As far as titles go, you can’t accuse Jeremy Elkin’s “All the Streets Are Silent: The Convergence of Hip-Hop and Skateboarding (1987-1997)” of false advertising. Tracing the two youth cultures as t…
: The Convergence of Hip-Hop and Skateboarding ” of false advertising. Tracing the two youth cultures as they dance around one another and finally intersect on the streets of New York City throughout the decade, the director gathers an astonishing amount of vintage footage, and finds no shortage of deep veins to tap.
And one might argue that that type of guy, now older, is also this documentary’s target audience, as the film makes only passing attempts to explain or contextualize its dizzying whirl of names, places and allusions throughout a very busy 89-minute runtime.
In addition to the archival footage – much of it provided by nightlife entrepreneur Yuki Watanabe and Zoo York co-founder Eli Morgan Gesner, who also serves as narrator – Elkin gathers a formidable range of present-day interviews, from actress Rosario Dawson and late skateboarder Keith Hufnagel to Run-DMC’s Darryl McDaniels and the always-insightful DJ and producer Clark Kent.
With so many voices and faces passing through the film, it isn’t until later on that it seems to find its center in the figure of the late Harold Hunter. Explosively funny, unbridled in his enthusiasm, and ever willing to perform for anyone with a video camera, the young skater gained international fame when he was cast in “Kids.
As a too-brief epilogue reminds us, hip-hop is now the dominant form of popular music, and skateboarding is now an Olympic sport. But it wasn’t so long ago that both were shuttled towards the margins by various gatekeepers, and the fact that these two disrespected youth cultures once found common ground in their shared playground of New York City is perhaps not so surprising.
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