ABSTRACT
Th e “non-traditional” sport of skateboarding has a rich and vibrant history (Beal, 1995, 1996), dating back to its original incarnation in 1970s Californian sur f c ulture.2 In the new millennium, many elements of the culture remain the same-a dedication to risk-taking, an affi nity with punk rock (now splintered into pop punk, old school punk, hardcore, grindcore, and Goth) and more recently hip-hop, a love of baggy clothes, an interest in marijuana and “partying,” a “slacker” reputation (think Bart Simpson from Th e Simpsons), and an anti-mainstream attitude. Given these defi ning features, it is interesting to note that corporate America has taken up skateboarding as one of its favorite marketing themes. Sports-oriented corporations, such as Nike and adidas, have worked hard to brand their products with skater “authenticity” in o rder to t ap into t he “cool” identity t hat ma ny skaters cultivate. In response to this corporate branding, many skaters have opted to engage in f ringe activities and cultural practices, including shopping at non-mainstream stores, participating in community-sponsored skate jams or competitions, reading on-line independent skater zines, and listening to “indie” or independent music.
