The concept of “selling out” is a complex one, particularly within the skateboarding community. It’s about the perceived betrayal of core values for financial gain or increased mainstream acceptance. This idea is as pervasive as it is vague, sparking endless debate among skaters of all generations. This article delves into the history of “selling out” in skateboarding, exploring the perspectives of influential figures like Ed Templeton, Jeff Grosso, and Tony Hawk, and examining the impact of corporate influence on the culture.
Tony Hawk, Jeff Grosso, and Ed Templeton, key figures in the discussion of selling out in skateboarding
The Shifting Landscape of Skateboarding and “Selling Out”
For figures like Ed Templeton, Jeff Grosso, and Tony Hawk, the idea of selling out has been a constant conversation throughout their careers. They’ve seen firsthand the ebb and flow of skateboarding’s popularity and witnessed how money changes the landscape, attracting some and driving others away. The rise and fall, then resurgence of the skateboarding industry has created a sense of loyalty among skaters. This, coupled with mainstream society’s initial misunderstanding of skateboarding, fostered a deep distrust of outside influence.
Tony Hawk, having experienced both success and missteps in the corporate world, notes that the concept of selling out gained traction in the 90s with the rise of grunge bands like Nirvana. He explains, “Nirvana was this underground, cool punk band and then suddenly they’re huge, so they sold out. Yeah, the arenas are selling out, but the music is the same. I think that’s when that attitude really came into play.” While Hawk acknowledges his own commercial success, he points out that he has funneled a lot of his earnings back into the skateboarding community and learned to handle corporate partnerships professionally.
Tony Hawk's Got Milk? ad, a classic example of corporate involvement in skateboarding
From Dogtown to Corporate Giants: Tracing the Roots of “Selling Out”
Jeff Grosso argues that the concept of “selling out” extends further back than the 90s, all the way to the Dogtown era. He suggests that even in the 70s, skaters likely voiced concerns about the commercialization of the sport. He references the fact that Jay Adams, for example, was not happy about how things were changing. This shows the early seeds of the “us vs. them” mentality that would become so prevalent in skateboarding culture.
Grosso recalls the first time he heard “Sellout!” being yelled in skateboarding was around 1987, during a period of increased popularity for the sport, marked by arena contests and the dominance of companies like Powell, Santa Cruz, Vision, Thrasher, and Transworld. As money poured in, more skaters signed with brands like Vision Streetwear, which some considered to be “corny”. This led to accusations of selling out, highlighting the dilemma of where to draw the line when corporate money enters skateboarding.
Gatorade ad targeting skateboarders, an example of mainstream brands entering the skateboarding market
The Moral Compass: Templeton’s Stance
While Hawk navigated the world of corporate sponsorships and Grosso has generally been viewed as an authentic voice in skateboarding, Ed Templeton has remained firm in his convictions, choosing to work with companies that align with his personal ethics. He recounts an incident where he agreed to a lucrative photography gig with Gucci, only to retract his decision after learning about the company’s use of animal products. This highlights the tension between financial gain and staying true to one’s values, even when faced with tempting opportunities. Templeton prioritizes working with skater-owned and operated companies like Emerica and Toy Machine, emphasizing the importance of shared values within the skateboarding industry.
Rodney Mullen's 1987 Swatch ad, illustrating early corporate advertising aimed at skateboarders
The Complex Relationship Between Skateboarding and Business
The discussion brings up a fundamental question: what do morals or ethics have to do with riding a skateboard? Why do we impose such strict ideological guidelines on a pastime? Hawk approached this by separating his skateboarding from his business ventures, creating a personal code for how he would conduct himself.
He recalls that in the 80s, the prevailing attitude among skaters was one of surprise and excitement at the prospect of being paid. But as time passed, he learned valuable lessons and vowed to always have final approval over any products that used his name or likeness. He also noticed that many corporations approached skateboarding with a lack of understanding, presenting it as “radical” and “extreme,” without any true reverence for the culture.
This leads to a deeper discussion about authenticity in skateboarding. What does “true” skateboarding look like, and how can it be maintained in the face of corporate influence?
Authenticity and the Quest for Status
The article references the You Are Not So Smart Podcast, which discussed Andrew Potter’s book, The Authenticity Hoax. This exploration into the human desire for the “real” and “authentic” reveals that it’s often rooted in a primal need to assert social status. As stated in the podcast, “A lot of what we think are genuine values are a disguised form of status seeking… when things are available on the mass market, it undermines the sort of status check of a lot of objects or experiences.”
This means that when skaters get angry about someone “selling out,” it can stem from a feeling that their own status as “authentic” skaters is being undermined. The more accessible skateboarding becomes, the less special it can seem, leading to frustration with the commercialization of the sport.
Nike's "What If We Treated All Athletes Like Skaters?" ad, a commentary on the changing perception of skateboarders
The Generational Divide and the Pursuit of Endorsements
Templeton points out a generational shift in perspective. He suggests that while skaters of his generation (born in the 70s and 80s) grew up with a strong punk rock ethos and were wary of “selling out,” younger generations often see it as the goal. The pursuit of giant endorsements and financial gain has become more prominent, highlighting a change in values.
Nike’s dominance in the skateboarding shoe market becomes a key example. Nike represents the corporate, mainstream athletic world – everything skateboarding was once opposed to. Templeton remarks that Nike “won,” with most other companies struggling to stay afloat, emphasizing the financial reality of the skate industry, where even skater-owned brands often rely on corporate backing.
A stark illustration of the concept of "selling out" in skateboarding
The Ever-Evolving Landscape of Skateboarding
While Nike might have won the market, skateboarding itself remains accessible and inclusive. The growth of skateboarding, while once perceived as a threat to the counterculture, has actually created new opportunities and made the sport more welcoming. The fear that corporate entities might start dictating what is and isn’t allowed in skateboarding is valid, but there’s a resilience within the culture.
Despite the changes, the core of skateboarding remains, as demonstrated by publications like Thrasher, and the dedication of hardcore skaters who continue to push boundaries. The evolution of skateboarding also includes more structured events like Street League, which showcase a different side of the sport without diminishing the importance of individual expression.
A skateboarding gif depicting a dynamic move
Maintaining Reverence in a Changing World
Hawk remains optimistic about the future of skateboarding. He believes that despite the influence of money and corporate sponsors, skaters themselves are responsible for maintaining the integrity of the culture. He highlights that while some individuals might be perceived as “cheesy” for certain endorsements, ultimately, their actions speak for themselves, as the skateboarding community is quick to call out anything that feels disingenuous.
Conclusion: The Ongoing Dialogue
The idea of “selling out” in skateboarding is not a simple, black-and-white issue. It’s a complex and evolving concept shaped by personal values, generational differences, and the ever-changing landscape of the industry. The dialogue will continue to evolve as skateboarding grows and adapts. The key is to find a balance between accessibility and preserving the authenticity and values that make skateboarding so unique. The responsibility lies with each individual skater to maintain reverence for the culture and decide what selling out means to them.
