We stumbled upon this this first-edition copy of the long and precisely titled “Surf Photographs from the Eighties Taken by Jeff Divine.” Published in 2011, this art-coffee-table book presents hundreds of images by prolific and influential surf photographer Jeff Divine that document surfing in the 1980s, a more visually vibrant and colorful decade in surfing history in terms of style, design, fashion and surf culture. The edition pictured here is the house copy at Sandbox Coffee, a cafe popular with surfers in Ventura, California. The book is so well worn that its binding is held together by duct tape.
We stumbled upon this “I Take Care of My Beaches” message on a sticker-bombed pole at the Rincon Beach parking lot near Santa Barbara, California. The sticker’s message is positive and encourage visitors to keep the the coast clean. The message itself can be read as a bit of a cheeky pun, playing off hip-hop culture’s lyrical tropes where usually the word “beaches” would be “bitches.”
We spotted these espadrilles with embroidered images of surfers in the display window at Cote A Coast, a small clothing shop on Mulberry Street in Nolita, in downtown New York City. The linen footwear is by Denim Sky.
We love this … The Lone Wolfs (sic) surf shop on Lincoln Boulevard in Venice, in Los Angeles, was recently robbed. The perpetrators smashed one of the shop’s glass doors. The Lone Wolfs responded with this witty, spray-painted message on the plywood they put up to cover the broken door: “Can’t steal our vibe.”
“Expencive Porno Movie” (sic) is not your ordinary surf film. Directed by Argentine surfer and filmmaker Tin Ojeda and released in 2014, the movie features the to-be-expected great surf sequences by great surfers (the very talented Alex Knost making a couple of lengthy appearances in the flick) and highly original, arty interludes.
But what is so special about this surf film is that it was all shot on actual 16mm film in an experimental retro-style that celebrates — almost to the point of fetish — the low-fi, rough-hewn early 1970’s-era filmmaking techniques common to independent American Blaxploitation and sexploitation films of the period. All sorts of happy accidents that come with using celluloid — light leaks, dust, scratches and other flaws — can be seen in the footage. And the soundtrack is a beautifully curated set of organ-laden R&B, Afro-pop, funk, and jazz from the era that perfectly matches the film’s aesthetic.
Surfing aside, the movie is a beauty and true original that has raised the aesthetic bar for the genre. Check out the trailer below and this Wax magazine interview with Ojeda.