At the end of the day, you’ve just got to hand it to Florida. Home of Pitbull, Ricky Martin, CJ and Damien Hobgood the Sunshine State never fails to delight, though its central portion is somewhat not very cool. Sure CJ and Damien lived there but Damien moved away and it’s true that the world’s greatest surfer Kelly Slater was born there but he isn’t allowed into Australia anymore.
Yes, Florida’s north has wild hootin’ and hollerin’ rednecks. Its south dancin’ and prancin’ Cubans. Its central merely the memory of Damien Hobgood, the specter of Slater’s vaccination record though all that is set to change as the world’s largest surf park, featuring a Texas-sized Wavegarden swell creating machine, has cleared one of the last remaining hurdles and is set to break ground in Fort Pierce any month now.
The City Commission Tuesday gave unanimous first approval for the first phase of the Wavegarden, part of the 200-acre Willow Lakes Resort Village community, 10050 W. Midway Road.
A final vote is expected next month, according to city officials.
“This is just a pivotal project in the city of Fort Pierce,” said Commissioner Jeremiah Johnson. “… There’s going to be a tourism component that’s going to be an immediate, positive impact within the entire Treasure Coast.”
The wave pool could make Fort Pierce a surfing destination in Florida
Phase 1A of the $595 million project would include:
A simulated surfing park 28 vacation rentals A 9,882-square-foot maintenance building 160-190 parking spaces A 51,835-sqaure-foot entertainment-and-retail hub, designed to look like a wave, may have space for surf and watersport shops, changing rooms, surf school, food and beverage outlets, a brewery, an outdoor terrace with a bar and an amphitheater, according to city documents.
Construction is expected to take 18 months though the project has been dreamed about for the past 18 years. The TC Palm cited the “Great Depression” as to why things to so long.
Damned Herbert Hoover.
In any case, happy days may be here again.
More as the story develops.
World’s oldest and most venerated surf journalist releases long-awaited volume of essays, “(Surfing) is now so oversubscribed, TikTok atomized, and mass media that any claim surfing once had as a pursuit for outsiders… is more or less a canard!”
Read the stunning foreword to the hottest new book in surf!
My fondest memories as an editor lay in the years 2000 to 2013. The pleasures of the internet were extant, but not yet all-consuming.
Social media was largely the province of teenagers. Physical surf checks led to shit-talking, issue brainstorming, and talking story.The time passed quickly at TSJ, and we greeted each workday with the anticipation of Christmas morning.
What new submissions might arrive?
What fresh stack of transparencies from some far-flung locale or undiscovered archive might be unearthed?
Which page from the bedside notebook would take flight, hammered into shape as a feature by the print-world alchemy of writer and shooter and designer?
The rush of seeing the work in print, the preferred form for surfers everywhere. The joy of pacing out a year with the assumption that the issues would be cataloged on private surf shelves and tables for years, perhaps decades.
It wasn’t high art or Austrian economics. But it was, and remains, fun stuff.
There was a fetching magnetism at play, and visiting surfers, writers, and photographers couldn’t help but feel it. We jokingly called it the ivory tower effect. The Journal was taken seriously out in the world, but to us—the makers— we never wore like that.
The high-end feel of the physical product allowed us the chance to stay loose and broad-minded, thereby reflecting the topic. We were free to pursue the things that drew us in in the first place.
Adventure, both attainable and more aspirational. The vibrant, balls-out history of the pioneering players. Travel. Waterman lore. Individual expression. Commercially unfettered, we simply steered away from the parts of surfing we didn’t care about (scant little, to be fair) — mostly organized-surfing stuff like pro contests and pop-idol BS.
Turns out that it struck a chord.
We clocked 110 percent growth during those years — unheard of for a “mid-career” title at millennium’s dawn — moving from quarterly to “five-erly” to bimonthly.
That angle served us well. We’re here. Everyone else is gone.
It started from the top. Management-wise, one of Steve Pezman’s koan-like mantras was typical of his laissez-faire personal belief system: “It’s not a problem until it’s a problem.”
And when you had Pezman’s dead-to-rights eye for talent who might go the distance — ten or 15 or 20 years — it was hard to argue. We’d commit seppuku before letting our life’s work go tango uniform.
Potentially losing the readers ran a razor-thin second. Our sponsoring advertisers? They appeared to trust us explicitly, with nary a veiled checkbook threat.
There was an easy jocularity at the dojo, with a light crew floating ideas in a free-minded spirit. Like today, the players were there for exactly the right reasons.
And a couple of times a week, we’d come together at a local hike-in surf spot. It was a study in easy efficiency: a ten-minute drive, an hour surf, and 30 minutes for lunch. If I roll my eyes back and summon the days, I can remember each one:
It’s 2 p.m. on a Wednesday, 2013. That calm, sun- stroked, after-surf feeling prevails on the back patio of La Tiendita Market in San Clemente. Nothing fancy-boy. No nouveau, middlebrow affectation. A taco joint. Utterly surf.
Chomping on a shard of adobada tostada, Pezman mentally lines up his shot. Errant bits of iceberg lettuce festoon his Metzger Plumbing T-shirt. Everything on his plate has been mixed together and doused from a palette of sauces.
Now he pours from a ramekin of chile de modesto he had asked the taqueria to produce. (Note: Pezman makes ad hoc collages from any offering: an onion-pancake platter from the Chinese-Muslim joint; the preciously plated assemblages of St. Helena; a backyard Fourth of July picnic. No LA Times– approved chef of the season is beyond such wood-chipper treatment. Pezman unashamedly identifies as a “foodie,” that normally cringeworthy semi-portmanteau of “gourmand” and “yuppie.” It’s a misnomer. He’s a surf trencherman through and through. Banquet bosses fear his advent, perhaps knowing of the record 17 ice cream sundaes he once slayed at Haleiwa’s Jerry’s Sweet Shop.)
The next bite of adobada can wait.
“I think I learned how some writers fluff a novel up to 400 pages,” he says.
He references a Harry Hole crime book. He’s a sucker for the genre and always knows the loftier offerings.
“Turns out you can coax a thousand words out of a simple description. An overripe tomato, a handbag. Anything, really.”
This revelation will be shop-tested later the same afternoon as he’s writing the intro to an interview. Indeed, he’s as excited to get back to the office as he was to surf.
We all are. Round pegs in round holes.
Pezman is always curious about craft, and he takes the hows and whys of magazine-making seriously. But then he’s always had a keen and youthful enthusiasm for his many pursuits: surfing, painting, tennis, dining, reading.
When it comes down to practice, like all masters, he makes it look easy.
No time for pinched-up angst.
“We surf-mag makers happily toil in the toy department of world affairs,” he says.
Magaziners are born into the game, not by birth, but by lifetime of habit.
In this game, it comes down to story.
And it’s a rare editor/writer/publisher who is not a ravenous reader of fiction, a student of fine art, of street and portrait photography, of golden-era-to-now book design.
And Steve Pezman — as the son of a playwright who lost his job after the Hollywood Ten blacklist fallout — is no exception. He reads greedily and was something of an art phenom as a boy.
During his days at Surfer magazine, his battlefield promotion from editor to publisher happened fast, forcing him to exploit his innate —and, as it turned out, estimable — business sense.
This implies a pivot from art to commerce, but Pezman, having come from the edit side, maintained Surfer’s focus on sharp writing for his 20 years there. Though marked by a facility with numbers, it was the story, in words and with pictures, that thrilled him.
During the heyday of print, all of the surf monthlies had fine photography. The separation points were often the word furnishings: concepts, titles, captions, and, of course, the written pieces themselves. Pezman immediately surrounded himself with complementary lifelong lovers of magazines.
For better or worse, surf mags – as minted by patriarchal surf figure John Severson — rarely embraced straight, source-based journalism.
Like his contemporary Drew Kampion, Pezman captured the times as he saw them. Voice, afición, nuance…
The American surf magazine (and thereby every one of the international versions that drafted behind the originators) never trusted journalism’s ability to capture our act’s ineffably layered experiences.
Surf publishing’s tradition of idiosyncratic, esoteric, cosmic-tinged reportage was at high whine during the early 1970s. Pezman embraced all of that, then moved forward into each new surfing micro-epoch. Always keeping in mind the purist appeal of the blue wall, he deftly transited the decades.
And whether or not you’ve had the pleasure of working with him, you nonetheless know Pezman from his half-century of writing and surf publishing. He has guided surfing’s media representation from his Surfer and The Surfer’s Journal pulpits for over 100,000 pages.
While you might not have shared the lineup with him, you’ll know his voice — that baritone, senatorial brogue — from his dozen or so appearances in those popular pre-streaming surf documentaries circa 2004: the head-and-shoulders framing; the bright, 90s-hangover lighting; a chyron name-plate centered lower frame.
Pez, as everyone calls him, would thereby wax eloquent, dropping gift-wrapped musings defining his impressions of the act.
“Dancers on a liquid stage” and the like.
But don’t let the Zen Kabuki fool you. To anyone who really knows him, he’s more Shakespeare’s Hal than Bodhisattva-manqué: quick witted, off the cuff, generous with a pour (and when receiving same), and endlessly flexible.
That’s not to say he doesn’t reach for the cosmos.
His inclination and gift for the metaphorical space has always had twin effects. It separates surfing from terrestrial sporting life, playing into our belief that riding storm-born bands of invisible energy, leaving nothing behind, separates surfing from, say, stock-car racing.
Next, it gives surfers license to feel slightly superior, like we’re allowed access to some pirate radio channel scrambled for all but the experienced.
This stance undoubtedly has its roots in Pezman’s come-up in the 50s. Surfing then was viewed as a teenage dance craze, its cherry-Coke-addled, hormonal participants doing the Frug to the reverb-tanked twerp pop of Jan and Dean.
At this early juncture, meager shrift was given to the ride itself. That would have irked Pezman, and any other surfer of the time. Parents, bosses, judges, and juries would not sit still to hear of surfing’s incalculable natural gifts. The tee-vee showed them all they needed to see.
And so, surfing could have gone hopelessly pop. Contests, gossip, hullabaloo. (No offence, almost every online surf mag in 2021.)
Pezman chose a different route, one marked by literature, art, and custodially aware language. Advocating for vastly skilled watermen living on the fringes. Pacing in a solid dose of pure, empty wave energy. The odd hit of underground-broadsheet hippie rap.
This last bit of lingua franca was a product of the times and to modern ears can sound almost quaint. Even that indulgence tended to smoke his competition. Imagine where it could have gone if it had landed in other, more booster-ish, stewardship.
As ever, tone-deaf, clout-hungry forces with more spreadsheet chops than taste attempt to stamp surfing with their mercantile prerogatives.
The barn door has been blown off its hinges.
“The Secret Thrill” is now so oversubscribed, TikTok atomized, and mass media that any claim surfing once had as a pursuit for outsiders, an outpost of post-Beat hip- ness — whether or not such a claim truly held water — is more or less a canard.
This volume of Pezman miscellany serves to show the author’s steady hand, his self-knowledge as well as his molecular — say it! — cosmic understanding of everything surf.
Once we remove all of the crêpe we hang on surfing — that’s another “Pez Says” — all that’s left is the ride.
The hottest rumor of this early North Shore season has taken a quick though satisfying turn. San Clemente’s Kolohe Andino, currently dwelling amongst the seven mile miracle ahead of the Billabong Pro Pipeline Masters and Hurley Pro Sunset Beach was, moments ago, rumored to be disqualified after a robust fight.
As it turns out, and straight from Andino’s mouth, there has been no disqualification and, instead, a hero has been born.
The true story?
“I got burned then yelled at because I hooted then I defended myself with words. He slapped me. I did not move. Then he punched me. I went in. He continued surfing.”
A manual in “How to Deal with Conflict and Various other Issues on Oahu’s North Shore by Those who Dwell on the Mainland.”
Andino now a favorite both in your heart and for the 2022 World Title.
I know, dear BeachGrit reader, that you are sometimes disappointed by your daily visit to the biggest little surf website on the planet. Oh, stories of redemption via personal fitness and health coaches are as important as they are beautifully written but every so often certain itches need to be scratched, blood feuds, sizzling hot rumors and boy do I have one for you.
The coconut wireless has, minutes ago, fired off a cooker. A very well-placed source just now revealed that Kolohe Andino, America’s great white hope, has been disqualified from the Billabong Pro Pipeline Masters, and possibly Hurley Pro Sunset Beach, by the World Surf League’s Rules and Disciplinary Committee for allegedly “burning a local surfer then instigating a fight then becoming knocked out.”
Feel free to ponder the salient bits one at a time.
Burning a local surfer.
Instigating a fight.
Disqualified by the World Surf League after review by the “Rules and Disciplinary Committee.”
Andino, who recently signed a deal with iconic Santa Cruz wetsuit brand O’Neill has been contacted though no word back at time of writing.
But what does that make you think? Feel? If true, are you wildly impressed by the moxie? The pure passionate rage that becoming a father can instill in a man’s heart?
Or generally confused.
With details still spare, I’m inclined to the former.
Laird Hamilton’s eponymous Superfood accused of brazenly stealing from starving artists: “Do the right thing. I’ll give every dollar you owe to the employees that poured countless hours into all of the concepts we created for you.”
Another day, another dollar, or so the saying goes but some capture that dollar a little easier, catch stacks upon stacks upon stacks of them, in fact. Take the case of big wave icon, tow pioneer Laird Hamilton. The Malibu-ite, by way of Maui of course, pulled in many dollars over the years what with being the face of Davidoff Blue Water and starting a plant-based coffee creamer company.
Laird’s Superfood is, without doubt, a success story earning millions upon millions on the stock market, bringing health and happiness to homes… except, allegedly, to homes of starving artists.
Brandon Ball, founder of Starch Creative, took to Instagram yesterday, posting pictures of a Superfood snowy pop-up plus plans for that exact same snowy pop-up and declaring:
I’ve never said anything. I consistently swallow pride, take the high road, and move on to fight another day. But today I’m done. I’m tired of seeing the look on my teams face when their work is stolen and used without payment.
Consistently we are asked to do what is called an unpaid “RFP” (request for proposal). This typically includes design concepts, with a contractual obligation and guarantee that if the client chooses your work, you will be paid for it. The reason companies do this is so they can solicit free design by leveraging small design companies against each other.
Here is another example of that happening. @lairdsuperfood approached Starch in February of 2021 and asked us to provide design ideas under an unpaid RFP. Being Covid, we had to say yes. We were fighting for our lives. Fast forward to them telling us they have decided to go a different direction and wouldn’t be moving forward with our concepts….
It’s unfortunate but this happens constantly. Creative teams are quiet and never speak up because they don’t want to impact future opportunities. It’s no different than stealing art or music. Creative isn’t free.
Your move @lairdsuperfood . Do the right thing. I’ll give every dollar you owe us to the employees that poured countless hours into all of the concepts we created for you. #laird #lairdsuperfood
Many comments all supportive of the li’l guy, not Team Laird.