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Individual and Community Culture at the Notorious Burnside Skatcpark Hames Ellerbe Universi

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Individual and Community Culture at the Notorious Burnside Skatcpark Hames Ellerbe Universi Socially Infamous Socially Infamous: Individual and Community Culture at the Notorious Burnside Skatcpark Hames Ellerbe University of Oregon A master's research project Presented to the Arts and Administration Program of the University of Oregon in partial fulfillment of the requirements for the Degree of Master of Science in Arts Administration Socially Infamous iii Approved by: Arts and Administration Program University of Oregon Socially Infamous V Abstract and Key Words Ahslracl This research project involves sociocultural validation of the founding members and early participants of Burnside Skatepark. The group developed socioculturally through the creation and use of an internationally renowned Do fl Yourse{l(DIY) skatepark. Located under the east side of the Burnside Bridge in Portland, Oregon and founded in 1990, Burnside Skatepark is one of the most famous skateparks in the world, infamous for territorialism, attitude, and difficulty. On the other hand, the park has been built with dedication, devoid ofcity funding and approval, in an area known, in the earlier days of the park, as a crime infested, former industrial district. Through the do ii yourselfcreation of Burnside skatepark, came the sociocultural cultivation and development of the founding participants and skaters. Additionally, the creation of the park provided substantial influence in the sociocultural development of a number of professional skateboarders and influenced the creation of parks worldwide. By identifying the sociocultural development and cultivation of those involved with the Burnside skatepark, specifically two of the founders, and one professional skateboarder, consideration can be provided into how skateboarding, creating a space, and skate participation may lead to significant development of community, social integrity, and self-worth even in the face of substantial gentrification. Key Words Skateboarding, Portland, Culture, Skateboard, Sociocultural, Gentrification, Skatepark Socially Infamous vii Acknowledgments It would be impossible lo thank all those who contributed to this research project. However, I would specifically like to thank Mikey Reyes and Tai Roberts. for the contact list and support. Additionally, I would like to thank Sage Bolyard, without him this project would not have been possible. Thank you to Dr. Doug Blandy for providing encouragement, advice, and championing a unique research project. Finally, thank you to my family and friends for encouragement during the research process. Socially Infamous ix Who Ami? Robert Hames Ellerbe ( ] ·Experienred hr,1 ndinr,. mJn;ir,1:n I. :md cre,tive µ1ofL·s:,ional fo1 10 w,11s @) .A. f Jiendlv. fun. enthu'.;i.1stir. :md rel11b!e te.,m player. e Create. produce.: and m,m.igc with 1tkntion to cktail Jml quality U· mg passion 101 p1 oduct1on, nJtu1 al lt...idu .hip qualities, c1 e;1tivc knowledge. ,m<l manar,eri.11 c.<p•0 rience. l help chent~ r.t, ive for ,1 powNful .1ncl m;irket rrrsciou~ vi~u.11 re:pr.:-r.ent;ition. wh1lt' h,winr, ,1 lJsting cl f,:<:t on the outdoor. produ tk,n. and , 1eativc indust11c•s [~-E-d-u-ca-t-io_n....,].. ------------ Mas1er of Science Arts Management University oi Oreron. Eur,,~n,·. OR 2016 2018 Bachelor of Science Industrial Design Appal,icl11an State Univer~ity. 8cJ011e, NC 2001-2005 ---------------11(® Work Experience ) Creative Producer & Photographer: Subjekt Objekt: Portland, O R20!7 ·Efe:vate brands thrcmrh exploratory content S., visu.:1! slorvtcllinr,. rrc>atinr, conl,~nt from pr,~·prorlucti0n thrc,ur,h pest-production. raising b1 ,nd ,wnrc nc~$. marl-ct;ibilitv. ,ind industry k1othold. Freelance Photographer and Content Strategist: Hames Ellerbe; Oregon ~013-Present · Work with cli,~nts to provide cre1ti'J, ( 0llt<:nl. nnd ma rketing soh1lions to stay ,1hc:id of ,111 cvu ch.rnr,ing markctpl.1ce. hy utilizing va1 iour. pl.it! orms. KP!$, :mJ!ytics. a, d creative processes to crc1t,~ a substJntial incrc-asc traffic both digitJllV and physically. Project & Marketing Ma nager: Mt Bachelor Resort; Bend OR 2007 - 2012 .. f ffectivelv r.ii~ed p,11·); usat;e 200% bv utilizing compe!lint; technique~ .ind pr;ictke~ to rP tP a f,1:;cin:itin~ ml ,:re,tive product. Directed and created brand crntn~ content. rcvcnts. .ind programs to invr:ntiv,:J,1 portray tnc proch,ct lmpkm,'nt~d ;) brandinu rtrateey to establish rccoenition ;imJ sp1 cad awareness. Project & Brand Supervisor: Boreol Mountain Resort; Truckee, California 2006-2007 -~11u·,1tcd 40 '-'. Growth in b1 and aw 1rute·s~ by dcvelopine cohesive. creative br,rnding. including d1t it·11, t)hoto. Jm! video content. Additional,y, supcrv i,-<'d hr.md cr•ntric projects I ccst.1blishinr, the industry foothold. bro;-idr-ned brand recognition . .lnd solidified the brand in current .ind future rn,1rkcts. Project & Operations Supervisor: Northstar California Resort; Truckee, California 201:2- ✓.014 ·( 1e 1t~d a hil:h quality produ:. t dccre.iscd llbor hours by 124 pen•1cel-:: spearheJdl.'>{] cl ficiencv technique•, through t1ain ing ,.l 14 t,· i m mC'mbcrr .11! w,, iJ, 1mprovinr the procc'sS ,md syst,~m~. ( Hobbies ) ~ ( Skills & Tools ) <l) M,m.11:'"n ,ent nr •••••I IAd r,I)(' 11 h •~t r.11 ••••ti M"l!Y( tilH\ ••••• A(lobc Pholo~hOE • •••• Desu:n !Adol>e Premi0rc :It :a :a H:I Fv,,nts •••••I x'~ ••••• Ari . be Li1:htroom • •••• Publir: Pcht1011~ ••••*I IAct;,bc lnDcsii::n •••••I D.1t1 &. Content ••••• AJobc Alter Effc-<.tr. Buel!'.;, tinr Ci®) c#'@ •••••I IMirro:;ott Olfi<:e Suitt: ••*** •••I** ~ Tr.iming ••••• FitlJI Cul Studio ***** l u~nt10n~ •••••I IWeb~ite D<:si1:n ••••*I Mult1rnech~ Produ(tl. n ••••• M1cOS @(contact) I Snonsor Dr.vc>lopmc nt IWinrtowsus ••••• •••••I t :a :a :a :al Branding Cincmatograplw ••••• • •••• h 1mcstll,,rlY.:~• gmai!.rnm I JntNr1"l"I. R(,l.1t i(,11~ IPhotor.r ,1phv •••••I •••••I (5'111•1!0·-1 225 P! m1 inJ.: Hootr.uit.c ••••• ***** WW\'1.hame:,ellt:1 b.::.com I Soci~ I t,lC'di;i J•• ono::nu., re •••••I I •• •••I Poi tl:ind, OR 97 211 Socially Infamous xi Table of Contents Advisor Approval........................................................................................ iii Abstract & Key words.................................................................................. v Acknowledgments......................................................................................... vii Curriculum Vitae........................................................................................ ix Table of Contents........................................................................................ xi Introduction............................................................................................... I A Brief His to I)' of Skateboarding..................................................................... 2 Portland's Burnside Skatcpark.............................. ...... ............ .......... .............. 3 Method...................................................................................................... 6 Literature Rcvic,v...... ••. •. •. •. •. •. •• . •• • . •• . •. •. 8 Creating and Producing the Documentary......................................................... 12 Conclusion . .. .. .. .. ... ... .. .. • .• . .. 14 References................................................................................................. 16 Socially Infamous 1 Introduction Early in life, I found an irresistible attraction to skateboarding. Although my skills at skateboarding continually needed improvement, my interest in building skate features eventually morphed into an immersive awareness of skateboard subculture. During much of my youth, skateboarding had been going through a revival from the dark ages of the mid-eighties to early nineties (Brown, Edmiston, & Peralta, 2012). The dark age came through several early missteps in skatepark design. These mistakes lead to a loss of interest, due to a lack of skatepark creativity, flow, and skate enjoyment (Brown, Edmiston, & Peralta, 2012). Moreover, at this time, the skateboard community was small enough to allow for knowledge to be spread throughout the skate community by word of mouth. In this way, as well as through reading magazines and watching videos, I learned of Burnside Skatepark, and the infamous status the park held as a legendary skate mecca. The renowned nature of Burnside was not only revealed through these publications, but also exposed me to a rough history of the park. Personal understanding, along with knowledge gained through interviewing key influencers for this research project was instrumental in the formulation of this research. Skateboarding is a fascinating subculture, closely related to counterculture, and tightly intertwined with lifestyle, sports, and art. With humble beginnings in Southern California, the subculture of skateboarding has currently spread throughout the world. Moreover, the growth of skateboarding has had an influential presence on several generations, leading to careers, community formation, lifelong pursuit, and individual development (Brown, Edmiston, & Peralta, 2012). Allhough skateboarding is expressively displayed through numerous means, performance of maneuvers is the defining individual facet and is frequently performed with other participants. During skateboarding's progression, beginning on the west coast of the United States, local Socially Infamous 2 governments began to construct parks for the participants to congregate. Particularly, these were created as deterrence from participation in the lifestyle on the streets and to provide a home to the growing number
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