...And Proverbial Biting of Shit
Skating's like a path set out for others to follow and has been from its early beginnings. From Kate Hepburn carving up a storm to Matt Hensley’s chain wallet and cargo shorts. We've always felt a kinship with the raw, urban roots we share with hip-hop culture. What were skaters listening to in the late 80s? When they weren’t listening to the Descendents and the Minutemen they were listening to Public Enemy and EpMd. Hip-hop spoke to them more than Warrant ever could. Despite Bret Michaels’ earnest and implored wailings we were all left a little emotionally bankrupt after listening to “Unskinny Bop.”

Left of mainstream, the hip-hop world left an indelible mark on skateboarding unequalled on such a broad range than any other form of music could. Back in the days of skate rock, punk music was the de-rigueur music of choice, but hip-hop was always looking for something new, and proved to be the music that would define skateboarding. It simply meant more to the individual and wasn’t defined by barriers and restrictions like punk was. Despite the term's meaning, punk had become something that purists shined on so they could relive their glory days and ultimately this attitude would give birth to such bands as Simple Plan and Good Charlotte.

Throughout the 90s hip-hop would provide the sounds for numerous video parts, yet the music was never commercial in nature -- it was newly signed, underground acts or lesser-known tracks by established artists. Everyone from Common to The Black Eyed Peas (minus Fergie pissing herself) has had music in skate videos, with 411 being the main outlet. On a more comprehensive level, hip-hop found its way into more and more team vids and was becoming the main soundtrack for many of these videos, “The Chocolate Tour” and Transworld videos being prime examples.

Skateboarding and hip-hop have always had similar ground when it came to gear - Adidas Shell Toes, size 38 pants, caps, oversized t-shirts. It was a common element that had been shared not with the mainstream but only those in the hip-hop world. It was shared initially only with skaters so that it set us apart from everyone else and abandoned only when everyone else had picked it. This is a pattern that had repeated itself over and over (fur hooded jackets, Nike Dunks, et al.).

The forging example and best basis for skateboarding being the fourth element of hip-hop lies not in its similarities but simply in its proximity. Skating had become intertwined with hip-hop culture. Instead of following it’s footsteps we grew along with it, the same urban sprawl that had given rise to the first three elements also pushed skating along. We have given back to hip-hop culture by introducing those not otherwise would never be exposed to it, as well as giving exposure to artists that would not be heard today if it wasn’t for the push of skating's inherent underground culture. Although each element has its mainstream followers there is always a small, dedicated group that practice its raw, dirty roots and keep it evolving, for change is inherent. And necessary.

Pictured: Pat Washington, MC/pro skater
Photo borrowed from and taken by Tobin Yelland. Thanks Tobin.