Christiana Smith skateboarder Christiana Smith skateboarder
Facebook (Christiana Smith)

The Millennial Resurgence Of Black Skateboarders

While skateboarding is regaining popularity among Generation Y, the sport has its own history within the black community.

Thirty years ago, it was laughable to even suggest that skateboarding would become an Olympic sport. On Aug. 3, the International Olympic Committee approved the sport for inclusion in the 2020 Summer Games in Tokyo, a historic move for the subculture whose participants once prided themselves as being outsiders of the mainstream. The gate appears to be wide open for millennials, and in particular, for black millennials, who appear to be skateboarding in greater numbers than in the past couple of decades in major cities such as Chicago, Los Angeles and New York, particularly in New Orleans, where Hurricane Katrina was said to spark a “skateboarding renaissance” among black youth. However, skateboarding, for black millennials, is not in a renaissance. Rather, it is in a resurgence.

Upon first glance, the rise of the sport among black millennials is most likely to be attributed to the visibility of rappers who have ventured into skateboarding, now that the once underground sub-culture has finally gained commercial success; among those most infamous for attempting to tap into the market are Pharrell Williams, Lil’ Wayne, and most notably, Lupe Fiasco. Fiasco’s 2006 single, “Kick, Push”, a lyrical fable about two misfit skateboarders who eventually find love together as a natural outcome of their passion for the sport. While the emcee received backlash from professional skaters who felt Fiasco was posturing, the record came to be regarded as a instant classic in the hip-hop community, leading to a surge of interest from black youth in cities nationwide.

There is scant history concerning skateboarding within the black community. Despite claims to the contrary, kids from the ‘hood falling in love with skateboarding is not recent phenomena; the subculture has its own history within black communities, particularly on Chicago’s South Side.

“I started skateboarding because everybody else was doing it,” explains former South Side resident Greg Collins, 58. “Everybody in my neighborhood in Englewood skateboarded.” When asked if it was ever considered a sport that most white kids enjoyed, he shook his head avidly. “Not at all. I lived in a big, tall building where there was a bunch of kids who made it look cool. There wasn’t media coverage. This was late 1960s, early 1970s. It was just something else for us to do outside, back when skateboards were three dollars and had rubber wheels.”

Skateboarding first appeared in California in the 1940s among surfers as something to practice in their downtime. Bill Richards was one of the first people to invest in the skateboarding business, consequently making a deal with the Chicago Roller Skate Company to create both sets of skate wheels with wooden boards attached to them.

In Chicago’s Englewood community, obtaining skateboards was fairly easy, provided you had one thing to purchase them with. “I took my mom’s S&H green stamps and went to the store,” recalls Collins. “They were trading stamps. You saved the stamps in a book to buy stuff, and then you could use that to redeem them and get products. We used them to get stamps to get baseball gloves, skateboards, and basketballs. We ain’t have to spend money. We just used the stamps.”

While skateboarding was extremely popular on the south side in the 60s, its popularity began to decline in the early 70s. Collins recalls, “When you started going to high school, you didn’t really skateboard. It wasn’t really cool then–it was seen as kid’s stuff. We migrated more to the other sports, like football, basketball and baseball. Skateboarding was just one thing we did. You might spend an hour skateboarding around the building. It took almost half a mile to get around our building [in Englewood]. I think it was more people migrating and specializing in other things. A lot of people in my neighborhood went to the pros: pro football, pro-basketball. When they got to high school, it was like, ‘I don’t have time for skating.’”

In the 1978, Alan “Ollie” Gelfand revolutionized the sport by inventing the ollie trick; he appeared in Skateboarder mag after the sport’s earlier decline, suddenly, kids were anxious to jump on long boards again. After the invention of the ollie in the late '70s, skating parks were rapidly developed in middle-class white neighborhoods. Due to a lack of skateparks in the black neighborhoods, developing advanced skill sets within the sport beyond simply balancing on the board became increasingly difficult. The combination of suburbanization and divestment led to a loss of interest as black youth ventured into high school led the way for skateboarding to be associated as a sport for middle class white kids.

“It’s easier to get a skating park in a white middle-class neighborhood than it is on the West Side. They’ve been trying to get a skate park on the low-end for years,” Jaz, a black female skater, explains to me.

The Reagan and Clinton era saw skateboarding take a much more anti-establishment turn that the sport is known for. The crack era, welfare reform, poverty, mass incarceration, and the outsourcing of jobs left American youth frustrated. With the rise of punk, gangsta rap, and grunge music in the 1980s and 1990s, skateboarding became a reflection of anti-corporate and anti-establishment values of the times. No longer was the subculture associated with wholesome, blond surfer boys on the West Coast; to the horror of white suburbia, it was now symbolic of urban anarchy.

It was precisely this that drew Jaz to the sport. “I wasn’t interested in other sports. At the time, I was getting into punk music and the roots of skateboarding is very much embedded within that,” she recalls, remembering how the sport helped her to develop her own sense of autonomy as a young black girl. At age 28, she’s embraced an anti-capitalist, radical politic that aligns with her identity as a skateboarder. “I was 11 when I started.”

Jaz’s presence in skateparks could be considered radical in itself. There still aren’t many black women who are well-known within the sport, much less who come to practice in the city’s skate parks. While Cali’s own Samarria Beard was recently hailed as the “Serena Williams” of skateboarding and Christiana Smith is gaining recognition for her skills, the numbers are still small. “In the future, I want to see more Black women in skateboarding," Jaz says emphatically. “Right now, you see a few Latina and Indigenous women, but not that many who are black. It’s not because women can’t be just as good at skating than dudes can. I would say because they have a lower center of gravity, women might be better than men. It’s completely a result of socialization. You see dudes falling and trying tricks, and other dudes just pat them on their ass and say, “Get up and try it again, dude’. A lot of girls think that you can only be a skateboarder’s girlfriend.”

She smirks as she speaks on the macho attitudes of male skateboarders. “I’ve literally seen dude’s try to pick up girl’s feet and position it on the board for them,” she says, mimicking the patronizing action. “That’s the worst thing that they can do. I always tell women, ‘Go learn by yourself because he’s going to make it all about him. That’s the best thing I can tell them.”
Here, on the West Side of Chicago where we meet to talk, Jaz is camping out with dozens of other people across the street from a “black site” in which CPD illegally detained and disappeared thousands of people over the past decade, most of whom were black.

The campsite, organized by the Let Us Breathe Collective, a group of artists who imagine a world without police or prisons, organize workshops, town-hall meetings, also taking donations in the form of books, clothes, food, and other supplies. During her time here, Jaz took note of young children who came through the camp, particularly in terms of gender dynamics. “There’s kids who come here and they immediately want to try to skateboard. My boo came through and donated one the other day. The black girls who come through here want to try to skateboard. They don’t even think twice about it being a boy’s thing. I don’t say anything to them about it, either. They had that sense of autonomy.”

Here, in this space, the consumerist nature of skateboarding vanishes; the kids don’t wear Thrasher t-shirts or other logo brands. Instead, it is a indelible curiosity that draws them to it, much akin to the earlier prevalence of the sport within the 1960s, reclaiming public space. Capitalist consumerism undoubtedly changed the anti-authoritarian tone of skateboarding in the new millennium, but could it still be considered a radical act, particularly for black children coming-of-age in the hood, in which private property often takes precedence over autonomy? Jaz thinks so.

“It can be a radical act. First and foremost, it’s about autonomy. Recently, mainstream skateboarding changed the dynamics of what skateboarding is to be about commercialism. Black folks have always taken very little and always made something creative with it. A bench can become a place to practice tricks on. So can a curb. That’s we’ve always done.” —Shanna Collins

From the Web

More on Vibe

Mark Barboy

Interview: Suave House Founder Tony Draper Links With Celebs Like 2 Chainz, G Herbo and Nick Cannon To Feed Their Cities

The harrowing COVID-19 pandemic has disproportionately disrupted Black communities across the United States with cities like Chicago being among the hardest hit. Throughout the year, artists from the city have stepped up and held socially distanced food drives and PPE donations across the city’s South and West sides. With his deep ties to Chicago since the early 90s, Suave House Records founder/entrepreneur Tony Draper, alongside NBA veteran Ricky Davis, made the Chi’ their next stop as part of the nationwide Feed Your City Challenge this past October 17th at the Pullman Park Community Center.

The chilly, yet bright and sunny Saturday saw hundreds of people drive through the parking lot of the complex, receiving groceries from the many volunteers, gathered from across the city. Masked up with PPE in the trenches with the civilians were local natives and celebrity supporters like Chitown’s Grammy winning producer/music executive No ID, rap star G-Herbo, new rapper Queen Key, NBA star Jabari Parker to media/music entertainer Nick Cannon. Draper and Davis were handing off items and loading boxes of farm-fresh produce and meats in the trunk of cars, and offloading the 95,000 pounds of food to feed 7,000 residents. While they were not in attendance, Common with Jhene Aiko and Social Justice Collective donated funds for the free groceries.

“You can’t lead the people until you feed the people. We’re out here in the community in a real way. People always talk about what’s going on in Chicago and these are the things going on in Chicago. Positive things for the community during a time like this. People coming together and it’s a wonderful event,” said Cannon.

For Draper, bringing the Feed Your City Challenge to Chicago and being able to pull it off successfully was crucial because October 17th, marks the 24th anniversary of the death of one of Chi’s most influential DJs, Rapmaster Pinkhouse, who passed away in 1996. “It feels like myself and my partner [Ricky] Davis coming to Chicago and partnering with Common, No ID, Jhene Aiko, Nick Cannon, G-Herbo, Jay Allen, [local FM radio] Power 92 and Pat Edwards was a sign from God that it’s meant to happen on this day. Even though Pinkhouse is gone, he’s still influencing the south side of Chicago and he’s still sending us blessings. We had to pull it off, we had to,” Draper said with conviction. 

Meanwhile, Power 92.3’s DJ Pharris, DJ Nehpets, DJ Commando, DJ Amaris and Hot Rod were on the 1s and 2s while Parker, Hot Rod, G-Herbo, and community activists Joey G and Nico Naismith played basketball with the kids. A nonprofit Hoop Bus was set up with a small hoop with Black Lives Matter symbols and the names of victims who were killed by police officers. 

G-Herbo, who has been volunteering his time to the kids of Chicago throughout 2020 says that events like this are important to build and strengthen Black unity across the city. “It’s beyond just being able to feed and provide, it’s allowing people to feel unity in the city. This is the city coming together and a lot of important and powerful people coming from the city, all walks of life coming together for a positive reason and that’s what it’s all about.” When asked if this event defied the stigma of Chicagoans not being unified, Herbo exclaimed, “Absolutely! We unified right now and it’s only gon’ get better, so we’re just trying to lead by example and make this normal. This is not just an event, this gotta be the normal for guys like myself and for the city.”

And the people who showed up to receive their free groceries were more than appreciative. Takara, a mother from the Southside of Chicago says that while she found out about the food drive at the last minute,“It’s a lot of food out here, a lot of good people out here and it’s something that we need. Events like this are very necessary and it’s filling the need for families who can’t feed their children during these times. I wish I could have volunteered and done something more, but we need this.”

In a one-on-one with VIBE, the legendary Tony Draper talks about his connections to Chicago, the importance and impact of the Feed Your City Challenge, the role celebrities play in activism, and more. 

VIBE: Earlier you shared that Oct. 17th was also the day that Rapmaster Pinkhouse passed away. For the younger readers who might not know who Rapmaster Pinkhouse is, could you share who he was and why he was so important to Chicago?

Draper: For young people that don't understand how music was heard back then, there was no social media [in the early 90s], there was no Instagram, so you had to get your record to the hottest person in the city. That person had to make a decision about whether it was good or not. And if that person touched your record in Chicago, that person would spread, it was automatic. That’s what happened to a young Tony Draper with 8Ball & MJG’s first albums. He put his hands around it and he exposed it to the Chicago market. Every time I think about Chicago, I always think about Pinkhouse. Pinkhouse was the main reason why I even came to Chicago.

Talk about that. What was Chicago like for you when you first came here?

Coming to Chicago was a very interesting moment for me because when I came, I had my hat cocked a certain type of way and I didn’t know the rules and regulations. And he told me, “Tony, man you gotta keep that hat straight (laughs). And I kept it straight ever since. So, for me, doing my journey as a young Black man from the inner city, raised by a single parent, establishing Suave House at 16 years old, seeing what I went through to establish [the company], and make it a force to be reckoned with. That was an accomplishment, but also I wanted to touch people I knew understood the music and understood where I was coming from and the importance of a young Black man that was a true, independent CEO and giving me the avenue to get my music heard. I’m from Memphis, raised in Houston, but Chicago is Suave House’s biggest market to this date. They supported everything Suave House did and I wanted to bless them [with the Feed Your City Challenge], the same way they blessed me.

With the conversation within the music business revolving around Black Lives Matter and supporting Black communities, what do you think it’ll take to get many of these CEO and executives from the major labels to support these communities like what you and many of the artists have been doing across the country?

I think they have to be involved with people they’re not comfortable with. Stop giving money to these organizations you think is giving the money to Black people, because they’re not. Nobody is holding these organizations accountable. Do business with somebody that has their finger on the pulse. A person that you know is in the music business that has been very successful in the business. Like right now, the Feed Your City Challenge, we’re in our ninth city. We’ve had eight of the top music artists host these cities without funding from the parent companies. [The artists] are giving the money themselves. Jhene Aiko gave money herself. Nick Cannon, himself. Rick Ross, 2 Chainz…Pee from Quality Control. 

Pee was on vacation in Mexico and he took a private jet back to Atlanta just to attend Feed Your City in Atlanta. He didn’t have to do that, but he did because he cares about where he’s from. He cares about the area. He wants to take [talent] from the area, but he also wants to give back to that community. See, white people want to come and exploit your community, but don’t want to build a library over there, never build a basketball court, never build anything. When an artist is dead, they say ahhh aahh ummm. If you wanted to demonstrate good character, you would have said, ‘I made a lot of money off that artist. Let me do something for that community as a token of appreciation for birthing that particular artist.’

I don’t think we’ve ever seen that before.

And you’ll never see it unless I do it and I am going to do it. That’s why I’m in Chicago. I’m going to every city that has blessed me and fed my family because every time I feed myself, I feed my family, my loved ones, it comes from my fans. My fans gave me the opportunity by buying my records. I had a dream, I had a drive, but without the opportunity, you might not have heard of Tony Draper. So, I’m always appreciative of people that have helped me, that’s why I want to help them. I’m in the best place I could ever be in my life. I’m 49 years old, I’m successful, I’m good. Bro, you want to know what makes me happy? Giving to somebody else. There’s another star out there that’s hoping and praying that they could get an opportunity and if I could give them that opportunity, I’ll give it to them. I don’t relish in the attention; I relish in the accomplishment. Let me help somebody. And if I help them and they become successful, they don’t owe me a quarter. I won’t sign them to a management deal or nothing. I just want you to acknowledge it and pass it on. See, we got to learn how to pass it on.

With the timing of this event brought on by the pandemic, how do you feel about it all?

I think it was God’s mission. With COVID that’s really unfortunate, a lot of people lost their lives during this pandemic. A lot of people have lost their jobs, their homes, their properties. My heart goes out to them. But if me and Ricky Davis can put a smile on a mother’s face, a father’s face and feed their children, that’s all I need. I remember me and my mother going to churches and food banks, walking with free government cheese, powdered eggs and we was happy. We were so happy, smiling and grateful. I think without that, I don’t think we would have made it to the following week. So, I’m always thankful for everything God blessed me with. I don’t think I’m special. I think that I had a plan and I stuck to my plan and made it happen.

Suave House has had a lot of artists who have always been outspoken about social and political issues, [similar to like an] Ice Cube recently. Considering that, and what you’re doing with these artists for the Feed Your City Challenge, do you think that the role of the celebrity today is to get in front of these issues or to fall back and support the people who're already doing the work?

I think it’s a choice. For me, I’m not a city official, I’m not a politician. I’m more comfortable with doing and getting my hands dirty on the ground. If I was in Chicago building houses for people, I would actually be there. I wouldn’t [just] send no money or send a crew there. I would be there. That’s how I feel blessed. I feel blessed by actually talking to the people and them seeing me out there distributing groceries. I feel good when a person drives up in their car and they pop their trunk and say ‘Draper?! You putting groceries in my car?!’ And they may be happy about ‘Space Age Pimpin’’ or ‘I’m So Tired of Ballin’’ or whatever, but just the mere fact that they were happy about me putting groceries in their car meant more to me than anything else. I think it’s a choice you make as an individual.

For a lot of people, some celebrities end up causing harm because their celebrity and actions might overshadow the actual issue.

You know what though? Without you being a celebrity, you might not be heard. So why not use that platform to be heard? I think LeBron James is phenomenal. I think Ice Cube is phenomenal. You don’t have to agree with him, but you have to respect him for speaking his mind and trying to get something for Black people. Nobody else did it! Nobody else took the initiative to write a Black America contract and present it to both [Biden and Trump] camps. So, I think that was a phenomenal move, whether I agree with it or not, it was still a phenomenal move. We got to stop with all this goddamn talking and do some action.

Draper and Davis’s Feed Your City Challenge will be arriving in Compton, California as their next stop on November 21.

Continue Reading
T.I.

Interview: T.I. Talks Activism, Verzuz Battle, And His Desire To Produce A Biopic On His Life Before Fame

Although Tip "T.I." Harris has earned some very respectable stripes as an emcee for his successful rap career, the self-proclaimed “King of the South” moniker really began to take true form once he stepped into his community activism calling. He’s acted in blockbuster films opposite Denzel Washington, Paul Rudd and Kevin Hart, but his willingness to speak truth to power has shown an unwavering commitment to being on the good side of history, as opposed to choosing silence to secure a spot on the good side of Hollywood.

During this recent conversation, Tip talks about his upcoming Verzuz battle with Jeezy, politics, the Trap Music Museum, and his desire to make his TV/film directorial debut.

Be sure to check out his newest album, L.I.B.R.A available on all streaming platforms.

Continue Reading

Ziggy Marley's First Time Voting In America

No more long talking from politicians. Today, the people have their say at the ballot box. Judging by the number of voters who showed up early this year, the 2020 election is going to smash all records for voter participation. With a deadly pandemic, wildfires, floods, economic pressure, and a struggle for survival playing out from the tweets to the streets, the stakes have never been higher.

If you're reading this right now and you haven't voted yet, it's not too late. Get up get out and let your voice be heard. As Samantha Smith recently discussed on her IG Live, this year's election is too important to sit out.

Snoop Dogg will be voting for the first time this year—and he's not the only one. Ziggy Marley voted for the first time this year also and documented the process on social media. "I decided to vote and I wondered to myself why," Ziggy wrote on his IG. "Then I thought about those who came before, the price they paid. In part, I am voting in honor of them and to honor them, to not belittle their many sacrifices and struggles with my high jaded righteousness and indifference. Many brothers and sisters from numerous backgrounds and origins marched, bled, and died to give people like me basic rights in 🇺🇸 , the right to be treated like a human being, the right to vote."

As the eldest son of the Robert Nesta Marley aka the King of Reggae, Ziggy is part of a mighty musical legacy, but his father is more than a musical legend.  The new film Freedom Fighter—part of the 75th anniversary series "Bob Marley Legacy"—examines Marley as a symbol of human rights with a voice more powerful than any politician.

Ziggy has continued his father's musical mission as a solo artist and part of the Grammy-winning family group Melody Makers. His 2018 album, Rebellion Rises opens with a song entitled "See Them Fake Leaders," leaving no doubt about his views on the institutions of government. Still, Ziggy remains engaged in the political process, doing his part and encouraging others to do the same.

"Imagine if Martin Luther King Jr, John Lewis, and others thought, 'Voting rights? Civil rights? Who cares? What difference will it make?'" Ziggy wrote on IG. "Just imagine what the world would have looked like now if not for their sacrifices. Go ahead, imagine it. Can you see it? Well, what do you think?"

"To be clear voting is not the end-all," Ziggy Marley added. "It is a small piece of a puzzle and just one of the tools in our toolbox that we must use as part of a larger effort to bring positive beneficial changes for all people. The work must continue at maximum effort after elections regardless of the outcome." Ziggy emphasized that he was not voting for a party or a person for an idea. "Even though we have differences we can be better human beings, more united human beings, more loving human beings, equal human beings, just human beings. The politics will come and go left right and center but still through it all the humanity that we must show to each other is not negotiable."

Ziggy voted by mail this year, but for those of you standing in line today to exercise your right and let your voices be heard, Ziggy curated a special playlist for Tidal's "Hold The Line" campaign. Music to vote by—from Ziggy and Bob to Fela and James Brown, not to mention Public Enemy and Rage Against The Machine.

Ziggy Marley’s new album, More Family Time, is out now on all music streaming platforms.

Continue Reading

Top Stories