The New Yorker is the best of the best when it comes to writing at a high standard. But do they get skateboarding right? Here staff writer Carrie Battan dives into the skateboarding takeover of pop culture of recent years.



Anyone paying attention to the movies this year knows that the fantasy of skateboarding is alive and well, not only to the young people who engage in the sport but to an army of curious bystanders, most of whom are probably older than the average skater. In August, the director Crystal Moselle released “Skate Kitchen,” a small and heartfelt film about a group of teen-age girls in New York City who find a sense of self, and solidarity, in skating. In September, a young filmmaker named Bing Liu released “Minding the Gap,” a serenely tragic début documentary. In it, Liu uses his childhood skating friends—and the copious skate footage he filmed throughout his youth—as a launchpad for a heavier study of domestic violence in his home town of Rockford, Illinois. And, last week, Jonah Hill released his directorial début, “Mid90s,” a fictional but hyper-realistic homage to the Los Angeles skate communities of his youth. Together, these films are some of the most sensitively observed works about youth and community to hit screens this year.


The best line though has got to be….

“The logo for Thrasher, the irreverent monthly magazine and longtime skate bible, is so ubiquitous on clothing worn by non-skaters that it’s become divorced from its origins.”




Click to THE NEW YORKER for The Flourishing of Skate Culture in a Sellout Era





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This week's cover, "Boo!," by @markulriksenart.

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