Designs for Radicalness: ‘Thrasher’ Magazine, March, 1986

Exhibits / February 22, 2018

Object Name: Thrasher magazine
Maker and Year: High Speed Productions, Inc., 1986
Object Type: Magazine
Image Source: Thrasher magazine archives
Description: (K.E. Roberts)

The sport and art of skateboarding advanced rapidly in the 1980s, as did the subculture surrounding it. Though limited mostly to the contest circuit and empty pools and reservoirs (a Southern California discovery brought about by drought) in the previous decade, the invention of the polyurethane wheel and other advancements—wider, lighter, concaved decks with a pronounced kicktail—allowed skateboarders to go faster and develop new tricks. Thrasher magazine, first published in 1981, helped to establish skateboarding’s renegade credentials, and has served as the pursuit’s primary historical document ever since.

Modern skateboarding originated in working-class Venice and South Santa Monica—nicknamed “Dogtown” because the area had “gone to the dogs”—as an alternative to surfing: when waves were fickle, surfers took to the streets. The Z-Boys, a local surf and skate team sponsored by the Zephyr surf shop, swept the Del Mar Nationals skateboarding competition in 1975—and changed the sport forever. Instead of the laid back, gymnastic techniques established in the 1960s, the Z-Boys went for speed, spontaneity, and attitude. It wasn’t until the mid-1980s, however, that what we know as “street” skating came into its own. Skaters like Natas Kaupas and Mark “Gonz” Gonzales manipulated everything they found in their environment—curbs, docks, benches, angled walls, fire hydrants, handrails—which soon led to an influx of anti-skateboarding measures. Natas’s segment in Santa Cruz Skateboards’ video Wheels of Fire (1987), which shows him skating around his house, turning every obstacle and edifice into a new trick, was a turning point, a revelation that instantly evolved the sport. Ramps and skate parks were few and far between at the time, but anyone with a board could find a schoolyard or a parking block.

By March of 1986, the skateboarding lifestyle had assimilated elements of punk, surfing, Los Angeles car culture, street art, DIY, and metal. The Circle-A symbol for anarchy was prominently displayed on decks, on shoes, on body parts: there are no rules in skateboarding, and skaters tend to dislike head-to-head competition. At the time, they also tended to be territorial, the legacy of Dogtown’s aggressive “locals only” policy; those who “didn’t belong,” especially those with expensive gear and little talent, were labeled “posers” or “kooks.” At the same time, commercialization of the hobby was kicking into high gear, and skaters started to develop their own brands and open their own shops to combat what they perceived as corporate meddling. Skateboarding films like Thrashin’ (1986) and Gleaming the Cube (1989), which employed high profile skaters for the action sequences, further complicated the relationship between the radical individualism of the scene and the always lurking danger of selling out, of being exploited, of becoming the poisonous root of yet another diversion for rich kids.

4 thoughts on “Designs for Radicalness: ‘Thrasher’ Magazine, March, 1986

  1. Oh yeah…from the Skull & Crossbones of the early ’80s to the iconic Vision Gonz board…I can’t imagine a sport more iconic of SoCal. And the fashion…geez. Definitely a youth culture all its own.

    That’s Scott Oster in the Stonefish ad. He went to my high school, as did Aaron “Fingers” Murray, whom was also part of the Dogtown crew. Those two skaters completely shredded every possible backyard halfpipe in Westchester, and it was always a big deal to be there when they happened to show up…sometimes with the likes of Hosoi, whom Oster hung out and skated with frequently.

    Anyone who built a halfpipe in their backyard back then became an instant celebrity—simply because it would become an instant hangout for all the local skate rats, and most likely juicy bait for celebrity shredders. All it took was someone to get the word out that so-and-so had a halfpipe, and the news would spread like wildfire. It was like, they could give a shit who actually owned the ramp; all they cared about was that you could skate it.

    The funny thing was seeing the parents’ reactions. 9 times of out 10, the dads were the ones who built the ramp, thinking it would be some regular cool activity/hobby for their son to take part in, like a basketball court or something. They definitely weren’t expecting the whole social aspect of it; once the word got out, suddenly their son had a whole bunch of new “friends” who would hop the fence to skate when they should be in school, etc.. Then came the booze, weed and girls. Eventually, there were some ramps that were reputably “cool” due to a lax, open-ramp policy, and others that, despite sometimes having better construction/design, were of limited accessibility due to the parents, who were being “dicks.” Lastly, there was always that story of someone’s dad tearing their ramp down because of all the pesky skate rats and plummeting GPAs.

  2. Pingback: Ocean Pacific Apparel Designs, 1979 – 1989

  3. Pingback: Platform of Dreams: A Lonely Kid Covets G.I. Joe’s U.S.S. ‘Flagg’

  4. Pingback: “Make Everything Skateable”: Natas Kaupas in ‘Wheels of Fire’, 1987

Please Leave a Responsible Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s