ROLLERBLADING, SUBCULTURE AND COMMERCIAL INCORPORATION – AN EXPLORATION OF TACTICS, SPACE, PLACE AND URBANISM

C3322528 – Joseph Harvey

1

ROLLERBLADING, SUBCULTURE AND COMMERCIAL

INCORPORATION – AN EXPLORATION OF TACTICS,

SPACE, PLACE AND URBANISM.

BY JOSEPH HARVEY

APRIL 2014.

Fig 1. Artwork by Fernando Nagore. ‘Oveja Negra – Black Sheep’.


2

Submitted in partial fulfilment of the requirements for the

degree of B.A. (Hons.) Media, Communication, Cultures.

School of Cultural Studies and Humanities

Faculty of Arts, Environment and Technology

Leeds Metropolitan University.


3

TABLE OF CONTENTS PAGE NUMBER.

-Acknowledgements…………………………………….………………………..….4

-Sources of illustrations…………………………………………………………..…5

-Abstract/Introduction….…………………………………………………..…….....8

-CHAPTER 1:

-‘BARELY DEAD’ – AN EXPLORATION OF THE SPORT AND SUBCULTURE OF

ROLLERBLADING…………..……………………………...………………….11

-CHAPTER 2:

-REFLECTIVE BLOG – EXPERIENCE OF ROLLERBLADING IN THE

CITYSCAPE – LEEDS…………..……...……………………………………….18

-CHAPTER 3:

-CONTRASTING CULTURES: MAINSTREAM INCLUSION AND COMMERCIAL

INCORPORATION – A COMPARISON BETWEEN ROLLERBLADING &

SKATEBOARDING.........……………………………………………..………...23

-CHAPTER 4:

-THE CREATIVE EVOLUTION OF ROLLERLBADING – ANALYSING CORE

BENEFITS TO WELL-BEING.………………………….......…………………..30

-CHAPTER 5:

-CONCLUSIONS AND QUESTIONS FOR FURTHER RESEARCH. ……...….......36

-REFERENCE LIST:

-BIBLIOGRAPHY……………………………………………………………....40

-FILMOGRAPHY……………………………………………………….……....44

-FOOTNOTES…………………………………...………………………...…....45

-APPENDIX:

-ONLINE INTERVIEW FORM……………………….………………………....46

-LIST OF INTERVIEWS………………………………………………………...47


4

ACKNOWLEDGEMENTS

I would like to express my thanks to dissertation tutor, and Professor Franco Bianchini for

supporting my thesis generally. Also to acknowledge Zoe Thompson and her lectures in New

Media Geographies as a key inspiration for this thesis.

This dissertation would not have been possible without the online interview inputs from

media and rollerblade professionals and participants in the industry today. Thanks goes out to

Adam Kola, Sam Cooper and Harry Reavley for providing creative insights into the wider

benefits of rollerblading.

This dissertation has been an enjoyable study and hope that my concluding comments on the

provision of skate-park facilities and accommodating wheeled sports in our urban

environments are considered by policy makers.


5

SOURCES OF ILLUSTRATIONS

Fig1: Iconic and widely revered artwork by Fernando Nagore (Madrid). These images

became central to the image and branding used by a major rollerblading company, Mindgame

during the height of the 90’s boom. Oveja Negra meaning black sheep was a comment on the

state of the industry and culture. [Online] http://latinroller.ning.com/page/la-obeja-negra

[Accessed on 8th

April 2014]

Fig2: Original and highly revered skate magazine Daily Bread. ‘Too young to die- March

2006’ [Online] http://www.rollernews.com/daily-bread-v14n2-too-young-to-die-march-

2006_917.html [Accessed on 8th April 2014]

Fig3: Highly respected Rejects magazine. [Online]

http://wigwamblog.wordpress.com/2009/09/24/the-real-reason-rejects-went-out-of-

business/ [Accessed on 8th April 2014]

Fig4: French magazine Crazy Roller, long out of business but one of the oldest aggressive

rollerblading media outlets. [Online] http://www.rollerenligne.com/news-2334-presse-

crazy-roller-n57.html [Accessed on 8th April 2014]

Fig5: English magazine Kingdom sought to unite a world of rollerbladers from the UK.

[Online] http://s-isles1114-ppp.blogspot.co.uk/2012/01/magazines-sport-travel_18.html

[Accessed on 8th April 2014]

Fig6: Unity Magazine was sold in UK newsagents and supermarkets before going out of

business. [Online] http://www.rollernews.com/unity-mag-august-2006_1670.html

[Accessed on 8th April 2014]

Fig7: Austrian publication Be-mag has always shown a superior dedication to rollerblading

and everything that encompasses it. There continuation of reportage, online blogs and print

publications remain one of the strongest media outlets to this day [Online] http://www.be-

mag.com/article/1723-Just-released-Be-Mag-Print-Issue-37- [Accessed on 8th April

2014]

Fig8: One Magazine remains in business and facilitates a creative platform and exhibition of

some of the most talented creative in rollerblading worldwide. [Online]

http://inlineskating.about.com/od/aggressiveinlineskating/ig/ONE-

Magazine/ONE_1cover.htm [Accessed on 8th April 2014]

Fig9: Chris Haffey, Bio 540. [Online] http://www.be-mag.com/article/792-DVD-Review-

Fade-Nation [Accessed on 8th April 2014]

Fig10: Brian Shima rides a wall picked for its aesthetic qualities. [Online]

http://www.oneblademag.com/magazine/back-issues/issue-7-v2n5/ [Accessed 9th

April

2014]


6

Fig11: Craig Brocklehurst performs a ‘Lui-Kang’ grab. [Online]

http://www.oneblademag.com/photo-journal/photo-journal-thom-heald-1/ [Accessed

10th

April 2014]

Fig12: Rollerbladers from all backgrounds gather [Online] http://brandonsmith-

photo.tumblr.com/ [Accessed 10th

April 2014]

Fig13: NYC Rollerblader. [Online] http://brandonsmith-photo.tumblr.com/ [Accessed

10th

April 2014]

Fig14: Remedyz skates : ‘Freedom of feet’ [Online] http://brandonsmith-

photo.tumblr.com/ [Accessed 10th

April 2014]

Fig15: Brandon Campbell [Online] http://brandonsmith-photo.tumblr.com/

Fig16: Summer and Winter Clash are both independently run by rollerblader and event

organiser Johannes Jocabi from Dressden, Germany. The two events showcase unbelievable

talent from all over the globe and present an opportunity for the worlds companies,

professionals and people of Rollerblading to gather. [Online] http://www.online-

skating.com/news-16455-results-of-summerclash-contest-2013-germany.html

[Accessed 9th

April 2014]

Fig17: Harvey, Joseph (2014) ‘Ostracised bumper sticker’ Jpeg.

Fig18: Barcelona, Forum area: A pedestrianized space that looks as if it is designed for

skating. [Online] http://file-magazine.com/citylikeyou/cities/barcelona?category=park

[Accessed 10th

April 2014]

Fig19: Photo: Kaspar Alksnis, Nils Janson Stall. [Online] http://kasparsalksnis.com/B-L-

A-D-I-N-G [Accessed 10th

April 2014]

Fig20: Original quad skates: sport a la mode. [Online]

http://en.wikipedia.org/wiki/File:1908-PatinsRoulettes.jpg [Accessed 10th

April 2014]

Fig21: Palace skateboards [Online]

http://www.style.com/trendsshopping/stylenotes/112213_Style_Print_Palace_Skate/#!fea

ture-article/slideshow/go/0 [Accessed 10th April 2014]

Fig22: Celine Dion Model. [Online]

http://nymag.com/thecut/2011/01/juergen_teller_shot_daria_werb.html?mid=371785&r

id=272320459&mboxSession=272320459 [Accessed 10th April 2014]

Fig23: Vivienne Westwood – 2011 collection, ‘skateboarder’ on catwalk. [Online]

http://fashion-style-mode.tumblr.com/ [Accessed 10th April 2014]

Fig24: Nike Skateboarding logo. [Online] http://www.premierlife.ca/sports/nike-sb-

presents-tampa-pro-2010-video/ [Accessed 10th April 2014]


7

Fig 25: Remi Meister. [Online] http://streetisculture.com/2013/11/the-creative-evolution-

of-skating/ [Accessed 10th

April 2014]

Fig 26: Harvey, Joseph (2014) ‘Victoria Full pipe’ Jpeg.

Fig 27: Adam Kola portrait. [Online]

http://adamkolaphotography.tumblr.com/post/58725107660/5er-interview-for-

hedonskate-portrait-by-luke [Accessed 12th

April 2014]

Fig 28: A photo from an interview with Adam Kola.[Online] http://www.be-

mag.com/article/1259-Adam-Kola-Photographer-Profile [Accessed 12th

April 2014]

Fig 29: A badly designed council skate-park. [Online] http://rideukbmx.com/news/friday-

randoms-skatepark-nightmare.html [Accessed 23rd

April 2014]

Fig 30: Funds raised totalled in excess of £250,000 from a community led and run skate-

group. The result is One Minet Skatepark in Saffron Walden, Essex.[Online]

http://www.middle-age-shred.com/forum/viewtopic.php?f=3&t=17137 [Accessed 23rd

April 2014]


8

INTRODUCTION

“In any culture, subculture, or family in which belief is valued above thought, and self-surrender is valued

above self-expression, and conformity is valued above integrity, those who preserve their self-esteem are

likely to be heroic exceptions.”

-Nathaniel Branden [1]

JOSEPH HARVEY.

ROLLERBLADING, SUBCULTURE AND COMMERCIAL INCORPORATION – AN

EXPLORATION OF TACTICS, SPACE, PLACE AND URBANISM.

APRIL 2014.

Abstract This dissertation explores the subculture of rollerblading through theory,

personal reflection and the analysis of 24 interviews with practitioners of this extreme sport.

Whilst exploring the subculture of rollerblading the sensibilities associated with the sport

become clear in chapter 1. A personal reflection on rollerblading and the cityscape in

chapter 2 challenges pre-conceived ideas on the dominant use of space, and suggests how

architecture and city planning uphold capitalist, hegemonic ideas. Through a comparison

between rollerblading and skateboarding (focusing on the commercial incorporation of the

latter), the dissertation delves into why rollerblading has remained subcultural or

underground, and suggests the benefits this can have. Personal reflection as a rollerblading

practitioner, intertwined with theory, explores urbanism through a Lefebvrian

conceptualisation of space and place. This discusses both the realities of city dwelling and

ideas about how to challenge dominant spaces. The dissertation then examines the

inclusion/exclusion of particular sports in ESPN’s X-games, and links it with the commercial

success of skateboarding and is cultural affiliations. The analysis of interviews with

rollerblading practitioners reveals a range of impassioned voices, each carrying his or her

own rich discourse. The concluding sections of the dissertation consider the key motivations

and sensibilities (artistic appreciation, perseverance, passion, creativity) of rollerblading

practitioners, and returns to theme of the strengths of rollerblading as a cultural practice.

The dissertation ends with a discussion of the need for more provision for, and a change of

attitude towards, the disciplines of ‘wheeled sports’ [12].

Word Count: 10,806 (Excluding all references [bibliography + sources of illustrations] and

appendices [Interview transcripts in text] )

With a dissertation spanning various themes to adopt a thorough approach to each term

especially culture is a useful contextualisation. Culture is defined extensively in Raymond

Williams Keywords (1974b): Williams introduces culture as one of the ‘most complicated

words in the English language’ through an ‘intricate historical development’ (1974:87) the

words ambiguous use in contemporary thought, is situated as such. Culture, media and

technology are inextricably linked: from as primitive medium as papyrus to the revolutionary

modern printing press, this relationship has resulted as a product of previous generations. But

why consider culture in such a historical reflection? From the traditional English

understanding of cultivation, to a French definition detailing culture as a process of

refinement, the plurality of a concept and term that is by nature, in a state of change is


9

therefore ambiguous. This plurality shows a diversity in how we think of and use the concept

of culture historically and in modern language; for elitist, intellectual, traditional, hybrid and

sub-cultural distinctions. Establishing inter-related themes and fundamental definitions aids

in an understanding of how we position and define sub-culture in relation to my research

topic and questions.

Widely acclaimed academic work concerning alternative sports states that once a certain level

of incorporation occurs by its very nature the discipline or style is no longer sub-cultural;

therefore how do alternative sports become commercially incorporated? How does this differ

between subcultures? and what are the pre-conditions that facilitate this commercial

transformation to occur? The fundamental methodology I will use to answer and pose new

questions for my research involves:

1) The analysis of theoretical literature and of works on rollerblading and other extreme

sports;

2) The use of a reflective blog detailing my rollerblading experience in Leeds throughout

the whole of 2013; and finally

3) Thematic issue based analysis of interviews conducted with 28 rollerblader’s from all

over the world.

The sport of rollerblading falls under a group of what a handful of academic literature refers

to as ‘extreme’ , ‘alternative’ , ‘whiz’ , ‘action’, ‘panic’, ‘post-modern’ , ‘post- industrial’ and

‘new’ sports (Wheaton 2004: 2). Each term, some more archaic than the next, carries

different connotations related to the activity and the time, nature and danger associated with

the extreme sport, but by no means its beauty in form and movement. Rollerblading is a

sport, past-time, culture and competitive activity that I have participated in since youth - up

until the present day in London and Leeds. To clarify ‘rollerblader(s)’ – refers to a participant

in rollerblading, whereas ‘wheeled sports’ relates to the three core disciplines of

skateboarding, BMX, rollerblading. Years within an inclusive, connected and worldwide

community of this type inspired me to express this heightened interest, knowledge and real

experience of this authentic subcultural sport. The non-existence of academic literature on

this topic is clear. However the variety of literature on extreme sports generally is various and

takes an academic approach to the philosophies and particular sensibilities of mostly

mainstream forms of alternative sport (Borden 2001; Rinehart & Sydnor 2003e; Wheaton

2004; Mcnamee 2007b; Omrod & Wheaton 2009). Action sports have clear benefits to well-

being (2004), and the implications of these benefits to institutions creating policies that

control provision of this type of activity and facility are great. The lack of clear academic and

theoretical understanding of this young sport - given its benefits to philosophy, well-being

and health - is un-acceptable and represents a gap in knowledge.

This thesis will not repeat previous conclusions, nor communicate a discourse of the ultimate

or the timeless, but suggest other types of subcultural identification. This thesis also explores

how artistic interpretation and realisation are intertwined with (sub)-culture and represents an

educational, healthy and creative, almost intuitive level of deviance in comparison to, say, the

iconoclasm of punk. I will be concerned with why cultural theory and popular opinion


10

positions these activities as something of deviance and of countercultural, despite the sports

satisfaction of naïve desires within us to express and create. I will aim to contextualise the

sport of rollerblading; its unique yet disadvantaged that re-instate its cultural capital. To

studying and theorise through primary research how examples of photography, hardware and

specific movements particular to a discipline exemplify a certain appreciation of art presents

a gap in knowledge. As a result of these sensibilities I will explore how core strength in a

subculture fosters an empowerment in individuals and creates a sense of collective endeavour

to push boundaries and to re-interpret space and place.

How does a contextualisation of specific elements unique to rollerblade subculture aid in

exploring its popular position? How does rollerblading define an identity and lifestyle of its

participants? What role do media (from print to the internet) play in the proliferation of

subcultural identity, style and a symbolic repertoire? How do theorists position lifestyle

sports? The methodological approach to this chapter will consider subcultural, neo tribal and

extreme sports theory and will explore the narrative, subculture and neo tribal (Maffesoli

1996e) elements of freestyle rollerblading from 2005-2014. To understand this uniquely rich

discipline chapter 1 will explore extreme sports and subcultural literature that attempts to

underpin philosophy, cultural schemata and lines of communication internal to this practice.

An analytical approach to re-establishing how spatial theorists (Lefebvre 1974; Borden 2001)

position extreme sports within this school is the main focus for chapter 2. How do

practitioners re-define, reproduce and challenge space? To what extent are cities dictated by

hegemonic ideology? and designed accordingly, to uphold an ideology of the planner? How

does a personal reflection help in understanding these geographical issues? This chapter will

take the form of a reflective blog intertwined with theoretical perspectives on philosophy,

space and place. To underpin findings this chapter has given me the opportunity to engage on

a personal level and understand the well-established theory of Lefebvre and its application to

understanding city design and the production of space and place.

Chapter 3 is a theoretical, as well as historical reflection and comparison of the commercial

incorporation of skateboarding and the two sports narrative of development more generally.

The narrative that skateboarding and rollerblading follow parallel to each other is one of

complete contrast. This chapter explores what propelled skateboarding into mainstream

collective commodification, acceptance and inclusion? How does rollerblading’s story differ?

Is rollerblading’s lack of exposure just down to its young age? Does ESPN’s construction of

the ‘X’ label simply that or does it suggest some more sinister undertones? This chapter will

explore how the commercial incorporation of ‘extreme’ disciplines is so instrumental to the

reach and appeal of the sport to the masses.

Chapter 4 will take the form of the analytical. Analysis of a diverse range of participants

online semi structured interviews will take a thematic issue based view, highlighting key

benefits to well-being, philosophy and agency that rollerblading has facilitated in their

development. What does perseverance within an ostracised community represent about one’s

personality? How does participation in wheeled sport contribute to philosophy and well-

being, and in what specific ways?


11

CHAPTER 1 - ‘BARELY DEAD’ – AN EXPLORATION OF THE SPORT

AND SUBCULTURE OF ROLLERBLADING.

Pursuits of ‘Extreme’, ‘Action’ or ‘lifestyle sports’ (Wheaton 2004:1) are widely known and

practiced, a basic awareness of the most popular forms of alternative action sport is common.

Those being: skateboarding, surfing, mountain climbing, and say snowboarding, also a

recognition that these activities ‘ideologically or practically provide [an] alternative to

mainstream sports and mainstream sport values’ (Rinehart 2000e:506). To some a deviation

from mainstream sport is a negative peculiarity of non-conformity, to others a positive act of

being the ‘black sheep’, attaching a certain cultural capital to this – and to the creativity, skill

and athleticism involved. However, the sport of ‘aggressive’ rollerblading – a very young

action sport tracing its roots back to the mid 90’s (McKenna 1999c: 15) - is likely to be

completely unheard of. The term ‘aggressive’ - to refer to freestyle rollerblading - was first

used by the pioneers of the sport circa 1995 [2]. It sought to distinguish this progressive,

athletic and dangerous offspring against the conventional recreational past-time. Today the

industry, individual participants and wider worldwide community has converted to labels of

freestyle rolling or just simply rollerblading. The distinct lack of a classification, a

designation or a term to refer to the specific act of freestyle rollerblading has been said to be a

detriment, to the industry and the sport itself. It represents a hindrance to the reach, appeal,

recognition and mystique surrounding this creative, dangerous practice. The low profile of

rollerblading in general popular consciousness is arguably symptomatic of the struggle to

establish a label to refer to this activity. Subsequently the sport of Rollerblading has

undergone consistent fluctuations in popularity and industry whilst retaining a progressive

stance in terms of new hardware, core companies and the level of skating amongst

professionals. An attitude of the time is captured by Peter Holslin a journalist working for the

San Diego City Beat:

“As a middle-school-age skateboarder growing up in the late ’90s, I was conditioned to hate rollerbladers.

According to doctrine laid down by skateboarding magazines, this relatively new sport looked goofy, didn’t

involve as much risk and, hence, was totally “gay.” (It usually went unmentioned that rollerblading also posed an

economic threat to the skateboard industry.)” – (Holslin 2012: 1)

Being very much excluded from popular thought, with a large proportion of the general

public completely unaware of the practice, the sport is in a uniquely underground position. To

most, rollerblading conjures a wholly different set of connotations to what progressive

participants know it to represent. Since the birth of this very young sport in the mid 90’s

(1999:15), the case of Rollerblading’s ‘relatively [to other action sports] less established

persona’ (Rinehart 2003e:38) is very unique indeed. For such a young, ostracised and un-

incorporated practice to display a uniquely rich subcultural commune is not only astonishing

but crucially, begs further study.

Having materialised ‘at the height of the media-saturated, trend hungry, information age’

(Eisenberg 2003b:22) rollerblading experienced rapid growth during the 1990’s [3] and in

2003 Eisenberg claimed that rollerblading had ‘the unique opportunity to take the

lifestyle/sport model to the masses’ (2003b:23). These assumptions where backed by data

revealing a staggering growth in participation numbers during the early 2000’s for speed


12

skating and other recreational usage. During 2004 the ISRC[3] and other bodies measured

participation at 17.3 million skaters [4] and references in popular culture and growth in

Rollerblading companies only supported this trend. Just two years after Eisenberg (2003b)

detailed his enthusiasm for the then, youthful sport rollerblading, the discipline was dropped

from the X-games in 2005 (1999). With a sport so ripe for commercial incorporation and

therefore popularity and investment it was ultimately a combination of negative

stigmatisation and a cynicism of ESPN’s top corporates that ensured the removal of the

discipline from the landmark event (2003). The X-Games is the biggest showcase of

competitive extreme sport worldwide and accountable for a media representation that is

central to defining the hierarchy of action sports (2004:14) worldwide. The banishment from

such a competitive arena and worldwide stage only served as a detriment to the appeal and

exposure to the masses, and therefore the progression of the sport and industry of

rollerblading. This exclusion was attributed to amongst other factors an overly critical X-

games boss that deemed the sport ‘too easy’ and subsequently must ‘rank lower in the

mythical hierarchy of alternative sports’ (2003b:22) deemed an un-marketable pursuit and

therefore dropped.

Being at a very early stage of development; participation numbers dwindled [4]. In the years

that followed up to the present day (2005-2014) people have been quick to gauge

rollerblading’s success in terms of the financial. However advancement’s in the level of

skating, rollerblade hardware and a strengthening of bonds in a worldwide scene continues to

be a thriving reality today. By 2006 the lack of exposure had alienated this already unknown

sport further subterranean into the shadows; to the periphery of vision and back into the realm

it debatably never left, of explicitly sub-cultural. Embodied by the relentless cycle of skater

owned companies going out of business, a huge number of rollerblading’s media outlets

losing circulation and skating DVD’s being released online; the Rollerblading community’s

vital lines of communication have been gradually and savagely severed.

Above: A strife for communication and respect – A selection of the Rollerblading print media that have long been out of business.

A cycle of liquidation suggestive of a struggle to locate apt readership and distribution networks whilst amazingly exhibiting a level

of superior, quality photography and content

Right: – The two surviving rollerblading media

outlets, Be-Mag from Austria and One

Magazine

from the USA.

Fig.2 Fig.3 Fig.4 Fig.5 Fig.6

Fig.7

Fig.2

Fig.8

Fig.2


13

In a radio interview in USA (2002) Jake Burton known as one of the ‘prime creator(s) of

snowboarding’ (Rinehart 2003e:2) talks of a lifestyle associated with the activity:

“There’s a lot of people that snowboard in a fairly conservative manner. But I think that what’s a better moniker is

maybe that it’s a lifestyle sport, and a lot of the kids and people that are doing it are just completely living it all of

the time and that’s what distinguishes snowboarding from a lot of other sports.” (Burton, 2002, cited by

Wheaton, 2004, pp. 4)

Burton’s reflection speaks of a large proportion of people participating within what is deemed

mainstream sport in the pursuit of leisure and very much just an activity. Conversely there are

people that live a sport. Action sport has a risk element that is commonly coupled with the

spectacular backdrop of natural (alpine ranges, deserts, forests) or manmade splendour (cities,

sculpture, bridges) , these settings facilitate a liberating ‘interaction with the natural [or

indeed urban] world’ (Krein 2007:80). The harmony of these two factors often prompts other

creative pursuits as a result: of design, illustration, editing, cinematography and photography.

Creative pursuits, interests and hobbies define personal life, aspiration and employment of

time that become central to life within a sport. Rollerblading’s inspiring properties fuels

participant’s imagination, body and mind find that seek refuge in the technical fluidity of

creative manoeuvres and empowering properties of producing something. In this way action

sport is something that becomes addictive, productive, healthy and ultimately integral to your

well-being, identity and lifestyle that introduces a subcultural aura. Rollerblading affects

peoples lived experience, the people they relate to and the formation of their identity becomes

something that you express in every microcosm of daily life, imagination and personality.

This carries far different associations to simple participation and suggests subcultural; neo-

tribalistic connotations (Hetherington 1998; Bennett 1998; Maffesoli 1996e).

Fig. 9. Chris Haffey performs an off axis, inverted 540°.


14

When observing the gymnastic athleticism rollerblading exhibits, it becomes clear it must be

considered unique in its form. Indeed it is, amongst participants and the community

rollerblading is considered fundamentally unique, artistic and acrobatic. Rollerblading is the

attachment of urethane wheels to the body and simply act as a welcomed corporeal extension

to intuitive bodily limitations. Normal, encumbering physical boundaries are far surpassed; it

is therefore vital to understand that rollerblades are connected to your body and that is really

the distinguishing factor of the sport. As Collins stresses this stylistic trait can be one of

limitation: ‘very few people can make rollerblading look good because of how naked

rollerbladers’ style is. If they’re not in control it is blatantly obvious’ (2014:1). However even

with such clear cultural, athletic and innovative displays within alternative sport; observers

have been quick to trivialise these pursuits. Many have discussed the phenomenon of

‘lifestyle sports’ as more of a type of play than a sport (Howe 2003c) perhaps due to their un-

classifiable, individualistic nature. Conversely others have foregrounded action sports with an

appreciation of an athleticism and a certain ‘artistic sensibility’ in form and execution clear in

images like Fig.10 and 11 (Wheaton 2004:3; Humphreys 2003d; Howe 2003c; Booth 2003).

Elements of language and the naming of tricks is completely unique to rollerblading, ‘royale’,

Fig 10. Brian Shima - An artistic interpretation , a

re-appropriation of fluid architectural shapes.

Fig 11. Craig Brocklehurst - Sydney, Australia -

Performing a ‘Liu- Kang’ grab on an open book

sculpture in.


15

sole’ to refer to grinds and ‘truespin’ or ‘alley-oop’ to refer to the direction you spin onto the

trick represent key subcultural, even tribal argot.

First used by Michel Maffesoli in his 1988 French works: neo-tribalism theorises a desire to

‘express… the collective spirit’ (1996e:11); a contrast to the mass society we live in; neo-

tribalism encompasses an emotional attachment to a clear identity and inclusion into an

‘elective…affectual’ (ibid: 49) group. The inclusion into the activity of freestyle

rollerblading is ‘not determined by one’s class background (2004:5), this activity naturally

transcends all economic, cultural, social and racial barriers. This amplifies a camaraderie and

social inclusion experienced between practitioners and displays essential aspects of tribal

identification.

Essential to an ‘affectual’ (derived from feelings) dynamic within a community is the use of

culture as vehicles of transmission. That is of communication and relation to others in a

subculture through media outlets which is essential to signifying practice (Hebdige 1973;

Barthes1968) and displays the ‘skilled semiotic accomplishments’ (1998:54) of the young

within the subculture. Rollerblading core media outlets such as Be-mag and One Magazine

facilitate an interaction of photographic art, creativity, style, bricolage and a communication

of what for some read as symbolic markers of authenticity (2004; Cohen 1985). These

‘symbolic boundaries and behaviours’ (Cohen 1985: 71) of tricks, argot, and expression

define the rollerblading culture and detail a process of communication amongst a worldwide

scene of ostracised athletes.

Fig 14. Remedyz Skates

Fig 13. Skater NYC.

Fig 12.- rollerblader’s


16

[5]

Fighting to keep the tiny sport alive their ‘variance from a larger collectivity’ (1997:4) and

passionate love for the sport these media outlets, companies, professionals and practitioners

showed perseverance that has a direct causality to the authentically rich rollerblade culture

today; the worldwide networks, the local tight-knit communities, competitive events and

media outlets run on a shoe string provide evidence for this. The people at the heart of

rollerblading show a raw passion and strife evident of a strong neo-tribalism (Maffesoli

Fig 15. - Retired pioneer of rollerblading Brandon Campbell.


17

1996e; Hetherington 1998; Bennett 1999). And as this refined, elegant and creative

subcultural pursuit burgeons into something more sophisticated in style, culture, identity and

authenticity than even the core at the heart could imagine, the meta-culture of which despite

non-existent finances and corporate support – has produced skater-run competitions and

gatherings worldwide where a community of the same faces gather and connect time and time

again. As Humphries muses it is hard to ‘define skating as any one thing’ (2013:1).

Fig 17 - Car bumper - Ostracised – ‘Rollerblading is far from

being dead’ .

Fig 16 – Global Gathering. Summerclash – Berlin, Germany.


18

CHAPTER 2 -REFLECTIVE BLOG : EXPERIENCES OF

ROLLERBLADING IN THE CITYSCAPE OF LEEDS.

As I move through the city, I hear the whirl of my bearings and the thud of the urethane, the

sights and sounds of the city-scape, un-inhibited and ‘free’. The experience of Rollerblading

in the cities of London and Leeds is captured by a self-governance and freedom that is

unrivalled. Meandering through crowds thick with repetition, hoards of souls bound to what

they think is the predictability of the city; the wheels under my feet allow a speedy,

autonomous journey; rollerblades are an extension of the body and facilitate a re-imagination

of the immediate elements of the city-scape. The experience of Rollerblading in the city is

one of camaraderie, pleasure, pain and a projection of creativity onto the districts, nodes and

landmarks (Lynch 1960) that constitute architecture and infrastructure of the urban

environment.

Fig 18 – Forum district Barcelona, Spain.


19

Having been perceived as a child’s play activity and constantly ‘repressed and legislated

against’ (Borden 2001:1) skateboarding and rollerblading are trivialised to the extent urban

planners in the UK consciously design architecture that cannot be or is difficult to skate on or

by using controversial, and ugly ‘skate-stoppers’. To practitioners, this creative projection

through a variety of urban exploration constitutes a way of life and if perfected, a meditation.

It seems not only dysfunctional that a government should allocate money to try and impede a

street-level creative practice; it also created a discourse associated with that anti-skate space,

of denunciation. With a consideration of Lefebvrian methodology, thoughts and philosophies

relating to space, place and the everyday, a theorisation of rollerblading and its place in a

city-space can be critically developed. Being completely absent in academic literature

Rollerblading is deservedly positioned in the realm of critical thought. Space is theorised as

an ideological as well as material production. It is not just the physical act of rollerblading

that negotiates and re-defines this inter-linking relationship to the city and the self, but the

wider experience of people, place and camaraderie.

When we consider a relationship to a city-scape, to space and to a place we may think of this

in a traditional capitalist sense. This is an urban picture of routine, of over-population, of

government and of a cyclical monotony associated with negotiating repetitions of culture and

labour within every-day life; there are perhaps few positives we would attach to this notion.

Urban dwellers are familiar with this picture of a city; and despite modern cities becoming

ever more accommodating, pedestrianized places; there still remains an inherent ideology of

a space that is built for a function. A function of the capitalist system and its hegemony; as

Lefebvre asks

‘Is it conceivable that exercise of hegemony might leave a space untouched? Could space be nothing more than

the passive locus of social relations, the milieu in which their combination takes on body… the answer must be

no…’ (Lefebvre 1974:11)

Not dissimilar to the act of peaceful protest, rollerblading’s minor mechanisms of re-

appropriation and subversion disrupt in the most innocent of methods. Lefebvre’s spatial

theory intersects with many theoretical perspectives on space, place, non-place, cultural and

anthropological theory: (Moores 2012c; Tonkiss 2005c; Borden 2000; 2001; Hetherington

1998; Appadurai 1996; Augé 1995; De Certeau 1984). This theorisation details that human

‘production’ of space and place is dictated by forces specific to our economic system and

often exclusively for that purpose, the modern metropolis is representative of our desires; of

our insatiability and of our industry and economy (Lefebvre 1974). It is then clear that

official lines of inclusion and exclusion; of intended (designed) and un-intended (deviant) use

exist. This clash contends with pre-defined popular consciousness that ‘deviant’ use of space

is un-desirable leaving connotations of the subversive, subordinate and submerged. In

reflection, theorists foreground the extent of our construction - as a designed projection of

city-scape – to have within it, distinct ideologies of the planner. Some of these buildings, or

projections of our ideals, have created environments facilitating exchange. These palaces of

capitalist consumption as well as airports and other man-made buildings have shaped the

city-scape so dramatically that for Augé represent ‘non-place[s] of modernity’ (1995:107).

These guarded settings exist in the realm between public and private and are common in


20

contemporary experience, manufactured settings like airports, shopping malls and stations

have no relation to an outer place, soul-less and fundamental to preserving hegemonic

ideology. While a non-place only exists only ‘to be passed through’ (1995: 83) they represent

a mediated placelessness of ‘transit’ and of ‘interchange’ (Moores 2012c:107) an anonymous

joy to some, a dull capitalist machine to others. These non-places of modernity - though

lifeless and controlled – still offer a sight of subversion to the skilled urban tactician who is

able to ‘slip between rather than tear apart the rational order of the city’(2005:138). An urban

dweller who nurtures an inner mentality of the city ‘as a subjective space’ (ibid:139)

employing spatial tactics found in ‘common routines of walking, moving and dwelling’(ibid:

138) is equipped with a different mentality. Ultimately an ability to deconstruct as an active

agent, a‘non-place’ with a recreation far removed from the ideology of the planner, and as a

site of enjoyment. Be it the anonymity of a cinema or the diverse methods of consumption

offered by a mall these sites are enjoyed by some and loathed by others. In fact, even these

most impersonal of spaces can be subverted by tactical employment of space and urban

exploration. Both perspectives reveal the extent to which our environment is manufactured,

designed and produced according to a hugely convoluted human agenda. Lefebvre attaches a

sinister notion to an ideological production of space that hints at his appreciation of tactical

subversion. In an introductory statement from the student unrest of May 1968, France:

Tonkiss and De Certeau draw parallels to graffiti and skateboarding as a tactical use of this

produced space (2005; 1984).

“Sous les pavés, la plage.” – French Student Protest - May 1968

‘There are moments and means of escape to be found in more minor practices, tactics of space’, [these tactics]

‘look to the city as a site of diversion, a product of quick thinking and clever footwork’. (Tonkiss 2005c: 134).

The creative fluidity and urban exploration of Rollerblading presents a tactical subversion of

the intended use of space (Tonkiss 2005c; Borden 2000;2001). Through this spatial

appropriation this everyday practice redefines and implicitly critiques the capitalist space that

contains within itself; an inherent ideology of the planner (Lefebvre 1996d:98). City planning

as ideology is that a space only serves a few ‘predictable and prescribed functions laid out on

the ground by the architecture’ (Ibid :98) and serves primarily to preserve traditional,

hegemonic ideology. A contemporary business district is reserved for precisely that, a

shopping mall is for that function; any challenging of the use of that space - such as using the

mode of transportation of skating through it - results in fierce opposition from security and

law enforcement and demonstrates a policing and control of space.

Ideologies and pre-defined functions of space derive from a long history associated with

power, money and institutional politics. Inspiringly a re-appropriation of these spaces so

inter-twined with power and money is a reality. Some instances of the most naïve of desires

within humans to create, explore, challenge and confront can be found within the pursuit and

expression. Whether physical or mental; creativity and artistic sensibility has multiple faces;

for me there is no more abundant way to explore these theoretical approaches of space, place

and exploration than through the analysing the sport of rollerblading. The wheeled

exploration of the city-scape of Leeds; a blank canvas for exploration; encompasses themes

that the complex term of Art and its associated creative expressionism addresses. Art never


21

translates to simply paint on canvas but a wide selection of practices, rituals and themes.

Indeed; the sport of rollerblading, its associated parameters and limitless properties display

empowering and artistic qualities. The term art, so ubiquitous within the vocabulary of

culture and society, its ambiguity lending to a wide applicability to human expression is

explored in articulations made by Williams in Keywords, (1984). Put succinctly in this

seminal works ‘art refers to any type of skill’ (1984:40). Despite being a somewhat dated

reading; artistic skill - considered in the context of rollerblading - demonstrates an

autonomous creativity and the way, particularly rollerblades demonstrate a heightened

aesthetic awareness of the cityscape, of place, space and design.

This is an aesthetic awareness that truly produces spectacular results; rollerblading

encourages other creative passions to cultivate; photography, illustration, design and video

editing and is explored in Chapter 4. Athletic possibilities and the desire for progressive

innovation lead practitioners to pursue ideal formations of concrete and steel. For what to an

average onlooker - are inanimate objects; railings, ledges, stair-sets, natural transition and

ramps that present rigid, rusty, archaic and un-inhabited pieces of architecture present in

various formations all over the city; to others are a playground. Benign to the average

onlooker, obsolete and frequently considered unpleasant elements of the cityscape, these

formations allow infinite creative possibilities to the urban tactician. The term ‘Natural’

transitions relates to formations of concrete that resemble a transition purposefully built for

skating that have ‘naturally’ occurred; that is to say they have been built in the urban

landscape with no intention of being used for wheeled creativity. Combining ‘natural’

transition, photography and rollerblading produces some truly spectacular results as shown

below in [fig 19].

Fig 19 – Nils Jansons performs a ‘stall’ inside a natural urban transition.


22

These objects, layouts and formations bring not only joy, but allow creativity, progression

and expression. It’s about the discovery of a city; re-assimilating and re-appropriating time

and time again a love for the urban environment and the creativity it facilitates. Ian Borden

presents some of the most academic theorisations of this unconventional, often implicit,

critique of the harmonious relationship between wheeled sports and the urban, he states:

‘The rich architectural and social fabric of the city offer skateboarders a plethora of buildings, social relations,

times and spaces, many of which are free to access. And street-style skateboarding consequently discloses the

unlimited possibilities our cities offered… for their part in this process skaters re-interpret the spaces of economic

production into areas of broader creativity ’ (Borden 2001:186-187)

Consider a creative relationship to a city-scape; through the pursuit of creativity you will be

taken to places and districts you would never have previously known, explored or conquered.

The attachment of Rollerblades to your feet – coupled with a significant experience and

confidence – empowers the individual with an expressive and subjective movement that can

be compared to running effortlessly at twice the speed. Negotiating the ‘city elements’

(Lynch 1960) of Leeds on Rollerblades facilitates urban exploration; indeed Leeds has a

‘psychologically satisfying’ (Ibid.: 425) layout that allows this creative projection. Whilst

navigating ‘paths’, ‘districts’, ‘nodes’ and ‘landmarks’ (Ibid.) the architectural layout of the

city becomes a site of intense liberation and, for Tonkiss, demonstrates a ‘tactical’ (2005c:

134) employment of a city environment and a subversion in its indented, designed use

(2005;2000 and 2001;1984).

The experience of rollerblading in a city-scape has a deep camaraderie and relationship to a

wider community that is integral to the enjoyment, progression and continuation of the

discipline. As a group rolling through the city we observe vehicles moving like blood cells

through the ‘roads’, veins of the city. Skates are the only mode of transportation beneath my

feet and free from the inhibiting boundaries constructed for an economic function.

Negotiating architecture usually reserved for the disabled, handicap rails, facilitate a decent

down-stairs to be momentary, the bricks beneath my wheels chatter and reverberate, a

numbness in the feet that resembles hovering. An exploration of the city-scape hindered only

by the relentless pursuit of security guards and police, the guardians of the boundaries

between public and private.

Under one’s complete, even perfect autonomy, the extension of the physical – represented by

Rollerblades – induces a feeling of complete freedom and control over the concrete blanket

and obstacles surrounding you. This is central to Rollerblading; the creation of distinctive

ways of moving your body, manipulating and re-imagining a given urban terrain for

progressive, creative uses far removed from the original purpose (Borden 2000;2001). The

space you inhabit is not of one of exclusion or control but one of expression and creativity,

indeed this ‘expert bodily practice shades between heroism and deviance’ (2005:145). Indeed

‘[S]katers test the boundaries of the urban environment, using its elements in ways neither

practised nor understood by others’ (2000:227-8), therefore the production of space (1974;

2001) is understood in its broadest sense; that we are said to produce our own paths, our own

lives and our own consciousness.


23

CHAPTER 3 - CONTRASTING CULTURES: MAINSTREAM

INCLUSION AND COMMERCIAL INCORPORATION – A

COMPARISON BETWEEN ROLLERBLADING & SKATE-BOARDING.

Since the proliferation of alternative urban sports there have been many varieties; and what

divorces these forms from the mainstream, as ‘alternative’, ‘extreme’ and counter-cultural is

not only a manufactured binary but of constant examination. From the young men performing

‘parkour’ amongst the imposing structures of the Parisian banlieue, to the undercover, unique

and marginal practices of urban graffiti originating from the depths of US and European

cities; these various disciplines exhibit a unique narrative of development, influence and

incorporation. Typical of a commercialisation under a capitalist system companies seek to

blanket - that for the practitioner is a lifestyle of choice, fashion and aesthetics - with over-

arching terminology and a discourse of appropriation. Relating to alternative action sports

commercial bodies such as ‘The Disney Corporation, ESPN, ESPN2, MTV, The Discovery

Channel, and large corporations such as Pepsi, Coke, and Nike’ (2003: 4-5) have been the

key vehicles behind the broadcast of ‘extreme’ sports and the engineering of the image of the

‘X’ action sport. In reality ‘even the very word ‘Extreme’ in this context was engineered by

these media corporations. As Rinehart & Sydnor state ‘Extreme’ was shortened to ‘X’ by the

EPSN in 1996… for fear that someday ‘extreme’ would be… outdated’ (2003:4). This

chapter will explore the tremendous influence enjoyed by media corporations that has been

equally instrumental in the proliferation and the dethroning of certain disciplines worldwide.

Independent of each other rollerblading and skateboarding occupy two contrasting corners in

this narrative of development and incorporation. With the conception of the first crude

skateboard - fashioned from old axles of roller-skates – appearing as early as 1956 (Borden

2001:14) the two wheeled disciplines of rollerblading and skateboarding present an early,

inextricable link that is rarely considered. Crucially though, these ‘roller-skates’ where

simple axels on boots, that the Belgian John Joseph Merlin was first credited for inventing in

1760 (Jacob 1985b) far removed from the contemporary sport of freestyle rolling explored in

this thesis. In stark contrast the emergence of the rollerblade discipline only traces its origins

back to the early 1990’s (1999:15). A link infrequently made, this historical consideration

situates a sport approximately 30 years Rollerblading’s senior. This was a parent culture to an

infantile discipline; a marriage of lifestyle and sport that ‘just like every other alternative

sport before it and (…) after it, [rollerblading] took its cue from skateboarding’ (2003:23).

Fig 20 – Circa 1908 – Roller skating advertisement in Paris based on early incarnations of the quad skate.


24

It has been noted in chapter 1 that in rollerblading’s early days (1990-2000) an animosity

developed towards rollerbladers as it was seen as one of the ‘poser’, a scene exhibiting many

derivative elements of skateboarding (2003). Despite its comparative size, rollerblading

displayed a burgeoning scene that, at its height presented a huge threat to the skateboarding

industry. From a hoard of negative propaganda, to a dumbing down of rollerblading’s

ideologies, scene and professionals the tutoring of the younger generation’s perception of this

new sport as distinctly uncool was a constant within skateboarding.

During this time-frame (1960 – 1990), skateboarding had matured and developed an intricate

cultural make-up worldwide. Although in popular thought was positioned as emphatically

deviant and counter-cultural, Eisenberg reflects on what attracted him to skateboarding:

‘I loved how skateboarding was counterculture, how it criticized society and challenged convention – not just

through the act of skateboarding, but by creating its own society, complete with its own language, its own music,

and its own magazines. An entire culture evolved around the act of skateboarding.’ (Eisenberg 2003:22)

Skateboarding was anarchistic, counter-cultural, abrasive and anti-social, alienating itself

from a wider society and unable to influence ‘any society other than its own’ (2003:22) the

image stuck. Over time skateboarding has become more respectable, every-day and

categorically mainstream; elements of bricolage, argot and lifestyle are recognised as being

re-appropriated and repackaged by mainstream media and the commercial bodies associated

with ‘extreme’ sport endlessly (Thornton 1996e; Muggleton 2000b; Wheaton 20004 and

Mason 2008).

Fig 21 – British Palace Skateboards –

style.com


25

Fig 23 – Vivienne Westwood – 2011

collection, ‘skateboarder’ on catwalk.

Fig 22 – Céline – High end luxury retailer re-appropriates Skateboarding’s image

Fig 24 – Nike Skateboarding – Large multi-national corporations sell Skateboarding goods/lifestyle.


26

From Vivienne Westwood’s 2011collection including a skateboarder rolling down the catwalk

[6], Celine ads featuring an overt orange skateboard [7] and grass roots British skate-brand

Palace being featured in online fashion magazines and boutiques world-wide [8], there seems

to have been a distinct change. The aggressive antagonism of skateboarding’s image in the

000’s has seemingly cleansed its controversial image, its persona rehabilitated.

Skateboarding’s ‘counter-culture’ in the present day has very much experienced an

incorporation into the mainstream (Leitch 2014b). This inclusion follows a process of a

movement or idea on the periphery of the mainstream, ultimately coming to define the

mainstream itself (Mason 2008). Some suggest that history has shown us that ‘values youth

cultures promote often end up as empty gestures in the corporate graveyard’ (2008:22). I

would refute this statement, some annexed under skateboarding’s vast umbrella have re-

appropriated, a culture to ultimately, sell lifestyle, extremely successfully (Gomez 2012b:2).

In fact, so successfully that it hasn’t ben situated as such and as skateboarding companies

become ever more proficient at, so lucratively re-defining a prestige and cultural capital

associated with their brands an assurance is offered of one thing. That the likes of Vans,

Palace and Supreme, even Versace - as they become ever more adorned with tidings of

widespread cultural capital - will still be selling T-shirts for £35 and high on the wish-list of

the contemporary trend hungry youth.

But why was a sport (rollerblading) - so primed for mainstream inclusion and tidings of

widespread public acceptance - driven into the murky depths of alienation? What institution

body or culture has the power to reduce a healthy, growing culture into the realm of a

subversive, subordinate, [sub] culture? It’s a given that media, media representation and word

of mouth is central to defining the mystique and grading of anything from celebrity to

consumer product or service and the same capitalist relation applies here. Numerous have

suggested that ‘global consumer capitalism penetrates (…) lifestyle sports in increasingly

multifarious ways’ (Wheaton 2004: 14; Rinehart and Sydnor 2003e: 42; Beal and Wilson

2004:34) and is central to defining the reach, appeal and cultural capital surrounding extreme

action orientated lifestyle sports:

‘In 1996, live attendance at ESPN’s X Games was estimated to be 201,350; in 1997, the attendance

increased to 219,000. Attendance is free: crowd shots are important for television to convey an

image of ardent support. In 1997, between ESPN, ESPN 2, ESPN International, and ABC’s Wide World

of Sports, the X Games were given thirty-seven hours of coverage; additionally, ESPN reached 71

million households; ESPN 2 reached 48 million; and ESPN International was broadcast in 198

countries in twenty-one languages’ (Robert E. Rinehart 2003e: 37-40)

Ultimately in the hands of the providers, and media driven institutions; the fate of

rollerblading lay in this incongruous and seismic terrain between corporations; the setting

where ulterior motives and cultural affiliations with particular disciplines came to the fore.

Ultimately mass media was central to the ‘authentication’ (Thornton 1996e:9) of a discipline

and the establishment of a clear hierarchy associated with each ‘extreme’ sport (2003).

Reduced to a child’s play thing, rollerblading was at the mercy of the business heads of

ESPN – a corporate arm of the Disney Corporation (2003: 40) – wild, at times bemusing

repressive tendencies and was to suffer for it. Bosses at ESPN where, as heads of


27

commercial bodies, only interested in one thing, profit. They had adopted the negative

stigmatisation that many within their associated extreme sports affiliation’s had tried so hard

to embed, in reality ‘ESPN has worked to skew several of in-line’s (rollerblading) strongest

ideologies’ (2003:43) and therefore the sport itself:

‘ ESPN’s images of extreme sports (via the vehicle of the X-games) have gained cultural cachet and

produced relatively homogenous and dominant messages of what extreme sports constitute and how

extreme sports (and their participants) may behave.’ (Robert E. Rinehart 2003e: 37-40)

Practitioners at the centre of the sport would observe as the X-games dispelled some of

rollerblading’s strongest and fundamental ideologies. But what where these ideologies, and

how are they central to the proliferation of the sport?:

a) That skating (rollerblading) is a lifestyle

b) That skating (rollerblading) is more an art form than a competition (2003:43)

In favour of TV schedules time limitations, ratings and the incessant pressure of negative

cultural affiliations ESPN dispelled ideologies associated with the ‘cultural capital’ (Bourdieu

1984) of rollerblading. The co-optation was an easy task for powerful individuals:

‘the relatively less-established persona of in-line makes it an easier target for co-optation than other sports: ESPN

can come along and make Rollerblading what they want; they can’t damage skateboarding’ (Rinehart 2003e:

39)

Defined by cultural perceptions this exclusion was severely detrimental to the ‘cultural

capital’ (1984) associated with the discipline. However within a subcultural milieu of

passionate participant’s and creatives this exile does not represent anything of detriment. And

this exclusion only further re-enforced bonds, and strengthened the importance of creating the

rich, creative and quality orientated products of the ostracised world of rollerblading.

Being a major worldwide broadcaster (2003), EPSN was therefore central to the portrayal of

action sport, its ideologies and there participants. At such a key stage in the narrative of

development within these sports, the effects have had widespread affect and longevity.

Despite being completely absent of the financial and later cultural aid associated with

skateboarding, rollerblading has reached amazing levels. In the period of (2005- 2014)

rollerblading has created the very rich cultural make-up and distinct scene that it was

originally discredited for lacking yet still remains and is gradually pushed further

underground. Without the budgets and financial incentive’s associated with commercial and

mainstream inclusion, it is amazing that this sport reaches new progressive heights of

athleticism, artistic form and style (contributions from key creatives explored in chapter 4).


28

Varying degrees of commercial incorporation within these two sports are accepted and

attributed to many different factors. It is common that people are confused with the

distinguishing elements of skateboarding and rollerblading despite obvious differences. And

perhaps this is due to rollerblading’s cross-training potential – and relation to - a multitude of

the other sporting activities. It has distinct links to skiing, ice skating, surfing, skateboarding

and a huge number of other sports including ‘parkour’ remains unknown. It has been noted in

the creative evolution of the discipline by (Humphries 2013) and is shown above in this

execution of a parkour (free-running) move on skates. There is something completely unique

about rollerblading, ‘it is impossible to measure rollerblading based on its limits because it is

limitless’ (2003:23).

ESPN’s exclusion and poor portrayal of rollerblading has only exacerbated the pessimism

surrounding the sport, however may have worked in favour of nurturing a true underground

scene. For a sport so young it’s important to work with the foundations and upholding a

supreme quality of cultural products is important to this. The condition this subculture has

endured has only increased the scarcity of individuals who practice rollerblading, and with

scarcity comes value. Consistent in any subcultural niche is a resistance to hegemonic

cultural ideals and a subversive perversion of conventional icons. However in rollerblading,

participants have identified a new method of subversion and appropriation: not of icons, but

of architecture. Retaining a position of the ostracised and of the marginalised is to retain the

authenticity of identity; it represents a cultivation unadulterated by the pervasiveness of the

mainstream. For the media specialists and professionals that call their work in rollerblading a

career this is a less fortunate trade-off; a sacrifice of the financial stability that mainstream

Fig 25 – Remi Meister , Paris – amateur rollerblader performs a parkour (free running) move.


29

populist inclusion attracts. It is equally a blessing and a very unique case indeed. This is a

lifestyle niche so ‘raw’ that ultimately has become refined, progressive and ambiguous; that it

tip-toes under the nose of the intimidating spectre of the popular; retaining its authentic

subcultural sensibilities.

Fig 26 – Joe Harvey (Victoria Park – London) – Calculating the right

speed is essential round the ‘full-pip’


30

CHAPTER 4 – THE CREATIVE PROPERTIES OF ROLLERLBADING:

ANALYSING CORE BENEFITS TO WELL-BEING.

"Every child is an artist. The problem is how to remain an artist once he grows up."

-Pablo Picasso. (Peter 1992:25)

Being a participant I was aware of rollerblading’s rewarding properties, its benefits to well-

being, its underground nature and the world of creatives it encompasses. Even so the diversity

of respondents and their answers were astounding, attracting some highly respected creative

people in photography, editing and professionals specific to and within rollerblading

subculture. The online semi structured interviews attracted 29 participants, of all different

levels, backgrounds, education and were mostly male with the exception of 2 females. Prior

to conducting primary research - in the form of online semi structured interviews – it

occurred to me that the practice of particular hobbies, past-times or recreations are telling of

an individual’s certain admirable qualities. The practice of a particular hobby may exhibit

ones impulse, ambition or perseverance present from an early age and even considerable

detail of fundamental character. Or conversely is it that hobbies and recreations develop and

thrive - later exposing you to certain people and situations - into something that defines you,

your character, traits, idiosyncrasies and philosophies?

In this thematic analysis I will be providing highlighted excerpts from 24 out of 29 interviews

conducted: the full transcripts and google documents form are available in appendix 1.

# Interview questions.

1. What is your name?

2. How old are you?

3. How long have you been skating and in which cities?

4. Personally what attracted you to rollerblading?

5. Does or has rollerblading contributed to your general well-being, outlook and

philosophies?

6. Has rollerblading given you other creative hobbies?

7. How would you compare the rollerblading subculture in relation to others?

Interview Analysis – This interview was

conducted online using “Google Docs” -

Participants were asked to complete 7

questions about their life and rollerblading.

Question4: Personally, what attracted you to rollerblading?

“The ability to create your own style of switches and moves.” Alshihri, 30, Saudi Arabia.

“It being an alternative to conventional sports” Morrison, 27, Perth, Australia.

“The ability to be able to unleash wild-ness and frustration, being able to express street culture as ‘sport’

which I consider more an art, similar to dancing, it was less pretentious the best skater isn’t always faster,

higher etc” Leydier, 29, Nice, France.

“Culture, friendships and lifestyle. It is unique and develops you as a person, because it takes determination

and hard work to get better it was attractive.” Aperios 27, London, UK.

“The personal battle between mental and physical capabilities.” Reavley, 29, London, UK.

“Rollerblading was much more focused on personal progression rather than a progression of a team. The

idea of being able to push yourself as much or as little as you wanted, not relying on anyone else”.” Williams,

27, Leeds, UK.

“As I've got older it has changed and developed into more of a mental challenge than a physical one. Finding

new and different way to express myself through skating” Cooper, 29, London, UK.


31

With these two paradigms on paper is this simply – to use a colloquialism - splitting hairs, or

an acknowledgement that human development and personality are fundamental in us but also

can be nurtured, affected and influenced. It is this philosophical concept of causality that is

relevant to why people initially start and continue rollerblading.

It is clear that most participants from a young age were attracted to, and did participate in

conventional sporting activities but there was something unfulfilling about them. According

to the interviewees rollerblading offers a team sport-esque social inclusion that is unrivalled;

and one completely absent of all judgements of race, class and status. For all participants the

thrill of the autonomy rollerblading allowed: in the expression of body and mind, ‘the

personal ‘battle’ between mental and physical capabilities’ and having ‘something unique’

was a key theme. Perseverance as a trait within people, I have learned to be deeply

embedded in all types of rollerblader personality. This quality reverberates through people’s

lives whether it is in rollerblading, work or play. The fact alone they have continued to

practice such an ostracised past time is telling of a trait: to land a trick, to continue the ‘battle’

and to succeed takes, time, pain and perseverance as Krein suggests:

“My claim is that adventure sports involve a kind of interaction with the natural world that is not found in other

sporting activities, and that the experience of such interaction is valuable enough to justify the acceptance of the

risks that accompany such activities” (Krein 2007)

This scholarly view details the cognitive process of justifying danger the opposite way round.

Participants desire to perform stunts is justified by a process of self-discipline and self-

realisation. Yes, judging risk is essential, however characteristic of action sport is a hugely

different threshold to danger. And it’s this process that interviewees detailed as a main

inspiration to take up and continue practicing rollerblading; the desire to push mental and

physical boundaries to new personal limits.

Question 5. Does or has rollerblading contributed to your general well-being, outlook and

philosophies?

“I have something to myself that is unique.” Dowgill, 29, Leeds.

“The time I spend skating is almost like meditation, I have some of my best idea's/thought/decisions” Jones, 23,

Sheffield, UK.

“It has helped me understand my own temper, frustration and patience in an alienated environment” Porter, 19,

London, UK.

“It's one of the healthiest activities you can do for yourself, so physically it’s been brilliant.

Mentally, being such a creative outlet in that you can do anything you want on any type of obstacle, there are no

boundaries.”

Kola, 30, London, UK.

“I'm a much stronger person as a result of skating.” Crofts, 22, London, UK.

“Improved my health, balance and confidence at trying new things in a huge way” Tyszkiewicz, 19 , London.

“the ability it has to reconnect me with my youth” Ayton, 32, Cambridge.


32

If we consult fundamental theories of happiness and its continuation throughout life, we

would quickly be met with the value and positive butterfly effect of having a creative

recreation. The value of positive emotions to our general well-being and health is clear and as

shown by participant’s responses, apparent in the practice of rollerblading. In a recent

psychological study and angle Boniwell suggests:

‘Autonomy [is] so important for intrinsic motivation (…) If we are relatively free to choose our actions, then it’s

easier for us to appreciate the reasons for choosing them (…) Well-being depends on our ability to choose a

direction in life, to form intentions, personal strivings (…) How well these goals correspond with ones values can

help improve the quality of one’s life” (Boniwell 2012a: 1- 70)

What is clear is that through any psychological or literal reading: autonomy, passion and

creativity are huge elements in the continuation of happiness and a happy, full life.

Participants clearly expressed rollerblading as satisfying a wide range of these needs, goals,

desires, motivations and personal strife’s. It’s a process of personal fulfilment.

At the beginning of this chapter Picasso’s quote hints at a theme consistent throughout this

thesis; that there is an infantile desire to create, also a naïve desire within us that enjoys

sensation and something extra-ordinary. Societal norms of behaviour and accepted paths of

“Well-being. Injury, learning how do I rehabilitate myself, understanding one’s body. Peace of mind, confidence, focus,

passion , creativity, movement/ thinking & feeling whilst moving. Travel. Broadening thought and ideas through

meeting people from all walks of life, cultures, religion. ” Elms, 31, Europe. [11]

“Restores faith in communities and that people from all different backgrounds and cultures can be brought together

through one common interest.” Kew, 26 , Portsmouth, UK.

Question 6 Has rollerblading given you other creative hobbies?

“Rollerblading is so diverse and has multiple genres with which one could identify with creatively” Porter, 19, London, UK.

“Yes, photography, filming and urban exploration” Dalton, 22, Chester, UK.

“Rollerblading has given me my current profession, Photography. It's through this passion that I found my love for taking

photographs and that is one reason I have been able to travel the world. If I’m not day dreaming about what skate trick

could be done on a specific obstacle I'm dreaming up ways to photography a scene” Kola, 30, London, UK.

“The culture of rollerblading has got me into learning about filming, photography and graphic design. Due to rollerblading

I did a degree in photography and now that’s what i do for a living, I am a photographer and it all rooted from blading”

Hollands, 27, Brighton, UK.

“Being passionate about something, being surrounded by like-minded people gives you vitality, that can be harnessed to

challenge the status quo & make a success out of any creative project”. Elms, 31, Europe.

“With Rollerblading came creativity and this has helped me pursue a career in Graphic Design and Web development.”

Aperios 27, London, UK.

“It has enabled me to be more appreciative of all the mediums of art.” Reavley, 29, London, UK.

“Blading has shaped my whole life, it’s carved me as person. Its directed me on my travels and populated my friendship

circles. It has also gifted me a way to support myself in life with a craft from which to make money from. I am a

professional photographer and it was only because of blading, the need to capture progression and a dying love for

painting and drawing that opened the door to photography. Cooper, 29, London, UK.


33

how to reach success, inhibit the realisation of this and constrict our thought into the

traditional, the mundane and the expected. How can something that encourages pure

creativity and, be considered - just as skateboarding always was - as counter-cultural (2007;

2004; 2003 and 2001). Deviance is loosely defined as ‘the infraction of some agreed-upon

rule(s)’ (Becker 1973:8), the subsequent positioning of this view within popular thought

becomes hugely problematic and counter intuitive, as Becker suggests: ‘social groups create

deviance by making the rules whose in-fraction constitutes deviance, and by applying those

rules to particular people and labelling them as outsider (...) that constitute a homogenous

category’ (1973:8-10). Society positions pursuits of wheeled sports as deviant and

unconventional and seems to completely disregard ‘the central fact about deviance: it is

created by society’ (Ibid: 8-10).

This primary research contests both popular consciousness and Becker’s observation of

deviance. A tension between the unconventional and the conventional is embodied in the

alienation of subculture and this constructed societal perception of deviance. Participants

detailed explicitly that rollerblading facilitated an identification with a certain creativity. It is

an inherent and strong inclusive feeling of identifying with like-minded people; an ‘affectual

sociality’ (1998:63) associated with Maffesoli’s neo-tribal theory that, for Elms empowers a

‘vitality that can be harnessed to challenge the status quo & make a success out of any

creative project (Elms , 31, Europe). Participants mentioned that rollerblading accelerated a

creative mind-set, through a progressive and passionate environment that develops into a

powerfully more ‘appreciative mind-set of all mediums of art.’ (Reavley, 29, London, UK.)

Fig 28 – Photo by Adam Kola. Fig 27 – UK photographer Adam Kola


34

We are familiar with a discussion of youth style (1979) as an iconoclastic appropriation and

subversion of conventional attire to communicate dissent, yet not all subcultures use style as

a method of communication. Whilst Hebdige’s subcultural analysis of a system of signs that

develop into a homologous message – such as his analysis of punk subculture – is logical and

enlightening it tends to focus on the spectacular examples, the extremes of subversion. With a

critical undertone Hetherington suggests this analysis is effective when assessing truly

oppositional movements; it is less so with say, post-modern heterogonous ‘tactics’ (2005) of

graffiti, skateboarding or rollerblading subcultures. He states that: ‘homology is about an

ordering of things into a system of meaning, not an ordering of values together’ (1998: 55).

An aggressive, deviant or explicitly anti-capitalist, iconoclastic discourse is not necessarily

the message that the urban tacticians of graffiti artists, skateboarders or rollerbladers

communicate. Bricolage and argot are used by participants within rollerblade subculture as

identification confirming ones inclusion within it; carrying a much less threatening discourse

Question 7. How would you compare the rollerblading subculture in relation to others?

“The Rollerblading scene, Is like one large family. No matter who you are where you are from what background

you have, everyone is all ways welcome. You could contact a rollerblader from the other side of the world and

ask if you travelled to their city and stay with them? In most cases the answer is always yes. It’s like a brother

hood. You bump in to someone in town with rollerblading branded clothing strike up a conversation then you

already have a strong bond within seconds.” Jones, 23 ,Sheffiled, UK

“The language is strictly kept and valued by all members. The naming of tricks, hardware, brands etc are all

forms of cultural capital. They show and intimacy with the lifestyle and its history.” Porter, 19, London, UK.

“Tiny and only just about sustainable. However given its size it is still one of the most proactive sub cultures out

there with some very dedicated enthusiasts. A lot of bladers were drawn to it from seeing it on TV, like myself,

and so if that isn't happening we are alienating ourselves. It's a shame, as there are many like myself who

have made a career out of this and have been fortunate enough to travel the globe. Kola, 30, London, UK.

“There's a 'family' vibe about it. Especially as a female when you meet other bladers they generally want to

session together/chat about the sport.” Tyszkiewicz, 19, London.

“We are a little big family where we support each other and I don't think any other industry has anything close

to what we have as bladers.” Hollands, 27, Brighton, UK.

“Frowned upon against the commercial nature of other 'similar' subcultures

Niche in its own right - like all good subcultures

True to its own.” Richards, 21, Leeds.

“Are predominantly visual people, have less regard for minor injury to ourselves.

Are engineers, we engineer ourselves, stuff and surroundings” Elms, 21,Europe.

“Unlike skateboarding and BMX'ing, Rollerblading is more unique as you can personally adapt yourself and style

to what you want”. Aperios 27, London, UK.

“My issue arrives when rollerblading does not receive the same amount of support. The professionals of our

industry go just as big if not bigger than other subcultures, yet they are poorly paid in comparison and put their

bodies on the line every time they skate. No longer named as an 'extreme sport', being taken off the x-games

and lack of sponsorships from big corporate companies all contribute to this.” Williams, 27, Liverpool, UK.

“being apart of this means its kind of subjective. I don't know what its like to be within the inner circle of

another subculture. I think there are other subcultures that are very much alike ours and other that are not.

Overall I don't think there are many subcultures alike ours that hold so much passion, commitment and love for

what is done. I feel blessed to be apart of something like this Cooper, 29, London, UK.


35

suggested by some subcultures – the use of language is testament to an investment into

rollerblading. Due to this atmosphere amongst participants rollerblading truly, almost

beautifully transcends all economic, educational, class, gender, race and age divides or

prejudices amongst human beings. Much less indicative of class struggle and more a

complete surrender to its prejudices, subjectivities and materiality’s: tactical uses of space

represent an un-rivalled anti-discriminatory inclusion from a simple identification that we

both enjoy participating in this activity together. Even so notions of deviance, vandalism and

dysfunction are attached to these past-times of tactically negotiating the urban space. The

methods of identification are semiotic accomplishments that have strong resonance with

people involved; respondents gave aspects of bricolage (1979), classic rollerblade media

knowledge and most importantly; language (argot) as being powerful indicators of a

membership to this subculture, as porter states:

‘I would go so far to say that the language is valued higher than skating ability to most participants, as it

represents a personal investment to understanding not just doing.’ (Porter, 19, London).

Respondent and professional photographer Sam Cooper raises an important point of

subjectivity. Being within a subculture may give way to understandable partialities; indeed

someone passionate about tennis, football or theatre would praise its benefits to well-being

and development without hesitation. And of course they would be right the marriage of sport

and lifestyle is a harmonious one, but rollerblading clearly is in a very different light. It isn’t

the lad culture associated with a weekly 5 a side football league, or the leisurely pace of a

day’s golfing it has associated with it a distinctive culture and lifestyle wholly independent of

the conventions of the mainstream. And as respondents suggested an inclusive family feel

where somebody’s personal investment is objectively gauged and rewarded is a type of

community dynamic that is rare and valued amongst us.


36

CHAPTER 5 - CONCLUSIONS AND QUESTIONS FOR FURTHER

RESEARCH.

Within this dissertation there are some clear subjectivities that arise from being a participant.

Now, I am admitting a degree of advocacy towards rollerblading and clearly suggesting that

my perception is subjective albeit thorough. The inclusion within rollerblading has brought

huge levels of detail to this thesis, important when considering this is an introduction of a

new subcultural sport area to academic literature. So to bring value to my word; excerpts

from real people in the industry today have captured hugely emotional responses; astonishing

at times and demonstrating that many within this subculture speak with a similarly

impassioned voice. When analysing rollerblading as a subculture in the first chapter it quickly

became clear that this subcultural lifestyle sport displays traits akin to Maffesoli’s (1996e)

neo-tribe theory. Belonging to a significant group of like-minded others demonstrates a

collectivity whilst simultaneously being an individualistic past-time.

Notions of identity and individuality posed in all chapters’ present umbrella terms of which to

consider these conclusions under. Through individualism rollerblading demonstrates a

different process of success, discipline and personal fulfilment. These conclusions were

reached through a variety of research methods and the link between individuality, value

(cultural, literal, artistic) and art was consistent. An ongoing process of self-discipline and

self-motivation (and the latter conquering of personal limits) came from negotiating the

contours and obstacles presented by the city-scape; and created a lasting motivation and

feeling of personal accomplishment amongst participants. The shape, manoeuvres and form

rollerblading takes does not fall short of artistic. The heightened awareness of art,

architecture and creativity encouraged outside of the discipline, that ranges from videography

to illustration was expressed by real participants in the industry in 2014. In conclusion I

highlight the sport and underground subculture of freestyle rollerblading as an authentic,

liberating, powerful and artistic creative expression. The benefits of this are far-reaching for

body, soul and mind. One may observe this idea as abstract; a heightened creativity due to the

participation in rollerblading - a tangible link - but primary research findings in chapter 4

confirm rollerblading as having real and hugely positive influences on people’s lives.

Rollerblading presents a contrast to team sports. Individual and peculiar to the self, all goals,

aspirations or indeed inhibitions and personal qualms are self-imposed in this autonomy.

However rollerblading occupies (on paper) a contradictory realm of a certain collective

individualism. The absence of teams or limitations creates a common space (the urban

environment) and a common platform (rollerblades) of which to express one’s self

irrespective of gender, age, nationality, sexuality, race, class and educational background.

The transcendent properties this culture exhibits is not to say there are no ethnographic

differences in participation; working/middle class participants are more common as the upper

classes seem to hold varying opinions on the body, and how much risk one must put the body

under.

Whilst studying the mainstream and comparing the two disciplines of skateboarding and

rollerblading I looked at a number of media sources both internal and external to the


37

subcultures. Internal media sources commonly did not have the reach or sales figures to stay

afloat and the circulation of key subcultural information reverted to online or concentrated

into the few media outlets left. This outlines how finite and valuable the participants of this

subculture really are. Outside media sources like ESPN’s X-Games presented a false

impression; with a competition format orientated around a tight schedule of adverts and the

show itself the attention was drawn away from the key ideologies and sensibilities associated

with rollerblading and ultimately eliminated them in public consciousness.

Although extremely hard to collate evidence, it seems that the commercial incorporation of

subculture damages authentic values and the legitimacy of its subcultural position. The

pervasiveness of commercial incorporation disrupts the genuine elements of individuality, of

ethos, of an artistic/creative sensibility and of authentic self-expression. Indeed this shunning

of the mainstream and mainstream values is common in subcultural groups and amongst

serious participants: A sub-cultural stance is one to retain.

Just as architecture and city-planning work seamlessly to produce a functional space, an ideal

city-framework however the ideal is not always achieved. Designing the ultimate urban space

of functionality, ultimate employment of space and productive infrastructure is something

Lynch (1960) and urban planners have strived to achieve. The subversion of space explored

through Tonkiss (2005c) ideas of ‘tactics’ employed by inner city dwellers carries individual

thrills of its own but what of spaces designed to accommodate wheeled sports- extended to, in

this case- cycling? Perhaps the government’s recent efforts to push more resources into cycle

infrastructure [9] in city spaces like Brighton, Leeds and Manchester will push us ever so

slightly towards this ideal of a sustainable city. I propose that striving towards, and

implementing a type of ‘continental style cycletopia’ [9] [13]. This concept that exists around

Europe today has been proven by the New Economics Foundation to have huge benefits to

general well-being, as a journalist states:

‘studies comparing the experiences of commuting by bicycle and car report that cyclists find their mode of

transport at least as flexible and convenient as those who use cars, with lower stress and greater feelings of

freedom, relaxation and excitement.’ (Appleton 2011)

Also cycling (like wheeled sports) encourages a productive, healthy society whilst satisfying

commitments to curb obesity and carbon dioxide emissions.

Ideas of cycle highways following train tracks for instance, or paths in just as elaborate

constructions as motorway ‘spaghetti junctions’ can become a reality. Of course, these cycle

highways would be a joyous introduction for participants in any wheeled discipline certainly

including rollerblading. In the same way we accommodate for cyclists and cars why is it

unrealistic to extend this to wheeled sports? Indeed we can and do use the same types of

infrastructure. In the colossal amalgamations of concrete and steel that we inhabit today we

must be conscious of our ability to shape, create and model whilst introducing new ideas in

the light of this. Indeed we have an instrumental power to change our urban environments for

the productive and pleasing. I feel it a high priority to provide people with the infrastructure

to power their own mode of transport if they wish.


38

I believe this thesis has huge implications for policy makers who would like a broader and

more detailed explanation of why young people choose alternative sport and the benefits

associated with them. There are huge benefits of having real, controlled and well maintained

skate-park facilities in a community. In the 2000’s we have witnessed a huge calamity in the

allocation of funds, and provision for this type of activity. Councils have been implementing

poorly designed and badly built patches of concrete that can barely be called a skate-park for

years. Ultimately they fall into disrepair and appear as a blot on the landscape. This is

unacceptable and represents councillors trying to satisfy pleas from young people with a

poorly designed, badly placed, and badly finished skate park.

Fig 29 – Cottingley, Leeds. Who needs a run

up? Council skateparks are often very badly

designed with no consideration of the

practical ‘run up’ and ‘landing’ spaces

required. Also materials are nearly always

very bad and there is rarely a plan for

maintenance or repair.

Fig 30 – Expertly designed and maintained by a local organisation. One

Minet Skate-park Saffron Walden, Essex.


39

Being actively involved in the conception, implementation, fundraising and maintenance of a

world class skate-park facility in Saffron Walden, Essex I enjoy and observe the range of

people in the community from every age group, background and personality that use this

facility. From teenagers co-existing with young families or older pensioners observing the

action; perhaps just the image of a middle class town? Definitely not. The introduction of a

new skate-park facility at The Level, Brighton, England has seen similar participation from

all areas of the community. Skate-parks as well as any artistic, creative and active space I

believe to be integral to a community of any scale and variety to harness talent, creativity,

self-discipline, social skills, obesity, insecurities and happiness amongst young people.

Obesity amongst men and women in the UK in 2014 has been steadily increasing for the last

century [14]. In light of these quite frankly, distressing statistics there is an opportunity to give

young people something fun, sociable, fulfilling and character building to do that happens to

be very active and exercise every muscle in your body. In conclusion, I propose the provision

of a properly maintained and designed skate-park facility in every major town and city in the

UK represents a credible investment that will save the government money in the future.

Rollerblading helps children to make friends, understand themselves, exercise and be

creative. All of these fundamental aspects of development encompass a human beings overall

character, lifestyle and personality that develop into a well-rounded functional member of

society.


40

BIBLIOGRAPHY

Appleton,m. (2011) Cycle-commuting the secret to a happy life says New Economic

Foundation report. Road.cc [Online] <http://road.cc/content/news/31477-cycle-commuting-

secret-happy-life-says-new-economic-foundation-report> [Accessed 24th

April 2014]

Appadurai, A. (1996) Disjuncture and Difference in the Global Culture Economy in

Modernity at Large: Cultural Dimensions of Globalisation. Minneapolis and London:

University of Minesota Press.

Augé, M. (1995) Non-Places: Introduction to an anthropology of super-modernity. London:

Verso.

Barthes, R. (1968) Elements of Semiology. New York: Hill and Wang.

Becker, H. S. (1973) Outsiders: Studies in the sociology of deviance. New York: Free Press.

Bennett, A. (2005) Culture and everyday life. London: SAGE.

Bennett, A. (1999) Youth, Style and Musical Taste Subcultures or Neo-Tribes? Rethinking

the Relationship between youth, style and musical taste. Sociology 1999 Vol . 33: 599.

[Online] <http://soc.sagepub.com/content/33/3/599.full.pdf+html> [Accessed 17th

April

2014]

Borden, I. and Rendell, J. (2000). Intersections. London: Routledge.

Borden, I. (2001) Skateboarding, space and the city. Oxford [England]: Berg.

Boniwell, I. (2012a). Positive Psychology in a Nutshell: The science of happiness.

Maidenhead: Open University Press.

Bourdieu, P. (1984) Distinction: A social critique of the judgement of taste. Cambridge,

Mass: Harvard University Press.

Booth, D. (2003) Expression sessions; surfing, style and prestige in To the Extreme

Alternative Sports, Inside and Out (eds Rinehart, R. and Sydor, S.) Albany State University

of New York Press.

Collin, M. (2014) Indecent Exposure: The Aesthetic of Rollerblading. ONE Magazine

[Online] 11th

February 2014. Available from:< http://www.oneblademag.com/blogs/indecent-

exposure-the-aesthetic-of-rollerblading> [Accessed 12th

February 2014]

Cohen, A. P. (1985) The Symbolic Construction of Community. London: Ellis Horwood Ltd.

And Tavistock Publications.

De Certeau, M. (1984b) The Practice of Everyday Life. Berkeley: University of California

Press.

Debray, R. (1999b) ‘What is Mediology’ (translation of Debrays “Qu’Est-ce que la

mediologie?” by Martin Irvine) [Online]


41

http://www9.georgetown.edu/faculty/irvinem/theory/Debray-What_is_Mediology.html

[Accessed 28th October 2013]

Debray, R. (1996b) Media Manifestos: On the Technological Transmission of Cultural

Forms, London / New York: Verso.

Duncombe, S. (1997). Notes from Underground: Zines and the politics of alternative culture.

London: Verso.

Eisenberg, A. (2003b) ‘Rollerblading: Psychotic Rant’ Chapter in Rinehart & Sydnor eds. To

the Extreme Alternative Sports, Inside and Out Albany; State University of New York Press.

Frank, T. (1997b). The conquest of cool. Business culture, counterculture, and the rise of hip

consumerism. Chicago: University of Chicago Press.

Gelder, K. and Thornton, S. (1997c) The Subcultures Reader. London: Routledge.

Gomez, B. (2012b) How Did Nike Get the Swoosh into Skateboarding? A Study of

Authenticity and Nike. Media Studies – Thesis paper 3, Syracuse University, [Online]

<http://surface.syr.edu/cgi/viewcontent.cgi?article=1002&context=ms_thesis> [Accessed

10th

April 2014]

Giddens, A. (1994) The Polity reader in cultural theory. Cambridge: Polity Press.

Hebdige, D. (1979). Subculture The Meaning of Style. London: Methuen.

Hetherington, K. (1998) Experience of identity. London: Sage.

Howe, J. (2003c) Drawing Lines: A report from the extreme world in To the Extreme

Alternative Sports, Inside and Out (eds Rinehart, R. and Sydor, S.) Albany State University

of New York Press.

Humphreys, D. (2003d) ‘Selling out snowboarding: The alternative response to commercial

co-optation’ chapter in To the Extreme: Alternative Sports, Inside and Out Rinehart, R. and

Sydor, S. eds. Albany State University of New York Press.

Humphries, L. (2013) The Creative Evolution of Skating (Rollerblading). Street Is Culture

[Internet] November 9th

2013. Available from: <http://streetisculture.com/2013/11/the-

creative-evolution-of-skating/> [Acessed 12th

February 2014]

Jacob, J. (1985b) John Joseph Merlin. London: Iveagh Bequest, Kenwood

Jenkins, R. (1996c) Social identity. London [u.a.]: Routledge.

Jenks, C. (2005b) Subculture. London: Sage Publications.

Krein,K. (2007) Nature and risk in adventure sport in Phiolosophy, Risk and Adventure sports

(eds. McNamee) London: Routeledge


42

Lefebvre, H. (1974) The Production of Space. Oxford: Blackwell.

Lefebvre, H. (2002) Critique of everyday life. London: Verso.

Lefebvre, H.; Kofman, E. and Lebas, E (1996d) Writings on cities. Oxford: Blackwell.

Leitch, L. (2014b) Skateboarding has gone mainstream (again). The Telegraph [Online]

<http://www.telegraph.co.uk/men/fashion-and-style/10729536/Skateboarding-has-gone-

mainstream-again.html> [Accessed 10th April 2014]

Lynch, K. (1960) The City Image and its elements. In Le Gates and Stout (eds) (2003) The

City Reader. London: Routledge. Pp 424-426.

Macdonald, N. (2002b) The graffiti subculture. in Youth, Masculinity and Identity. London

and New York. Basingstoke, Hampshire: Palgrave Macmillan.

Mason, M. (2008) The pirate's dilemma. London: Allen Lane.

Maffesoli, M. (1996e) The Time of the Tribes: the decline of individualism in mass society.

London: Sage.

McKenna, A. (1999c) Aggressive In-Line Skating. Capstone Press.

Mcnamee, M. J. (2007b) Philosophy, risk and adventure sports. London: Routeledge.

Moores, S. (2012c) Media, Place and Mobility. Basingstoke: Palgrave MacMillan

Muggleton,D. (2000b) Inside Subculture: The Postmodern Meaning of Style. Oxford: Berg.

Mulhern, F. (2000c) Culture/metaculture. London [etc.]: Routledge.

Ormrod, J. and Wheaton, B. (2009) On the edge. Eastbourne: Leisure Studies Association.

Peter,L. J. (1992). Peter’s qoutations. Ideas for our time. New York: Quill/Morrow. Page 25.

Pile, S. and Thrift, N. J. (2000d) City: A-Z. London: Routeledge.

Rinehart, R. (2000e) Emerging arriving sport: Alternatives to formal sport in Handbook of

Sports Studies (eds, Coakley J. and Dunning, E.) London: Sage.

Rinehart, R.E., & Sydnor, S. (2003e). To The Extreme: Alternative Sports Inside &

Out. New York: State University of New York Press.

Schmidt, B. (n.d) ‘The Day They Invented the Skateboard, DANSWORLD [internet]

Available from < http://www.dansworld.com/invent.html> [accessed 19th

March 2014]

Republished in Brooke, Concrete Wave pp. 18-19.

Thornton, S (1996e) Clubcultures: Music, Media and Subcultural Capital, Hanover, NH:

University Press of New England.

Thornton, S. (1997d) General Introduction. in: The subcultures reader. London: Routledge.


43

Tonkiss, F. (2005c) Making Space: Urban Cultures, Spatial Tactics in Space, The City and

Social Theory. Cambridge: Polity.

Wheaton, B. (2004) Understanding lifestyle sports. London: Routledge.

Williams, R. (1974b) Keywords. Fontana Press. HaperCollins Publishers


44

FILMOGRAPHY

Urquhart, D. (Producer). (2005). Black Market [Motion picture]. United States of America:

Misled Media.

JDU. (Producer). (2006). Barely Dead [Motion picture]. United States of America: Sadako.

Hansson, J. (2011) Traitement [Motion picture]. Denmark: Be Mag Production.

Hustwit, G (2011) Urbsanied [Motion picture]. USA/UK: Swiss Dots.

Dalsgaard, A. (2012) The Human Scale [Motion picture] Denmark: Final Cut For Real.


45

FOOTNOTES

1. Nathaniel Branden Quote: <http://thinkexist.com/quotes/with/keyword/heroic/3.html>

[Accessed 9th

April 2014]

2. Brief overview of rollerblading. <http://voices.yahoo.com/extreme-sports-brief-

overview-aggressive-skating-626664.html?cat=14> [Accessed 9th

April 2014]

3. Inline Skating Resource Centre.

4. Rollerblading participation statistics. <http://www.iisa.org/resources/inline-

stats.html> [Accessed 19th

March 2014]

5. Images courtesy of <http://brandonsmith-photo.tumblr.com/> [Accessed 19th

March

2014]

6. Skateboarder on catwalk. <http://fashion-style-mode.tumblr.com/> [Accessed 19th

March 2014]

7. Celine skateboarding model

<http://nymag.com/thecut/2011/01/juergen_teller_shot_daria_werb.html?mid=371785

&rid=272320459&mboxSession=272320459> [Accessed 19th

March 2014]

8. Palace skateboarding feature.

<http://www.style.com/trendsshopping/stylenotes/112213_Style_Print_Palace_Skate/

#!feature-article/slideshow/go/0> [Accessed 19th

March 2014]

9. ‘Cycling gets 94m push in England’ BBC. <http://www.bbc.co.uk/news/uk-

23657010> [Accessed 23rd

April 2014]

10. Online Interview Form:

<https://docs.google.com/forms/d/15K2NCmKbdb8XPEqm9R3WfAcs1PYAcrDQffJ

bfAS8OqA/viewform> [Accessed 23rd

April 2014]

11. Elms (Europe) not specifying a geographical location is due to Elms nomadism.

12. ‘Wheeled sports’ is defined in the introduction.

13. See: Groningen & Amsterdam; Netherlands, Freiberg; Germany, Copenhagen;

Denmark and Stockholm; Sweden

14. See obesity statistics <http://www.hscic.gov.uk/catalogue/PUB13648/Obes-phys-

acti-diet-eng-2014-rep.pdf> [Accessed 24th

April 2014]


46

APPENDIX 1 - ONLINE INTERVIEW FORM

[10] Google Docs Interview Form.


47

LIST OF PARTICIPANTS INTERVIEWS

#1

1.What is your name?

Sammy Dowgill

2.How old are you?

29

3.How long have you been skating and in which cities?

15 years mainly in Leeds city.


It looked dope and was a sport that fitted in to the culture of the time. From growing up in

Wood-house Hyde Park I mainly dressed with a hip-hop style along with pretty much

everyone else who I hung around and have grown up with. Hip-hop was a big influence

within the circle of people and family I knew. The first time I saw a rollerblading video, I

watched it because I responded to the music backing it .black star. I thought to myself these

dudes are sick and they dress and act the same as what I knew, listen to the same music and

there was no race divide, everyone was just killing it. This related to me and others at the

time so I wanted to try it out.


philosophies?

Yes rollerblading is the one thing that has never left me. I have had many hobbies but

rollerblading was at the start and still is an important part of my life. It helps me relax and

feel like I have something to myself that is unique. I'm older and have responsibility it is a

much needed escape from the labour of bills living and general life.


Rollerblading has introduced me to many friends and good people over the years and has

given me opportunity to travel.


Rollerblading fits in with so many subcultures now it is a diverse sport and has an

underground element. But most of all it has the same appeal as most other underground

cultures. It has the element of a dangerous rebellion and also gives you that feeling that you

alone have discovered this and it was designed for you.


48

#2


Ross Jones

2.How old are you?

23


13 years Sheffield/Leeds


The style of tricks, the atmosphere, the people, the parties, the competitions, the level of

sportsmanship, the physical athleticism.

The Lifestyle.


philosophies?

Rollerblading calms me down personally, it is a great way to keep fit and stay well. No

matter what issue's you may have, a few hours on the blades with your buddies makes

everything better.

Same for going to the gym for some guys I guess.

It doesn't really affect my outlook on things but the time spend skating is almost like

meditation, I have some of my best idea's/thought/decisions when I am out on my blades.


I already played guitar and was heavily into music throughout my skating life. This sadly

took a slight hit due to me skating and traveling more often and some injuries incurred

through skating made it hard to play guitar/instruments some times.

But I still play guitar al be it i haven't made any guitar based music for years i just play tunes

I like now.

I do however like to sit down and produce tunes with my pal in his studio on and off.


The Rollerblading scene, Is like one large family.

No matter who you are where you are from what background you have, everyone is all ways


49

welcome.

You could contact A rollerblader from the other side of the world and ask if you travelled to

their city and stay with them??.. in most cases the answer is always yes.

It’s like a brother hood. you bump in to someone in town with rollerblading branded clothing

strike up a conversation then you already have a strong bond within seconds.

Actually this reminds me, the other day a lad came up to me and asked My name, As soon as

I told him he reeled off names of other skaters we both knew, places we had both been and

where we had been in the same place at the same time but didn't know it. We were both super

stoked and are meeting up for a roll in the near future.

I would imagine this is the same for other sports or cultures so it’s not that different really,

We just don’t get looked at as a proper sport.

Due to the fact our sport is more impressive and physically more demanding than some other

sports

Plus the fact we accomplished more in ten years than any other sport, the rapid expansion of

rollerblading made other sports put us down out of fear we would overtake them.


50

#3


Felix Porter

2.How old are you?

19


11 years in London


During the millennium skatepark boom, me and my brother began rollerblading and

skateboarding. Both of us ended up sticking to rollerblading and dropping skateboarding.


philosophies?

It is my main mode of exercise, and also brings me tremendous satisfaction from all aspects

of the culture (language, clothes and the making of, sharing of, and viewing of videos and

photographs.). The rollerblading itself is a great area for social interaction, with friends I've

had for over a decade now and meeting people I would never have met unless we'd had skates

on our feet. I find the perspective of viewing architecture in the slightly different way to a

non-skater (or anyone that is not skatepark user) is satisfying and looking for spots is always

amusing. In terms of outlook and philosophies; I feel it has helped me understand my own

temper, frustration and patience in an alienated environment, this knowledge of self can have

other practical applications to the workplace or other areas of life


Personally my creative hobbies are fairly limited to rollerblading. I enjoy visual arts however

the style I pursue is more informed by the books that I read or artistic periods. When I was

younger, Yes I did some more 'traditional' street art styles of work which was probably due to

the 'urban' image that I viewed rollerblading as. However, now I don't couple those things as

much as I may have done in the past because rollerblading is so diverse and has multiple

genres with which one could identify with creatively. I do also enjoy photography but this

again is an exterior hobby which has only occasionally slipped into my rollerblading life. I

have helped friends film edits but have never had any passion for filming or editing anything

myself but I definitely enjoy other peoples' work.


The rollerblading scene is thought to be most comparable to other subcultures which use

similar obstacles. In these terms; rollerblading is smaller in population and turnover than

BMX, skateboarding or scooters. However, BMX and skateboarding are both activities with


51

far more history and one can see how popularity fluctuates massively through time.

It is worth mentioning that scooters are still in their initial boom, and many more

comparisons can be drawn between the scooter boom and the rollerblading boom of the 90s

(average age, the way other skatepark users view the new younger sport, homophobic

language applied by other skatepark users towards the participants of the younger sport etc).

The age of participants is also very interesting as I'd assume the average (mean or median)

age of the rollerblader is older than any other skate park sports. This is merely an observation

however it is probably due to the unpopularity among potential younger skate park users who

have a preference towards other apparatus.

The rollerblading subculture is one only of action (the process of skating and performing

tricks) and linguistics. The performance of tricks is fairly homogeneous however the style

and scale does vary. The language is strictly kept and valued by all members. The naming of

tricks, hardware, brands etc are all forms of cultural capital. They show and intimacy with the

lifestyle and it's history. The language is also very practical as it essentially translates fairly

conceptual physical movements into a single linguistic term (i.e it is far easier to say makio

than to say slide on surface on outside grinding surface of skate on one foot).

I would go so far to say that the language is valued higher than skating ability to most

participants, as it represents a personal investment to understanding not just doing. The

language itself has strong links to skateboarding (i.e full cab) which is important in seeing

one way in which rollerblading could be seen as secondary to skateboarding in terms of

'coolness' because 'coolness' is ultimately linked to authenticity which rollerblading is

accumulating, but skateboarding already has (more importantly it is 'perceived' to have

authenticity).

It is important that there is not a self-conceived image of rollerbladers. The physical

appearance in terms of dress code or a more general aesthetic shows how counter cultural it

still is. It maintains a movement away from normative behaviour (however some

rollerbladers draw their normative values from other subcultures, this can be linked to

postmodern principles of culture, and could deconstructed with semiotics but I won't go into

that here).

It would be interesting for once if rollerblading could be compared to other activities which

reflect the rollerblade itself, whether that is marathon, freestyle, dance, cone, quads, disco and

more. But in order to achieve perceived authenticity we will continue to try and remove

ourselves from the stereotypically lycra clad 'rec' skater. I imagine similarities are found in

language use, communication modes, and sizes of groups for regular skates and larger events.

I imagine the ratio of men to women (another often neglected aspect of rollerblading) is

closer to the wider population than in skate park rollerblading.


52

#4


Robert Dalton

2.How old are you?

22


12 years. Chester, Liverpool, Manchester, Salford, Stoke-on- Trent, Birmingham,

Wolverhampton, Derby, London, Sheffield, Leeds, Bristol, Hereford, Wakefield, Cambridge,

Leicester, Oxford, Wrexham, Edinburgh, Glasgow, Amsterdam, Barcelona, Eindhoven, Paris,

Rotterdam, Prague, Berlin, Munich, Hamburg, New-York


I wanted to see if I could do it and found it to be fun, active, challenging, risk, giving

personal reward and self-gratification.

Proving to yourself that you have the ability and mental capacity to push yourself to do tricks

that you could hurt yourself on is rewarding.

These reasons are not only what originally attracted me to skating, but the reasons I still

continue to skate.

I was also attracted by its culture and ethos.

The opportunity to travel new places, meet new people and always make something out of

nothing due to the urban landscape providing obstacles to skate.


philosophies?

Rollerblading has definitely contributed to my general outlook and philosophies on life. It is

hard to put into effable words.

An accumulation of experiences over 12 years have certainly moulded my way of thinking

and general approach in life as a person.


Yes, photography, filming and urban exploration


Every 'sub-culture' is different.


53

#5


Adam Kola

2.How old are you?

30


I first got into blading when I was 13.

It has taken me pretty much all over the world. At the risk of sounding naive or stubborn

there are many cities that I cannot recall as I have been on many tours where we would stop

off in a different city every day for a couple of weeks. Below are some I have visited

numerous times.

Manchester, London, Bristol, Sheffield, Leeds, Glasgow, Edinburgh, Cardiff, Dublin

(Actually, every major British city and small quaint village).

Barcelona, Tarragona, Berlin, Eindhoven, Amsterdam, Zurich, Lausanne, Geneva, Paris,

Brussels, Cologne, Munich, Vienna, Salzburg, Copenhagen, Frankfurt, Nuremburg (Again,

most of western Europe).

LA, San Fran, Portland, Seattle, New York, Phoenix, Lake Havasu, Las Vegas, San Diego,

Orange County.

Sydney, Tokyo.


I honestly don't know, i think it must have been mighty ducks or something on TV that

initially exposed me to the activity and i was hooked there and then. I stopped everything i

was interested in to solely skate. I was captain of every sport team my school had and also

played for local football and cricket teams and it all just slowly came to a halt as all i wanted

to do was skate.

I think it most definitely was being part of something that felt your own. It was new and fresh

and what i was doing always gave me a sense of fulfilment. When i started there wasn't much

to influence me and the way i went about doing the activity, it was just make up as i go along.


philosophies?

I think so yes. It's one of the healthiest activities you can do for yourself, so physically its

been brilliant.

Mentally, being such a creative outlet in that you can do anything you want on any type of

obstacle, there are no boundaries, i'm sure it has shaped me into becoming a more diverse

person.

It's safe to say i can't help but look at every single building, street, concrete floor i go past

without wondering about its extra potential uses with the addition of rollerblades


54


I would have to say rollerblading has given me my current profession, Photography.

It's through this passion that i found my love for taking photographs and that is one reason i

have been able to travel the world.

As mentioned above, if i am not day dreaming about what skate trick could be done on a

specific obstacle I'm dreaming up ways to photography a scene, be it blading or none blading.


Tiny and only just about sustainable.

However given its size it is still one of the most proactive sub cultures out there with some

very dedicated enthusiasts. Be it the skaters themselves to the people now running

companies.

The majority of what is produced is of a high standard, from the products to the media outlets

however it isn't noticed by the general public which essentially is its problem. A lot of bladers

were drawn to it from seeing it on TV, like myself, and so if that isn't happening we are

alienating ourselves.

It's a shame, as there are many like myself who have made a career out of this and have been

fortunate enough to travel the globe, make some of the best friendships and ultimately create

a better more positive life for themselves!


55

#6


Sam Crofts

2.How old are you?

23


around 15 years, Chichester, Worthing, Portsmouth, Brighton, Horsham, Crawley, London,

Southampton, Liverpool, Glasgow, Barcelona, Amsterdam, Berlin etc


I just love to scare the shit out of myself, its a complete sense of escapism. You never feel

more alive than in fear of imminent pain/death.


philosophies?

No, it hinders all other aspects of my life. My educational and financial situation has

continually suffered as a result. I have however been more places and made more friends

through it than any other aspect of my life, such things are greater than the material bullshit

society has deemed that i'm expected to achieve in life. So yes, I'm a much stronger person as

a result of skating.


No, i just skate.


It's a niche culture which draws us together, the sense of companionship becomes stronger as

a result. The felling of community is strengthened. A similar subculture could perhaps be

graphite as i have friend who do that that have similarly strong ties.


56

#7


Daisy Tyszkiewicz

2.How old are you?

19


3 years - London, Essex, Bath


A general interest in sports, wanting something challenging, the people at the local skatepark and

media influences.


philosophies?

Improved my health, balance and confidence at trying new things in a huge way. Introduced me to a

new passion, and many new friends.


Made me discover my passion for sports photography, driving me to go to university and study

photography.


There's a 'family' vibe about it. Especially as a female when you meet other bladers they generally

want to session together/chat about the sport.


57

#8


Aaron Hollands

2.How old are you?

27


Been blading for 17 years and in Kent, Brighton, London, Cambridge, Derby, New York, San

Francisco, Detroit, Sydney, Gold Coast and now Brisbane.


Got into blading through roller hockey way back when, and me and my mates thought it would be cool

to jump of a curb and then VG2 happened and it was on from there!


philosophies?

Of course it has, rollerblading has shaped my whole life, down to the area I live in, weather there is

spots or a skatepark close by for example I'm just moving up to Brisbane and i will only move to an

area that is close to a skatepark of some sort, and id rather move in with bladers then your average

person. Bladers are generally one of the same, like minded and all that, so its easy to get on with

another blader.

It has helped me to stay fit and healthy to an extent, or should I say has made me more aware of my

health, eat better feel better blade better etc.

As for outlook and philosophies, i think it has made an impact on the way i see things, just like every

other blader. We don't just see a hand rail to assist walking down some stairs, we see it as an

obstacle to do some sick next trick on.


The culture of rollerblading has got me into learning about filming, photography and graphic design.

Due to rollerblading i did a degree in photography and now thats what i do for a living, i am a

photographer and it all rooted from blading and seeing all the sick pictures in magazines, and not just

of blading but capturing the culture from it all.


I would say that it is like no other, from what I've seen and experienced bladers in general stick

together, look out for each other and have each others back no matter what. We are a little big family

where we support each other and I don't think any other industry has anything close to what we have

as bladers. We are blading.


58

#9


Ben Richards

2.How old are you?

21


10 years off and on

Liverpool, Manchester, Leeds, Birmingham, Sheffield

Barcelona, Hamburg, Munich, Paris, Prague, Amsterdam, Rotterdam


Friends, Travel, Fun.


philosophies?

Definitely.

Shared views with friends, many memories.

Connections to every aspect of the outside world, architecture, music, clothes etc etc

Seeing things from a different perspective, eg spots - rails, ledges etc


Photography

Filming and making edits

Urban exploration


Frowned upon against the commercial nature of other 'similar' subcultures

Niche in its own right - like all good subcultures

True to its own.


59

#10


Mazen M Alshihri

2.How old are you?

30


11 years

Saudi Arabia ( Jeddah, Riyadh, Madinah, Dammam, Yanbu, Khobar)

UAE ( Dubai )

Kuwait ( Kuwait)

Bahrain ( Almnama)

Germany ( Frankfort)

France ( Paris)


The ability to create your own style of switchs and moves.. Also it's extreme part.


philosophies?

Yes.




60

#11


Josh Morrison

2.How old are you?

27


12 years - Leeds/ london/ liverpool/ barcelona/ amsterdamn/ eindhoven/ los angeles / san francisco/

san deigo/ las vegas/ perth/ melbourne/ sydney/ Glasgow/ sheffield/ brighton.....


its an alternative to conventional sports


philosophies?

it has shaped a lot of my friendships and generally how i interpretate the world.


Film / photography


its sheltered / unknown. However Its better than being totally saturated and washed out like other

sports.

Rollerblading is your friends favorite restaurant no-one has ever heard of before, but insists you

always try. Everything else (skateboarding / bmx/ scooters) is just like Mc Donalds or Burger king. Or

on a good day nandos!


61

#12


Joe Atkinson

2.How old are you?

21


18 years leeds london manchester liverpool barcelona LA amsterdam raaa raa


Fast shoes


philosophies?

Yes.


Yes.


Its full of nice and creative people.


62

#13


Charles Leydier

2.How old are you?

29


10 years

France: Nice, Clermont-Ferrand, Marseille, La Ciotat, Hyères, Perpignan, Paris, Cergy-Pontoise

Angleterre: Manchester, Stokport, Liverpool, Chester

Écosse: Dumbarton

Suisse: Genève, Lausanne

Allemagne: Karlsruhe


The fact of be able to unlash wilderness and frustration as a fighting sport without hurting any one, be

able to express street culture trought a "sport" which i consider rather as an art similar to dancing as it

was less pretentious the best skater isn't the faster, higher...


philosophies?

It did fashion came into my life because of skating, changes in my body, meet people or different

background but also injuries, weed.


No, Not yet.


Lack of organisation, too much asking for reward ad being a skater dude if you wanted to be popular

pick up football not skating. To much don't want pay for skating brand rating them as too expensive

but will buy popular good which cost as much. On the other and welcome to forain, new peoples and

create tight bond with the people whom you ride with.


63

#14


David Wells

2.How old are you?

17


4-5 years and saffron walden/cambridge/harlow etc


for me it was mainly the thrill/adrenaline but also the freedom


philosophies?

yes rollerblading compleatly changed my outlook


a few but has deffently made me a stronger person as a whole


I cant.


64

#15


Saul Ayton

2.How old are you?

32


18 years, the 1st 7 in the south of england, based in cambridge but surrounding cities, london,

peterborough, milton keynes, norwich.

The more recent years have been spent in scotland based in edinburgh but glasgow, aberdeen and

dundee featured. Internationally skates have been with me across europe, and as far afield as havana

cuba to seoul in korea.


Its radness. I started in the 90's when bladingwas hot shit. But basically because it looked cool. And

then felt good. What's kept me doing it is the people and the ability ithas to reconnect me with youth

and things associated. Be that scaring myself a little or just the liscence simply play again like a child.


philosophies?

Absolutly, see above for well being. Its outlook and culture has had and still does have a huge

influence on my worldview. As a graduate in politics and social anthropology I don' t think I would

have studied them without it. Rollerblading furnishes you as a youth with the perspective of an

outsider and particularily as a street skater to question authority, but through an artistic outlet. So

years later when I read Marx talking about achieving species being or Bertrand Russell advocating

the rights of the minority or beckers outsiders, it was rollerblading that had already given me those

experiences often only just being discovered by my student peers as they entered protest movements


Yes, Journalism.


I view it externally as the same man other subcultures, those of the "extreme sports" group and street

cultures. Like graffitti or ven urban exploration. However, I still view I as unique if only because it

mine. I understand its conventions and subtleties and can in and with those with certain degree of

agency


65

#16


James Elms

2.How old are you?

31


16 years. London, Copenhagen, Shanghai, Beijing, SanMarino, Sofia, Marseilles, Munster,

Eindhoven, Malmo. and many more.


Its fun, social, travel and languages


philosophies?

It has helped contribute to all of the above.

Well being. Injury, how do I rehabilitate myself, understanding ones body. Peace of mind,confidence

and focus, passion creative outlet, movement thinking & feeling whilst moving.

Travel. Broadening thought and ideas through meeting people from all walks of life, cultures, religion.

Experience through doing, from international corporate events to local skate scenes and all the life in

between. Engaging with local government.

Spirit.


No. But it has given me the networks & a focus to do creative things, I wouldn't have done if it was not

for rollerblading.

Being passionate about something, being surrounded by like minded people gives you vitality, that

can be harnessed to challenge the status quo & make a success out of any creative project.


There's no comparison its simply the best.

Nuances aside, the rollerblading scene is the same as other subcultures, at some point we, have or

will,

Have sold out

Enjoying moving, need movement in our lives.

Are predominantly visual people.

Have less regard for minor injury to ourselves.

Are engineers, we engineer our selves, stuff and surroundings


66

#17


Ales Aperios

2.How old are you?

27


11 years.

London, Manchester, Milton Keynes(if that counts)


Culture, Friendships, Lifestyle. It is unique and develops you as a person as it takes determination

and hard work to get better.


philosophies?

Without a doubt, It taught me the lesson that anything is possible and nothing is impossible when you

set your mind to it.

Rollerblading is about bringing people together and sharing the experience with other as well as

achieving something great!


With Rollerblading came creativity and this has helped me pursue a career in Graphic Design and

Web development.


Unlike skateboarding and BMX'ing, Rollerblading is more unique as you can personally adapt yourself

and style to what you want.

It has been threatened by lack of money in the industry but still pulls back as it is not just about how

we look as a culture and how much money it makes but more about having fun developing for a better

future


67

#18


Callum Ross

2.How old are you?

25


9 years, Dundee, Scotland.


Freedom of expression! with only your own mind and physical ability to progress.


philosophies?

Without rollerblading I wouldn't has travelled to the places I have done for the last 20years. I've been

blessed with a supportive family and great group of friends who pushed me wen during injuries and

most recently recovering from a serious lumbar and vertabrae problem.


Yeah for sure, when I got into blading I would just blade with the local guys and not see any of them

outside of blading but as we grew older and became friends. We would travel locally on via bikes.

Check out local indoor & outdoor climbing facilities and occasionally go camping up north. In the off

season some of my blading friends go skiing or snowboarding. Rollerblading to them is more of an off

season sport. It's funny how itbworks out for different folks.


It’s family!


68

#19


Sam Kew

2.How old are you?

26


15 years

Portsmouth

Southampton

Chichester

London

Bournemouth

Weymouth

Manchester

Stockport

Birmingham

Chester

Leeds

Wakefield

Huddersfield

Saffron

Deeside

Glasgow

Barcelona

Mulhasen

Antwerp

Eindhoven

Amsterdam

Etc etc!!


I was 11 and it was fun! Then I made friends, travelled all over, felt like part of something and still do!


philosophies?

Restores faith in communities and that people from all different backgrounds as cultures can be be

brought together through one common interest.


Yeh, photography and that led to design which is what my career is in now.


Can't speak for many other subcultures but due to it's size I would say it is a lot tighter knit that most.


69

#20


Harry Reavley

2.How old are you?

29


I skated for approximately 10 years. As well as all the major cities in the UK, I was fortunate enough

to travel to New York, Philadelphia, LA, and Barcelona.


The personal battle between mental and physical capabilities.


philosophies?

It has contributed into shaping me as an individual. Whilst being heavily involved in the 10 year

lifestyle, it allowed me to discover my chosen career path. Had it not been for rollerblading, my

Mother would still be continuing to circle local jobs in the paper for me.


It has enabled me to be more appreciative of all the mediums of art.

Fuelling a desire to increase my knowledge and passion for film and photography.


It's a very closely-knit community. Due to there being little to no money within the industry, that in turn

has enabled participants to be more welcoming, open and generous towards one another.


70

#21


James Bower

2.How old are you?

25


Been skating for around 14 years, based in London. One year stint in Sydney, and skated many other

cities around the world on my travels


Hockey


philosophies?

Yes, it is everything in my life. All my life decisions, holidays, mass percentage of friends have been

based around rollerblading


Not really, not the most artistic of people. Influences my music interest


Exactly the same, just different interests


71

#22


Chris Williams

2.How old are you?

27


On and off for 12 years (due to injuries) In Liverpool and Leeds


I played a lot of team sports in my youth and although these were enjoyable times, I never felt fully

fulfilled by any individual sport. I found myself flicking from one to the other, not really excelling in any

particular field. Rollerblading was much more focused on personal progression rather than a

progression of a team. The idea of being able to push yourself as much or as little as you wanted, not

relying on anyone else, whilst still being able to enjoy yourself and hang out with friends. Then seeing

professionals for the first time, opening your eyes to what is truly possible with a pair of skates on

your feet. Pushing you to try new and more difficult tricks, enduring the pain until you finally land it and

get that buzz. From that moment, the bug was officially caught and even after half my friends stopped,

I'm still skating.


philosophies?

Apart from the obvious that rollerblading is excellent exercise, it also allows me to vent any frustration

built up during everyday life. For those moments when you're skating, you're focused on nothing else.

All the problems you had and all the built up stress, just seem to dissipate and for that time you

become yourself again. Happy, care free and enjoying life. If I'm ever in a place in my life were I'm

unhappy, stressed out, depressed, I don't see a councilor or a doctor, I skate. Overall, it focuses the

mind and body and has seen me through many a dark time.


Photography and filming


I have a great appreciation for other subcultures. You are able to recognize when something is

difficult or crazy and I happily give praise to these, even though it is not my particular sport. My issue

arrives when rollerblading does not receive the same amount of support. The professionals of our

industry go just as big if not bigger than other subcultures, yet they are poorly paid in comparison and

put their bodies on the line every time they skate. No longer named as an 'extreme sport', being taken

off the x-games and lack of sponsorships from big corporate companies all contribute to this.

However, it gave the industry a chance to really find the people who loved our sport. This has

happened over recent years and I still see a steady flow of young new skaters coming into the fold. I

don't know if large sums of money being flushed into our sport would make it better, but I believe

rollerblading has a strong enough core to cope with it. It would at the very least, be nice to see our

pros treated with the same respect as other subcultures and a pay increase for risking life and limb

wouldn't go a miss.


72

#23


Andy Spary

2.How old are you?

28


Skating for 16 years, in Leeds


I think it was just the freedom and buzz of flying around with wheels on your feet, but the moment I did

my first grind I fell in love with it.


philosophies?

Rollerblading has been pretty much the main influence into why I am the person I am today. It has

kept me fit, generally level headed and given me vast life experiences through travel and encounters.


Rollerblading has created huge interests for me in woodwork, fashion, photography, graphics and

traveling to name a few.


Rollerblading has become a very underground activity with a close-nit community of like minded,

creative and generally awesome human beings.


73

#24


Sam Cooper

2.How old are you?

29


I have been an active participant within rollerblading sine I was twelve years old which would mean

I've been skating for seventeen years. during this time I have lived near Cambridge and in Devon but

skating has travelled me very well. The main cities I would say I've skates over those years would be

Cambridge, London, Manchester, bristol and Milton Keynes


at first it was the attraction to something els active that wasn't football but it soon grew to so much

more. Much like any other bobbie there was a constant need to push myself in the aid of improving

my skill and vocabulary.

As I've got older with has changed and developed into more of a mental challenge than a physical

one. Finding new and different way to express myself through skating now over rules the need to

learn and maintain a set list of tricks.

the social side of skating is also something that attracted me to it as well as kept me deeply rooted

within the scene. Never have i know of anything like it. Friends all over the world, some that you have

met and others you haven't but upon meeting them you know you have a friend for life.


philosophies?

I think that skating on a physical level has been a mixed bag. Now an older bladder I'm finding my

body is suffering for what I have put it through over the years. Saying that though because of skating

I've grown up learning that i need to look after my body as much as possible as so to preform well. I

believe this to be something ingrained within me now as I train now and I'm sure I shall when I finally

hang up the blades.

I know that for a number of reasons that blading has helped me become a more well rounded, open

and understanding person. This is due to being on board for the ride that blading has taken as a

whole. This has also come from day to day sessions, the places we go and therefore the people we

have met which has given me a different perspective upon life through those people I never would

have come across.


Blading has shaped my whole life,its carved me as person. its directed me on my travels and

populated my friendship circles. It has also gifted me a way to support myself in life with a craft from

which to make money from. I am a professional photographer and it was only because of blading, the

need to capture progression and a dying love for painting and drawing that opened the door to

photography. At the start it was only a way for me to still feel connected to my drawing and painting


74

roots and record what was going on. This changed with time as I realised that photography itself was

to become my new and foremost medium from which to explore and express myself. This eventually

evolved into a career from which I'm so very thankful to have


thats a hard one, being apart of this means its kind of subjective. I don't know what its like to be within

the inner circle of another subculture. I think there are other subcultures that are very much alike ours

and other that are not.Overall I don't think there are many subcultures alike ours that hold so much

passion, commitment and love for what is done. I feel blessed to be apart of something like this

Documents

ROLLERBLADING, SUBCULTURE AND COMMERCIAL INCORPORATION – AN EXPLORATION OF TACTICS, SPACE, PLACE AND URBANISM