Ocean Magazine

Page 1

Ocean april / MAy 2022

Life & Times of Artist

Michael Dormer lifeguard/surfer/seafarer

fearless brit horn shaping boards & lives

donald takayama corky ‘64

corky carroll

"Balmy On A Tsunami" Illustration by Michael Dormer




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Here’s Hot Curl!

The Crazy Craze of the Beach Cats— he’s Pot-Bellied, Droopy-Drawered, and Spindle-Shanked—the Ickiest Idol of ‘em all!

Dormer created Hot Curl in 1960, a popular cartoon character of the surf undergound. Today Hot Curl lives, as the identity of La Jolla High School Surf Club.


Life & Times of Artist

by robert wald


Michael Dormer

he recent discovery of unpublished drawings by artist Michael Dormer has prompted OceanMag to remember our good friend from Ocean Beach. One of the most versatile artists I’ve ever known of, Dormer was equally adept drawing cartoons as he was at classical painting, experimental art, sculpture, music, writing scripts and stand-up comedy—if it required a true creative artist, Dormer could do it all. Special thanks to Terry Kraszewski of Surf Angel at La Jolla Shores for her personal contributions to this article. In The Beginning Hollywood 1935. Dormer was born the son of accomplished writers and musicians. “My father was an Englishman who lived and traveled extensively throughout India and the Middle East,” Dormer said in a 2010 interview. “My dad came to America via Canada, settling down in Santa Barbara as an instructor in field polo. My mother, also an avid equestrian, met my father there, and they married.

Many of my father’s polo students were Hollywood film moguls, and since the films of the late 20s and early 30s scripted the Middle East and India as backdrops, film producers decided it was in their best interest to hire my dad on as a technical advisor. Consequently, we moved to small town Hollywood where my family became acquainted with great film legends like John Barrymore and James Cagney. “My mother helped support the family by landing a job as fashion editor for Warner Brothers. Her duty was to write fantastic stories about movie stars, making theirs seemingly interesting lives when they weren’t interesting at all. Warner Bros. would then run her work in all the national fan magazines.” Just before the outset of World War II, Dormer’s family migrated south to Del Mar in North San Diego County. His parents continued their quest as freelance writers while continuing to pursue their love of music and ponies. With limited income, life was hard as Dormer’s family lived a spartan life on the side of a hill in Del Mar—no hot water, no heat.

APRIL / MAY 2022

Dormer’s mother was scratching out a living as a freelance writer for an upscale San Diego society magazine. “It was ironic,” Dormer remembers. “Here’s my mother writing high society columns based on the luxurious lives of the rich and famous, while away in a shack we were, living like peasants in abject poverty. But we dug in with our books and music, making the best of hard times. We were bohemians, yes...and it was fun.” Dormer began to demonstrate an artistic bent at the about the age of three. Encouraged by his parents and a roster of educators and art teachers, he spent the next decade and a half developing his talent. “I was five years old when my parents enrolled me in an art school for children in Del Mar. The guy that ran the school was an old one-eyed sculptor named Lewis Geddes. The school looked like something out of the Great Depression. Needless to say, they didn’t have much cash to operate. This school was my indoctrination to the world of art.”

Dormer won his first national art award at age twelve; a first prize in a National Fire Prevention poster contest, however, the influence of his parents love for literature and music drove Dormer to participate in the performing arts, particularly playing music. “My father was a classically trained musician; my mother a ragtime pianist, so naturally, I developed a strong interest in music. I learned how to play guitar and piano, write and arrange my own music, and formed my first jazz band at age 15. In a way, you can equate jazz poetry to rap music, but I think the jazz poets of the 50s had more depth than rappers of today, plus we had these great jazz bands playing behind us as we recited our poems. I wrote some pretty bizarre stuff—all very humorous with very heavy political overtones. “Stand-up comedy came natural to me. I was brought up in a verbal household. There were always jokes flying around and to me humor has always been my forte. My family had a tendency to be overly dramatic and I would attempt to defuse potentially explosive situations by making jokes. I think the best comedians, the best humorists, evolve from very ugly life situations. To compensate for the ugliness, they over-develop their sense of humor. This is what happened to me.” Young Freelancer At age eighteen, Dormer resumed his involvement with art and refined his draftsmanship

Mike Dormer playing at home. Robert Wald Photo

by hiring out his services as a freelance illustrator and cartoonist for a number of national men’s publications ranging from Esquire to girlie magazines. Concurrently, he worked and expanded his artistic capabilities as a political cartoonist for a San Diego newspaper, the Independent (published weekly from 19021970).


1956 Young artist Michael Dormer entertains female fans at Sip ‘n Surf Bar, Bird Rock, La Jolla.

Nearing twenty, Dormer went on the road, financing his expeditions around the United States by painting barroom murals and playing piano in saloons. “I was still 19 years old when I moved to San Francisco. It was like a breath of fresh air. There was this incredible energy flowing and people were doing very different things creatively. In 1954 San Francisco was a small town—very bohemian. People of our ilk would meet in coffee houses to discuss philosophy, politics, music and art. It was in these coffee houses I met Lawrence Ferlinghetti, Allen Ginsberg, and Jack Kerouac. They were very accessible as they had yet to achieve fame.” It was during his stay in San Francisco that Dormer was stimulated into a flurry of productive activity. He painted and sold his first serious works there. Dormer then moved south to La Jolla where he published Scavenger, an innovative art and poetry magazine, and co-founded an art gallery in Lee Teacher’s coffeehouse (The Pour House) in Bird Rock that featured early works by avant garde artists of the time, including John Baldessari, Fred Holle, Peter Matosian, Donald Borthwick, and Guy Williams. Hot Curl, Cool Dude “Hot Curl is a cartoon caricature I invented in 1960,” Dormer said. “He’s archetypical surf rat with long hair, very large nose, pot belly and holding a beer. Hot Curl was first introduced crudely in Scavenger Magazine, the

underground magazine I launched the same year. The image of Hot Curl sprang directly off the beach at Windansea, and often times there was more than one Hot Curl standing next to the surf shack. “In 1963, Lee Teacher decided to make a statue of Hot Curl and place it on the beach at Windansea just to see what would happen. I had just returned from New York when Lee called to ask if I would help him build Hot Curl. When it was finished, it was a six-foot tall, 400 pound statue of concrete and iron with a mop for hair, a light bulb nose, with a beer can in his hand. We then loaded it into a truck and drove down to Windansea. We dug a hole in the rock, mixed up some cement, dragged the statue down, and dropped it in. Finally, we scratched the words “Hot Curl” into the wet cement with our fingers and ran away. Shortly after, a crowd gathered around Hot Curl saying words like ‘Bitchen!’ And of course, the San Diego police soon showed up wondering what the hell this thing was. “Thinking it would fall over and kill someone, the San Diego City Department of Parks and Recreation declared Hot Curl a public hazard and ordered it removed. Two days later, a tractor showed up, dug it out, and was ready to drop it in a dumpster when a quick-thinking friend of ours saved it from being destroyed. “By this time, word had got out that people really liked it and wanted it back. All of a sudden, a ‘Bring Back Hot Curl’ committee was APRIL / MAY 2022

Hot Curl teases shark meat with open beer.

San Diego Over-the-Line Posters 2008 Courtesy California Surf Museum

formed, and overnight, Hot Curl became one of the most controversial pieces of public art in San Diego history. It received national media attention, with television, radio and newspapers picking up the story. Finally, through proper legal channels and amid great fanfare, Hot Curl was brought back to Windansea Beach and re-installed. “Then three weeks later, some anti-art terrorist came by and destroyed the statue. Although we were disappointed, we already knew that as soon as the surf came up, Hot Curl would be history anyway. “Besides, the whole thing started out as a joke. The sculpture really wasn’t very good, but that was back in the days when people had

more of a sense of humor. It was before the days of cut-throat business people and ruthlessness.” Burned into the psyche of the beach community, the Hot Curl image became a hit, appearing in several scenes of Muscle Beach Party (1964), a cult classic starring Frankie Avalon, Annette Funicello, and featuring the first film appearance of Little Stevie Wonder. A Dormer mural provides the background for the opening credits. Back in the day, Hot Curl was mascot for the UCSD Surf Club and today he’s the identity of the La Jolla High School Surf Club.

Legends: Michael Dormer, Bruce Brown, Bing Copeland

A young Michael Dormer styling in his classic convertible....1950

In the spring of 1964, Dormer and the woman who was to become his wife, Florence (“Flicka”) Oglebay, toured Europe on a working vacation. Visiting the great galleries and museums was an aesthetic eye-opener for the young artist. Culturally saturated, the couple returned to California, then Dormer immediately left for Mexico to repeat the process. In the mid-1960s, Dormer settled in Ocean Beach, a beach community in San Diego, where Oglebay lived with her sister. The artist’s writing and drawing talents were marketable in Hollywood, so Dormer began commuting there to work in the motion picture, radio, and television business.

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Dormer created this poster for the World Surfing Championships, Ocean Beach, CA 1966

53 Years On The Waterfront

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“Balmy on a Tsunami”


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Mike Dormer’s take on cold water surfing.

Shrimpenstein “Shrimpenstein is a cartoon character I created in 1967. A very humorous derivative of Frankenstein, Shrimpenstein was a midget monster made from jelly beans, not body parts. I took the idea up to RKO television in L.A. and got it on the air. Shrimpenstein was a raucous and wildly irreverent children’s television show hosted by the late Gene Moss as Dr. Von Schtick. This top-rated show ran for a year and remains a cult favorite to this day.” Regroup Following the cancellation of Shrimpenstein, Dormer returned to San Diego to rest and reevaluate. During the ensuing three years, Dormer stopped painting. It may have been a case of “burnout”, artistic reassessment, or

something else. Dormer attributes part of it to the Pop Art movement that was sweeping the United States, and for which he had little enthusiasm. During that time, he concentrated on magazine illustrations, cartooning, and feature work. In 1970 he resumed his work with ‘aluminum paintings’ (paintings executed on aluminum foil), a complex process with which he had experimented in the late 1950s with the encouragement of the Aluminum Company of America (ALCOA). The Dormers returned to Europe in 1972 and settled in Venice, Italy. Flicka (Dormer had married her in 1967), worked with an Italian scientific group on an early storm warning system designed to protect the battered city from rampaging winter storms off the Adriatic Sea, and Dormer acted as historical researcher

Dormer and Terrry Kraszewski with Hot Curl sculpture he donated to California Surf Museum in Oceanside.


for the team. The celebrated and controversial poet Ezra Pound and art collector Peggy Guggenheim were their neighbors, although Dormer never spoke to Pound because the poet was living in penitential silence. Dormer’s frequent breakfast companion in his pensione was the renowned architect Louis Kahn, designer of the Salk Institute in La Jolla and other landmark structures. “I thought this affable little guy was just someone who taught architecture at the local college, until one of his students finally clued me in,’’ Dormer said. Dormer also became involved in early holographic photography experiments conducted in Venice, with a goal of recording for posterity the city’s disintegrating art works using this new three-dimensional imaging technology.

Little Stevie Wonder, Dick Dale & The Deltones perform in front of Hot Curl mural during the filming of a scene for Muscle Beach Party, a cult classic starring Frankie Avalon, Annette Funicello, 1964.

Returning to the United States once more, Dormer broke into the travel writing business in the mid-to-late 1970s and his humorously written and colorfully illustrated articles appeared regularly in San Diego Magazine. Many of these pieces were reproduced and incorporated in the advertising brochures of hotels and services in the areas he visited. Dormer’s first illustration for San Diego Magazine was created in 1954, and over the past fifty years hundreds more have appeared on its pages. Cartooning, Illustration, Fine Art, and Paying the Rent “Thirty or forty years ago it killed you as a fine artist if the establishment found out you supplemented your income by drawing

Mike Dormer with Hot Curl painting at The Spot, La Jolla APRIL / MAY 2022

cartoons,” Dormer said. “They’d say things like, ‘This guy isn’t a serious artist.’ But if you look at Leonardo da Vinci and other acclaimed fine artists, at one point or another they all drew cartoons and painted murals to carry on their lives as artists...the exact same thing I did. “Being a fine artist is a rarefied atmosphere. Most fine artists would never admit to having drawn cartoons or painting murals. The way I see it, if you’re good at something, just do it. Don’t worry about what others may think of you or that you have to somehow maintain the purity of a fine artist. We all have to eat and pay the rent. It’s that simple.” In A Life’s Work As the 20th Century ground down, Dormer began to concentrate less on commercial art

Mike Dormer’s dad, pre-war Del Mar 1939

and more on fine art. When asked to sum up the last fifty-plus years of his professional life, he volunteered the following statement: “I’ve reached a point in my life where I’m feeling calm and integrated. I was a restless guy in the past and always felt as if I were being pulled in a lot of different directions. There were many creative things that I wanted to do, and I succeeded in doing most of them pretty well. It took a lot of energy. Sometimes

I was doing four things at once...painting, writing, cartooning, music, frantically traveling around and just plain looking at things. At this stage, experimenting in painting looks like the way I’m going to spend the rest of my life. “Professional artists are very hard workers. There’s an attitude among people who don’t make art that we have it made...sitting around in our comfy houses all day, fiddling around with a blob of clay, paper, paint, and brushes.

They’re dead wrong. We work with all of our senses. Art takes great concentration, touch, coordination, timing and imagination—really seeing things, and a very esoteric sense of mathematics. You’ve got to have discipline and compulsion to do it right. “What I do is invention. It is all experiment because I, myself, am an experiment. Whether I am a successful experiment or not is strictly up to future historians.”


Though Michael Dormer has since passed on, I will always remember his irreverent, take-no-prisoners humor. One day, off the wall, he said to me, “My life isn’t a cartoon,” though he had no problem making fun of his own life in cartoon strip fashion. Mike knew how to laugh at himself—in my book, the measure of a true artist. For more info on Dormer’s inimitable work, please visit . . . www.HotCurlLives.com


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South Cardiff Excellent

photo robert wald


Birt Horn drops in at Puerto Escondido, 1990. Photo by Shawn MacNabb



Fearless Brit Horn

hether it be riding heavy waves or plucking distressed swimmers or surfers out of equally heavy seas, Brit Horn has reached legendary stature in the ranks with his fearless rescues in stormtossed seas and his knack for being there when something happens. During more than three decades as a lifeguard, including 12 years on the Sonoma Coast, Horn has saved many lives. “Most people have no idea what a permanent California State Lifeguard does, especially on the cold Northern California beaches,” Horn said. ‘‘There is no routine rescue in Northern California, where the lifeguard usually is out there alone, and a mistake in judgment can be fatal.” In 2005, Horn spotted a Rohnert Park surfer caught in a rip current off Gleason Beach, just as the sun was going down. The surfer was struggling in 14-foot swells and unable to get back ashore. As darkness fell, Horn paddled out to the man, directed by a ranger onshore shouting instructions over a bullhorn, the sur-

fer was plucked out of the pitching ocean by the sheriff ’s helicopter and then Horn paddled himself back to shore. For this rescue Horn was awarded the Medal of Valor by the United States Lifesaving Association—the highest honor in the field.

The Medal of Valor is reserved for lifeguards who voluntarily risk their own lives “to an extraordinary degree” in saving or attempting to save the life of another, according to the lifeguard association. Three years later, in another dramatic night rescue, Horn paddled out to a struggling Benita Yu, who was clinging to her overturned kayak nearly a mile from Jenner’s shore near the mouth of the Russian River. She was “hanging onto her boat, half dazed” when Yu heard Horn’s voice saying, “You’re going to be OK.” “She was down in the water, completely hypothermic, not able to move anymore,” Horn recalls. “I know that had I not found her that night, it’s pretty likely she wouldn’t have made it.” Horn got her on his surfboard and paddled her to a motorized Coast Guard lifeboat. “He is a hero to me, in every sense,” Yu said shortly after the rescue. But Horn doesn’t take all the credit. “Anytime things happen,” he said, “it’s always a huge team of people from fire departments to CHP to rangers.”


He also credited Yu for being prepared. She had a personal flotation device and wore a headlamp, which made it much easier to locate her that night. “He is definitely a respected waterman,” said Nick Marlow, owner of the Northern Light Surf Shop in Bodega, who said he feels much safer when Horn is in the water with him. “He’s dedicated himself to the ocean. He’s fearless, but he knows the ocean. He’s not reckless.” Brit Horn was so young he can’t recall the first time he went into the ocean, but he remembers riding a tandem surfboard with his father at age 5, and learning to surf the small waves of Doheny State Beach at age 6. He has been in the ocean ever since—lifeguarding,surfing, diving, and sailing. “In the 1930s, I had a great-great-uncle that was a ferry boat captain on the Detroit River who saved many victims from drowning,” Horn said. “I grew up surfing, diving, and sailing with my family, so seasonal lifeguarding seemed a natural job choice.”

Birt Horn rides the frigid heavies alone, Northern California • Courtesy Kit Horn Collection

APRIL / MAY 2022

“Brit has dedicated himself to the Ocean. He’s fearless, but he knows the Ocean. He’s not reckless.” Nick Marlow, Northern Light Surf Shop

Brit Horn solos Northern California

His father, Kit Horn, was a lifeguard and one of the legendary 1950s Southern California surfers that pioneered the sport. Horn said his older brother also was a lifeguard, and they along with his two older sisters all surfed. Even his wife, Sandy Horn, was a lifeguard for 22 years in Ventura. A Torrey Pines High and SDSU graduate, Horn began his career at 17 years old as a part-time lifeguard in Encinitas, working at that job for eight years while attending college and traveling, taking a permanent position in 1983 at Point Mugu. On those beaches, Horn never felt like he “might not make it out.” But that changed when he moved to Sonoma County and discovered the tumultuous surf at beaches such as Goat Rock, Portuguese and Schoolhouse. “I wanted the challenge of the ocean here in Northern California, the heavy stuff,” Horn said. “It’s like the surfers who are surfing Mavericks, pushing themselves into a heavier and heavier environment. It’s like people who ski down super-steep chutes and mountains. It’s so different and so challenging up here.” Horn said he intentionally put himself in positions of danger when surfing, taking on


heavier winter waves off Bodega Head, for example, to condition himself mentally as well as physically for heavy-weather rescues. “I have a lot of experience with and a lot of respect for the ocean,” Horn said. “I’ve seen enough to know that Mother Ocean is in charge.” But there are many rescues that have gone unheralded, although not unnoticed. In November 2005, Horn didn’t even have time to put on his wetsuit before plunging into the frigid 48-degree ocean to rescue an 18-year-old man who was swept away at Wrights Beach by a large wave and already was going under. He was saved, but two others in the party died. Also in November 2005, Horn was surfing on his day off at Salmon Creek when Megan

Halavais of Santa Rosa was bitten by a great white shark. On the beach, Horn bandaged her leg with a wetsuit hood. For these 2005 rescues, Horn was honored by the U.S. Lifeguard Association, the California State Parks Department and given the American Red Cross Hero’s Award. Still, Horn said lifeguards know there will be a day when they must decide whether the seas are too rough to attempt a rescue. “We all know that we will have to make a decision not to go into the water,” Horn said. Luckily for him, that day never came. Retiring from lifeguarding in 2009, Horn moved to Cazadero with his wife and daughter, Kali, whereupon they decided they wanted to pursue the ocean cruising life aboard a sailboat. "It took a few years deciding on what kind of boat we wanted, plus Sandy wasn’t going to take off until our daughter had finished her first year of college. "Finally, we found Halcyon— a 43-foot, 2002 Fountaine/Pajot Belize. We purchased her in 2012, in Charleston, SC. As of this writing, she will be making her first transit of


the Panama Canal (March 22, 2022) and will be baptized for the first time in the waters of the Pacific. "The cruising life definitely suits us—seeing new people and places. This has been my dream since I was in my early teens, and I’m doing my best to fulfill it. The older we get the more we realize that the time we have left is what really matters." Since 2012, Brit and Sandy usually spend about two-thirds of the year on the boat cruising, then back home to Cazadero during the beautiful summer and fall months. While stateside they are on the move a lot in a little old Dodge truck and Lance camper, visiting family and friends from North San Diego County to the Pacific Northwest. "We try to get our Baja and backpacking trips in whenever we can." Horn added. "We also scuba dive, snorkel, have SUP’s, surfboards, and kite boards on the boat. I kite whenever I can, and the next thing I’m trying to play with is wing foiling. I don’t have all my own gear yet, but I will soon. "Cruising is definitely a lifestyle," Horn admits. "Most people think it’s just a long vacation—I think a better description is 'fixing your boat in exotic places'." *



Aloha Oe

Woody Ekstrom

APRIL / MAY 2022

Corky Carroll


lamboyant goofy-footer from Surfside, California, and winner of the United States Surfing Championship in 1966, 1967 and 1969, Corky Carroll was the sports master of the media in the 60’s, 70’s and 80’s. He has been described as everything from rebel to hero and has been both credited and accused of inventing the career of Professional Surfer, depending on the viewpoint. Carroll was born (1947) in Alhambra, Californina, son of an electrician father and singer mother, was raised in the small North Orange County beach community of Surfside Colony. He got his first surfboard at the age of nine, developing into a razzle-dazzle hotdogger who viewed the sport as much of an opportunity to entertain as well as it was his lifelong passion. Corky Carroll “The Clown,” a 1964 Surf Guide Magazine interview, introduced the “controversial” gap toothed 16-year-old as a surfer who “does so much so fast that spectators have trouble keeping up with him.” Carroll was the most dedicated competitor of his generation, and won more surf events than anybody during the ‘60’s and early ‘70’s. Aside from his three U.S. titles, he won the Overall U.S. title five times, the International Big Wave Championship in Peru, the World Small Wave Championship in Florida, the International Pro/

Am Championship in Santa Cruz, California 3 times, the Smirnoff Pro, and was named as the top surfer in the world by the Surfer Magazine Poll in 1967.

It was front page news in 1970 when he was temporarily suspended from the World Championship in Australia for allegedly starting a food fight during a pre-contest banquet. Well-muscled at 5’10”, 160 pounds, Carroll was also among the world’s top paddleboard racers, winning the prestigious Diamond Head race two times as well as the U.S. Paddling Championship six times. The claim to being the first professional surfer is valid. He was the first put on salary by Hobie

“Riding through a guitar solo or singing is much like riding a wave on surfboard. You’re climbing and dropping and tucking into little sections and it’s a lot of ad-lib and expression.” ~Corky Carroll

Surfboards in 1964 to just surf. This combined being signed to the Jantzen International Sports Club, along with such sports notables as Jerry West, Don Meredith, Frank Gifford and Paul Horning, and winning the goofy-foot division of the first ever Pro Surfing event (the Tom Morey Nose riding Invitational) put him in a category that no surfer had gone before. As prize money started becoming available with the International Pro/Am event in Santa Cruz and some others Carroll started collecting winners checks regularly. But it was the endorsement money that paid the bills. Between the Corky Carroll model surfboard royalty money from Hobie, the Jantzen contract and some other smaller endorsements he was able to earn a very good living for that era. Sports Illustrated reported he made $29,000 in 1968. (it was actually a bit higher when prize money and the Jantzen retainer were added in.) Carroll retired from competitive surfing at the end of 1972, but has kept active in the media to this day. As a singer/songwriter/multi-instrumentalist he began performing in the early 70’s, and to date has recorded eighteen albums and two singles. His newest album Blue Mango was released in 2019 by Darla Records along with a Best of Corky Carroll compilation CD. He has done over a dozen national television


commercials, the most well-known being part of the Miller Lite All Stars and appearing in several their famous “Taste Great, Less Filling” ads during the 1980’s and 90’s. He is the voice of “Grubby Grouper” on Sponge Bob Square Pants and was the voice model for the “Teenage Mutant Ninja Turtles.” He was the Advertising Director for Surfer Magazine for ten years and is also a well-respected newspaper columnist with the Orange County Register since 1993. Carroll has also penned four books, the newest being his 2021 Autobiography Not Done Yet. Along with partner Rick Walker, he founded the Corky Carroll Surf Schools in Huntington Beach and Costa Rica in the early 1990’s. The father of three currently lives near Zihuantanejo on the west coast of mainland Mexico and, along with his wife Raquel, runs a “Come Surf With Me” surf adventure package for people to come visit and surf with him at their home which sits at a perfect warm water point break. His latest project, Blue Mango Go Surf, is growing by the day. Carroll has been inducted into both the Surfers Hall of Fame and the International Surfing Walk of Fame.




CORKY ‘64 Foam

9’ 6”

24 lbs


Hobie Surfboards has hosted many of surfing’s greats, from Phil Edwards, Mickey Munoz, Mike Hynson, Joyce Hoffman, and Gary Propper, to honorable mentions Linda Benson, Bill Hamilton, Joey Cabell, Renny Yater, Butch Van Artsdalen, Eddie Akiau, Dick Brewer, Mike Diffenderfer, Del Cannon, and Terry Martin. But it was Charles “Corky” Carroll, the hot-dogging goofy-foot who captured the surfing world spotlight with Hobie Surfboards. “I thought Corky was one of the best surfers at the time. Really high performance. He was really important to us,” related Hobie Alter, who paid him $400 per month just to surf, ushering in the era of the professional surfer. Most would agree, Corky, with his uninhibited charm, wit, and razzle-dazzle boogie was the most dedicated competitor of his era, having won or placed in every major surfing competition from 1963 to 1972. The Corky ‘64, with its distinctive appearance of a redwood center stringer and stringer offsets consisting of a high-density foam, T-banded with balsa wood. Think of it like this: a nose-riding friendly Phil Edwards model; as fast as a Phil, but with a bit more tail rocker for those extended, full trim, total involvement noserides. Donated by Spencer Croul NOW ON DISPLAY IN THE SHACC SURFING TIMELINE




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Fiftieth Anniversary 1971-2021

Dorymen of Cardiff Series

“Coming Home” Stan Lewis Cardiff Reef 1971

TIME LONG PAST, a colorful cast of characters braved high surf

pounding the reefs at Cardiff and Seaside, rowing their fishing dorys through the impact zone in pursuit of ocean’s bounty. Without the aid of modern electronics, these men navigated local waters using only landmarks, when they could see land, finding fish on gut instinct and years of experience.

In 1971, UCSD Visual Arts student Robert Wald captured a unique series of images llustrating the skill Cardiff Dorymen Stan Lewis, Dick Dolman and Tommy Lewis possessed both in the surfline and earning a living at sea. Every launch and landing was showtime, the Dorymen delivering live lobster and fish through peeling surf. 50 years on, these images carry on— ON EXHIBIT /ON SALE SALE AT FISH 101 LEUCADIA. DROP IN! Signature Prints / In-Depth Story Contact Robert Wald local (760) 753-7585 robert @oceanmag.surf


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