2016). Once they have overtaken lifestyle in the region. For these demonstrate music’s ability to their acquired knowledge of the two DJs and surfers, pleasure goes give corporeality to surfers’ joyful canon that constitutes historical beyond listening to music. It is the emotions in ideal relationships surf music, Cocoa Beach surfers ability to assemble musics in order between sounds and the aesthetic assign to reggae the capacities to participate in the construction reality of surfing. Shared through to best represent their lifestyle and the implementation of the local musicking, pleasure can become and the beach lifestyle based on surf narrative accessible to the entire a social power since according their fun and positive approach to community. Therefore, while it is to Guilbault (2010), the feeling surfing. These surfers are aware that suggested here that historical surf searched for and shared allows reggae is specifically prominent music was built upon principles of communities to form and to be in the south and central regions rebellion, hedonism, and exclusive cultivated: of Florida, which are closer to the forms of sonic experimentation music stems from a 1960’s revolution Caribbeans. For Bart Kelley, “You circumscribed in eras15, Floridian which took place in can go up north on the beach and and “usher[ed] in folk-rock, fusion, punk, 13 “Aggro” stands for an aggressive they don’t want a red, yellow, green and territorial behavior displayed by , and most importantly, heavy metal” anything.” In this joint interview, surfers. (p. 4). These waves of rock and punk broke away from other forms of shaper Ricky Carroll agrees: “They 14 Endless Summer Radio created a don’t identify with the culture partnership with Sun Bum. by transgressing established aesthetic and social categories (Regev 2013; Brackett 15 For Kent Crowley (2011), surf for some reason. The surfers here 45 2016). identify with the whole Caribbean space has given people the ability culture, whereas up there [between Beyond isolated concerts and to belong to the local and the Tallahassee and Jacksonville], it’s festivals, the conveyance of the global at once. The combination of foreign to them” (June 13, 2017). surf lifestyle through surf/reggae these specific sounds representing The reggae colors Bart Kelley refers music in the Cocoa Beach area is Caribbean aesthetics, local popular to are displayed during concerts and a continuous process. Numerous music, and traditional surf music festivals in the Cocoa Beach area. local surf businesses rely on music styles creates the soundscape These symbols become relatable validated regionally to promote of Cocoa Beach. Thus, music to surfers who have developed a surf lifestyle associated to the has become instrumental in a hybrid identity founded on the surf town. Paradoxically, this the singularization of surfers’ multiple cultural identities that have music played in the public space ethno-aesthetic signatures. The shaped Florida and that constitute generates an aesthetic of proximity co-optation of new elements has the surf community. Surfers have substantiated in a form of intimist allowed city dwellers (surfers and modified surf music in a process musicking (notably during the non-surfers) to engage in social of hybridization matching their Sonny’s Porch concerts hosted interactions in their own reality and experience of the lifestyle that they by Sun Bum—see videos). Music to articulate a sense of membership share with their beach community: then, is used as a platform that through the sonic reorganization contributes to mark local identities of the town. What conveys its A musical text that is not a literal and local economies by singularly aesthetic identity to the surf town quotation can only be understood promoting what I call surfanization. is the repetition of certain musical as participation in a genre if that In its social function, surf music’s patterns or musical dimensions that genre is capable of being quoted implementation highlights the have become cultural because of outside of, or beyond, the initial ways in which the urban setting the sense of memory they have built context in which it was created, and is used in the construction of in association to this specific urban if that genre is legible to addressees a sense of collective aesthetic setting. beyond the initial audience for the identity. Whether music is played In conclusion, the members of genre. (Brackett 2016: 13) in surf shops or in surfers’ favorite a social or cultural group have restaurants, technology is used to different ways of engaging in The surfing community engages amplify the sounds so that surfers the musical act and even if their in musicking by annexing musics take possession of the public space interpretation differs from the that weren’t conceived as surf through their music while sharing intentions of the artist, it is coherent music. Reggae is not the original it with others. Even though these in its erroneous conception. This soundtrack of the surf lifestyle musics are not all Florida-made, is what enables reggae music to but today, it is inscribed in one they are perfectly integrated into become surf music and to cohere of its manifestations as it is used the feel of the town. Borrowing a singular surfing community. In by surfers in a form of aesthetic from Regev’s (2013) observations, the Cocoa Beach area, concerts crossover, a concept envisaged it is possible to say that there is “[a] sponsored by local DJs and surf here as the transgression of sense of locality [of Floridaness businesses offer surfers a safe space sociocultural categories induced that] is efficiently integrated with to articulate their sense of their by mixing different musical genres the global sounds of [surf music] lifestyle with non-surfers since both with different ethnicities, social to create one culturally coherent groups take part in the concerts for statuses, and societies16. In Florida, soundscape” (159). The inclusion similar reasons (aesthetic, cultural, the crossover happens as reggae is of the global into the local and the and social pleasure) in a crossover appended to surfing rather than rock interconnectedness of the local validated by all. These events allow or punk so that surf music can no into the composition of the global the expression of emotions linked to longer be exclusively assigned to the is what Robertson (1995) coined the surf lifestyle and thus allow the historical canons. glocalization (31). Surf music realization of identity potentialities constitutes a glocal soundscape of social individuals. In these The surfanization of Cocoa made of stylistic sub-units that cultural spaces, surfers are able to Beach anyone can be familiar with (there is share their lifestyle on a reggae 16 I derived the aesthetic crossover no need to be a surfer to recognize frequency with anyone willing from the concept of musical crossover rock or reggae). As a result of to engage positively with one or which consists in mixing various genres of the movements and hybridization several aspects of their subculture. music (Brackett, 2016: 281). of cultures highlighted by the interviewees, the construction of a 46 glocal musical scene in the urban Bibliography Barjolin-Smith, A. (2018). Ethno-esthétique du surf en Floride: Impact des liens entre surf et musique sur les marquages identitaires (Doctoral thesis). University Paul Valéry, Montpellier 3.

Bénard, N. (2009). Les mythologies et métal : bricolage identitaire ou récit original ? Sociétés, 104 (2), 65. https:// doi.org/10.3917/soc.104.0065

Blair, J. (1978). The illustrated discography of surf music, 1959-1965. Riverside, CA: J. Bee Productions.

Blair, J. (2015). Southern California surf music, 1960-1966. Charleston: Arcadia Publishing.

Brackett, D. (2016). Categorizing sound: Genre and twentieth-century popular music. Oakland, CA: University of California Press.

Crowley, K. (2011). Surf beat: Rock’n’roll’s forgotten revolution. New York: Backbeat Book.

Delange, J. (1967). Arts et peuples de l’Afrique noire (2006 ed.). Saint-Amand: Gallimard.

Galisson, R. (1993). Les palimpsestes verbaux : des révélateurs culturels remarquables, mais peu remarqués. Repères, 8(1), 41–62. https://doi.org/10.3406/reper.1993.2091

Guilbault, J. (2010). Politics through pleasure. Party music in Trinidad. In R. Elliott & E. G. Smith (Eds.), Music traditions, cultures, and contexts (pp. 279–294). Waterloo, Ontario: Wilfrid Laurier University Press.

London, J. (1911). The cruise of the Snark. New York: The MacMillan Company.

Regev, M. (2013). Pop-: Aesthetic Cosmopolitanism in Late Modernity. Cambridge: Polity Press.

Small, C. (1998). Musicking: The meaning of performing and listening. Middletown: Wesleyan University Press.

Sun Bum. (n.d.). Sonny’s Porch [Blog]. Retrieved from http://sonnysporch.com

Discography (radio stations) Endless Summer Radio by Ricky Carroll Surfboards: Surf, skate, reggae. (2018). Retrieved September 30, 2018, from http:// endlesssummerradio.com/ [Anchored by Bart Kelley]. Kulcha Shok Musik Radio. (2018). Retrieved September 30, 2018, from http://kulchashok.com/radio/ [Kulcha Shok Musik is Lance-O’s music label].

Anne Barjolin-Smith is a doctoral candidate in American Studies at the University Paul Valéry Montpellier 3, France. She engages in research within the field of cultural anthropology of lifestyle sports. Her scholarly interests include representation and identity theories, music and lifestyle sports, the hybridization of cultures within the American context. She is affiliated to EMMA (Études Montpelliéraines du Monde Anglophone—English Speaking World Studies at Montpellier). Snowboarding and surfing have taken her around the world and she now lives in Florida where she studies the relationships between surfing and musicking. [email protected]

Videography Rootfire. (2017). Save The Date: Nov. 10-12, 2017 * Rootfire At The Park * Cocoa, FL [YouTube]. Retrieved from https:// www.youtube.com/watch?v=tPF3qoLPBjA Prana Music Group. (2016). | Rootfire at the Park 2016 -Cocoa, Florida [YouTube]. Retrieved from https://www. youtube.com/watch?v=rPQ8BlRHxIk Sun Bum. (2013). Collie Buddz on Sonny’s Porch / “Come Around” [YouTube]. Retrieved from https://www.youtube.com/ watch?v=4KIZb7EYXgg Sun Bum. (2016). Mike Love on Sonny’s Porch / “Children Of The Heart” [YouTube]. Retrieved from https://www.youtube. com/watch?v=ilpkghWWwn8 The Sober Goat. (2017). - Riverfront Park, Cocoa FL 06/25/2017 [YouTube]. Retrieved from https://www. youtube.com/watch?v=0N5P6WNE8lk 47