On the cover: Yes, it’s still out there. Kael Walsh finds just what he’s looking for—and finds it all by himself—at quite possibly the most crowded lineup on Earth: the Superbank.

Peel back the lid, and the issue offers full-breadth in the topic. Wider-culture points abound, from an investigation into the seminal artist who first sprayed paint on a surfboard to an overlooked but holding region in Brazil. Tracking the path of a 60s-era luminary and an examination of the title-holder at one of the world’s heaviest waves provide in-depth written portraiture. Where place is concerned, a memoir of an 80s Baja mag trip and a visual study of the seasons and peculiarities of coastal New England set immersive scenes.

Photograph by Domenic Mosqueira

Invariably, though, it’s Drollet who finds himself in the best spot on the biggest waves that come through. And it’s not by accident. Drollet’s earned it the hard way: one late drop after another, swell after swell, year after year.

Page 80

Top Dead Center

Look all the way to the edge of the reef at Teahupo‘o and you’ll find Matahi Drollet sitting quietly by himself.

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Photograph by Derek Bahn

You can look at that board and see the point at which a 16-year-old’s artistic DNA started commanding the lexicon of decades’ worth of youth culture and street art.

Page 66

Propelled on a Zephyr of Compressed Wind

CR Stecyk, the Smithsonian, and the first airbrushed surfboard.

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Photograph by Christian Herzog

Page 26

The Jewel of the South

Campeche is everything you never knew about Brazil.

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Illustration by Andrea Ventura

I’d be off surfing some little wave and we wouldn’t see each other the whole trip. But I kept hearing, “Your dad was fucking charging today!” Mick Short would tell me, “Your dad was out at Boat Ramp and it was real and proper, and he was sending it!”

Page 20

Full Nurture

An interview with Noa Deane.

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Photograph by Ron Stoner

Page 40

Views From Kaimuki

Joey Hamasaki was an Ala Moana beacon. Respected and championed by surfing’s more referenced players, her trajectory laid out a pan-Pacific surf path from Town and back again.

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Photograph by Sarah Lee

Reid then met with representatives of a Europe-based camera company, who offered to buy him out and make him a millionaire on the spot. He wasn’t convinced. To someone who had squatted in shanties and hidden from cops as a boy, what really did he have to lose by looking for something bigger?

Page 56

Running Like God

Inventor and Black Butch descendant Tyler Reid is on a heater.

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Photograph by Larry “Flame” Moore

The gringo’s birthday was cause for celebration. Cans of beer topped the sole picnic table. An elderly man in a cowboy hat played a guitar and blew into a harmonica. Kids lit firecrackers and threw them into the night. After the first bottle of tequila was finished, a second one came out. There were no glasses. We swigged from the bottle and passed it along.

Page 92

The Beautiful Flower Will Wilt, the Beautiful Flower Will Die

Recalling A-frames and growing pains on a Baja rock patch in the go-go 1980s.

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Photograph by Nick LaVecchia

Page 100

Portfolio: Nick LaVecchia

With a singular aesthetic, Nick LaVecchia makes the rugged look nearly enticing.

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Illustration by Oriana Fenwick

The apartment is shin deep in water, and we talk through the pros and cons of opening the door. It boils down to this: We can go outside. We don’t know what’s out there.

Page 16

Essay: Meet the Maker

A Filipino breakfast in the teeth of Typhoon Lando.

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The Surfer’s Journal is the perfect gift for every surfer.

Photograph by Nick Green

Page 50

Jam Econo

Beachside, street life, and other intimate moments through the lens of San Pedro’s Nick Green.

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Photograph by Aaron Ungerleider

Page 118


A North Shore outer reef in all of its 12-feet-at-20-second, buoy-bouncing glory—as sniped by environmental scientist Aaron Ungerleider atop his post at the Kawailoa Wind Farm—serves as a fitting drop into the issue’s departments.

Photograph by Alan van Gysen

“Security also told me that I couldn’t stay overnight, which is wrong. I pushed back and got ‘permission’ from them to camp on public land. The next day, I took a drive north to find the Tormin mine on the beach, and could see new roads, trucks, and diggers all hard at work ripping up the coastline.”

Page 120

Field Report

Mine Hunters: Surfers are standing in the way of the destruction of South Africa’s west coast.

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Photograph by Gorka Larzabal

Page 121

Community Service

Spearos of Death Metal: Tom Flambeaux is cleaning up poisonous lead under the ocean’s surface one breath at a time.

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Purist surf energy from Page One to close-of-book, delivered directly to your door.

Photograph by Dan McQuade

Page 122


How to avoid getting mugged in the lobby of an AC casino, the necessities of surfboard basting, and an only three-chords-needed playlist pulled from 1980s San Pedro.

Photograph by Grant Ellis

The author draws a line through Polynesia, Peru, and Hawaii before tackling California and the rest of the world. San Onofre’s phases as a coastal track—Indigenous lands, Mexican rancho, cattle range, military training grounds, “surf beach,” and state park—are encompassed along that line while exploring how surfing can become a centering lifestyle with all its trappings.

Page 124

Surfing Around

No Cobblestone Left Unturned: Reviewing the exhaustive history of San Onofre.

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