Volume 32 Issue 1
On the cover: Shaun Manners, achieving low orbit somewhere in the Australian desert. “I love getting down to the dez,” says photographer Josh Tabone. “It’s cold. It’s raw. It’s a little bit eerie, and it kind of sorts the men from the boys.” Other glide paths inside include one woman’s inexplicable draw to the world’s deadliest wave, trafficking contraband via foam and fiberglass, the collision of aerospace and surf culture in a champion-breeding town, a freewheeling French Caribbean export, high-horsepower fabrications, and a low-brow artist’s big-wave motif.
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32.1
Sandías y Corridas de Toros
From the bullfights to the Tijuana jail.
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32.1
On Style
Dogged supplication to the twin gods of speed and feeling.
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32.1
Mrs. Pipeline
Moana Jones Wong on being crippling shy while excelling at the world’s most examined wave, lineup politics, her DIY approach, and growing up on the North Shore.
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32.1
Boards of Infamy
The golden era of surfboard smuggling was brief, coinciding with what many consider to be the definitive American decade.
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32.1
A Fish of Turquoise Water
How William Aliotti’s unconventional lines took him from a small island in the Caribbean to a digitized global existence.
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32.1
The Space Coast
From the ancient past to the modern era, Cocoa Beach and the wider environs of Brevard County have maintained a fully innate surf identity.
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32.1
Refined Velocity
The eye of a surfer, the mind of an engineer, and the hands of an artist converge in Max Hazan’s motorcycles, singular machines custom-built for speed, intricacy, and beauty.
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32.1
The Fabulist
Riding along with Raymond Pettibon.
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32.1
Accidental Metaphors
Near disasters and scarred realism with photographer Corban Campbell.
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32.1
The Lights of Platform Gail
Survival swimming in the Channel Islands.
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32.1
One Winter Horror Story
How surf auteurship and Hollywood intersected in the haunting title scene to The Shining.
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32.1
No Wall Hangers
Blowing the dust off of noseriders from the Summer of ’66.
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32.1
The Lopez Factor
Mr. Pipeline and surfing’s long game.
