corky : the curl line, 1967
Copy courtesy of
Graham Sorensen Collection.
Importantly Carroll does emphasise the blending of a series of manouvres in to a "continuous flow," and as such the article could be viewed as a a mid-point between Bob McTavish's ground breaking articles of January 1967 and 1968.
At the beginning
of 1967, McTavish presented a detailed catalogue of manourves "to get involved...
in a hairy position, under, in over, around the curl, quite often
in contact with it;" hence, later often refered to as the Involvement
((In Australia, the term New Era was widely used; which failed to technically specify the "school," but did reflect personal and cultural differences in the Australian surfing community, not the least being the spread of cannibis use.)
The manourves included a selection of turns and a selection of stalls, plus "a few handy acceleration techniques."
Twelve months later, following an intensive winter of design development and testing on Sydney's northern beaches, the stall was to be eliminated from the repertoire, by "break(ing) out of the straight line" the wave was to be ridden at maximum speed in a combination of turns and trim.
1967 Bob McTavish
: Bob McTavish is in this wave.
He probably had a plan to get out of it.
Surfing World Volume 8 Number 4, pages 15-21? January 1967
1968 Bob McTavish
gentlemen and children of the sun ..."
Surf International Vol. 1. No. 2 January 1968 page 9.
USSA and U.S. National Champion, analyzes a new trend in surfing and compares
it with the old style.
He talks about a line of riding reference and how it relates to progressive styles.
"the curl line"
by Corky Carroll
The top performers
of surfing these days are developing a stylish technique that uses the
curl every second they are with the wave.
I call this technique "riding the curl line" because the surfer bases every move on the speed and direction of the curl as it moves toward the beach.
Of course, surfers always have used the breaking portion of the wave as a reference point for maneuvers.
However, in the traditional style of yesterday, the surfer criss-crossed back and forth across the wave's face moving away from the curl and occasionally cutting back toward it.
Usually, the surfer's direction was parallel to the beach while the wave was breaking at a diagonal angle toward the shore.
Today's surfer has evolved a technique so he moves in the direction of the curl- on both sides of it- and becomes part of the wave itself.
This technique has a great deal in common with skiing.
The "fall line" is a skiing term meaning the steepest, most direct route down the mountain.
A skier bases his moves around the fall line by maneuvering around it according to the speed at which he wishes to travel.
Surfing has a fall line, too- straight down the
But because in surfing the "mountain" is moving, surfing has a different line of riding reference- the curl line.
Surfers have adapted a technique of surfing around the curl line in order to control the tempo of their riding.
Much as a skier uses a series of short turns to slow himself down, a surfer adjusts and readjusts his trim so as to stay as close to the curl as possible.
In surfing the
curl line is based on the speed of the breaking curl and the direction
which the wave is moving toward the beach.
By determining the point at which the curl will last break on the beach and the best possible take-off spot (where the curl will first break), a surfer can determine direction of the curl and its speed.
Using this as a guideline, he is able to base his maneuvers on this direction, work-
ing on both sides
of the curl line and getting much more out of the wave.
This differs from the "old" style of riding where the surfer constantly tried to position himself on the curl line and ride away from it. This technique allows a surfer to use all of the power the wave has to offer.
There is much
more to it than just getting on a slight angle and turning back and forth
around the curl.
First of all, there is the wave constantly moving and changing, speeding up its curl or slowing it down, getting steeper or flatter. This is where continuous flow becomes a necessity, and only through being able to react to the wave, with the wave, can a surfer really use this technique fully.
By putting combinations of maneuvers together with the movement of the wave, the surfer, his board
and the wave become
It is stylish and beautiful, and the rider never insults the wave; he brings out the symmetric beauty of it and makes himself part of it.
Once a rider adjusts his riding to the wave, he becomes rhythmical and combines his moves instead of making them separately. By using the curl line, he can maneuver into it and then follow through, setting himself right into the motion of flowing back into it.
There are many
different maneuvers and combinations.
The turn, the side-slip, the nose ride, the stall, the climb, the drop, the ins, the outs, the ups, the downs are all maneuvers to control tempo.
But the one most important factor is trim, setting trim, breaking trim, adjusting, read-
Creating speed, creating a suspended animation, driving, arching, relaxing, moving and flowing every foot exactly with the ocean. If you go against it, if you force it, you have insulted it and taken away its beauty.
If you flow with it, you become part of it and its beauty and it becomes part of you, and you work together.
Surfing is so
individualistic that every rider, every personality and every mood will
create a new flow, a new ride- individual and different from everything
before or after.
Let's remember in these days of "who's who" and "we are best; you are kooks" that the ocean is more powerful, more beautiful, more stylish than all of us, and that's what it's all about!
Also in this edition.
Hobie Surfboards: Corky Carroll Flexible, Corky Carroll Mini-Model, Corky Carroll model, Corky Carroll Hawaii model: insde front cover.
G&S Surfboards: Skipp Frye's High performance fin, page 4.
Weber Surfboards, fabric deck patches, pages 6 and 7.
Jacobs Surfboards: Mike purpus "3rd Makaha ABC Invitational," page 8.
Hansen Surfboards: Doyle model, Hustler and Master models with optional "Powerflex" in the nose, page 10.
Rick Surfboards: UFO model, with chamfered pod, page 14.
The Nose Bumper, page 17, see below.
AQUA JET surfboards, page 18, see below.
Morey-Pope Surfboards:Bob Cooper's Blue Machine, page 21
Greek Surfboards: Maui model, by Tom Lonardo, page 23.
Windansea Surfboards: "9'6'' Cheroot model," page 25.
Bing Surfboards:Nuuhiwa Lightweight, page 86.
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Volume 8 Number 5
Copy courtesy of Graham Sorensen Collection.