Muhammad Ali Explains Why He Refused to Fight in Vietnam: “My Conscience Won’t Let Me Go Shoot My Brother… for Big Powerful America” (1970)

In April of 1967, Muham­mad Ali arrived at the U.S. Armed Forces Exam­in­ing and Entrance Sta­tion in Hous­ton, Texas. “Stand­ing beside twen­ty-five oth­er nerve-racked young men called to the draft,” writes David Rem­nick at The New York­er, Ali “refused to respond to the call of ‘Cas­sius Clay!’” Offered the choice of going to Viet­nam or to jail, he chose the lat­ter “and was sen­tenced to five years in prison and released on bail.” Ali lost his title, his box­ing license, his pass­port, and — as far as he knew at the time — his career. He was new­ly mar­ried with his first child on the way.

When Ali refused to go to Viet­nam, he was “already one of America’s great­est heavy­weights ever,” notes USA Today. “He’d won an Olympic gold medal for the Unit­ed States in Rome when he was just 18 and four years lat­er, against all odds, defeat­ed Son­ny Lis­ton to win his first title as world cham­pi­on.” Ali, it seemed, could do no wrong, as long as he agreed to play a role that made Amer­i­cans com­fort­able. He refused to do that too, becom­ing a Mus­lim in 1961, chang­ing his name in 1964, and speak­ing out in his inim­itable style against racism and Amer­i­can impe­ri­al­ism.

Ali stood on prin­ci­ple as a con­sci­en­tious objec­tor at a time when resist­ing the Viet­nam War made him extreme­ly unpop­u­lar. Sports Illus­trat­ed called him “anoth­er dem­a­gogue and an apol­o­gist for his so-called reli­gion” and pro­nounced that “his views of Viet­nam don’t deserve rebut­tal.” Tele­vi­sion host David Susskind called him “a dis­grace to his coun­try” and even Jack­ie Robin­son felt Ali was “hurt­ing… the morale of a lot of young Negro sol­diers over in Viet­nam.”

Robin­son gave voice to a sen­ti­ment one hears often from crit­ics of polit­i­cal­ly out­spo­ken ath­letes: “Cas­sius has made mil­lions of dol­lars off of the Amer­i­can pub­lic, and now he’s not will­ing to show his appre­ci­a­tion to a coun­try that’s giv­ing him, in my view, a fan­tas­tic oppor­tu­ni­ty.” But the coun­try also gave Ali the oppor­tu­ni­ty to take his case to the Supreme Court, as his lawyer told Howard Cosell in the ABC news seg­ment at the top. “Ali had no inten­tion of flee­ing to Cana­da,” DeNeen L. Brown writes at The Wash­ing­ton Post, “but he also had no inten­tion of serv­ing in the Army.”

Ali strung togeth­er a liv­ing giv­ing speak­ing engage­ments at anti-war events around the coun­try for the next few years as he fought the ver­dict. It was hard­ly the liv­ing he’d made as cham­pi­on. But “my con­science won’t let me go shoot my broth­er, or some dark­er peo­ple, or some poor hun­gry peo­ple in the mud for big pow­er­ful Amer­i­ca,” he said. “And shoot them for what? They nev­er called me [the N word], they nev­er lynched me, they didn’t put no dogs on me, they didn’t rob me of my nation­al­i­ty, rape and kill my moth­er and father…. Shoot them for what? How can I shoot them poor peo­ple? Just take me to jail.”

Ali remained promi­nent­ly in the pub­lic eye through­out his appeal. He had become a “fix­ture on the TV talk show cir­cuit in the pre­ca­ble days of the 1960s and ‘70s,” writes Stephen Battaglio in a LA Times review of the recent doc­u­men­tary Ali & Cavett. He remained so dur­ing his hia­tus from box­ing thanks in no small part to Dick Cavett, who had Ali on fre­quent­ly for every­thing from “seri­ous dis­cus­sions of race rela­tions in the U.S. to play­ful con­fronta­tions aimed at pro­mot­ing fights.” Cavett’s show “pro­vid­ed a com­fort zone for Ali, espe­cial­ly before he became a beloved fig­ure.” And it gave Ali a forum to counter pub­lic slan­der. In the clip above from 1970, he talks about how his sac­ri­fices made him a cred­i­ble role mod­el for trou­bled young peo­ple.

He seems at first to com­pare him­self to ear­ly Amer­i­can pio­neers, Japan­ese kamikaze pilots, and the first astro­nauts when Cavett asks him about the pos­si­bil­i­ty of going to jail, but his point is that he thinks he’s pay­ing a small price com­pared to what oth­ers have giv­en up for progress — “We’ve been in jail 400 years,” he says. “The sys­tem is built on war.” The fol­low­ing year, the Supreme Court would dis­miss the case against him, swayed by the argu­ment that Ali opposed all war, not just the war in Viet­nam. He saw Cavett as a wor­thy spar­ring part­ner, help­ing the late-night host earn a place on Nixon’s list of ene­mies. It would become a place of hon­or in the com­ing years as Ali won back his career, his rep­u­ta­tion, and his title in the “Rum­ble in the Jun­gle” four years lat­er, and the Viet­nam War became a cause for nation­al shame.

Relat­ed Con­tent: 

Muham­mad Ali Gives a Dra­mat­ic Read­ing of His Poem on the Atti­ca Prison Upris­ing

“Muham­mad Ali, This Is Your Life!”: Cel­e­brate Ali’s Life & Times with This Touch­ing 1978 TV Trib­ute

When Jack John­son, the First Black Heavy­weight Cham­pi­on, Defeat­ed Jim Jef­fries & the Footage Was Banned Around the World (1910)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The Rules of 100 Sports Clearly Explained in Short Videos: Baseball, Football, Jai Alai, Sumo Wrestling, Cricket, Pétanque & Much More

When you get down to it, every sport is its rules. This leaves aside great his­tor­i­cal weight and cul­tur­al asso­ci­a­tions, grant­ed, but if you don’t know a sport’s rules, not only can you not play it, you can’t appre­ci­ate it (the many child­hood after­noons I thrilled to tele­vised 49ers games with­out hav­ing any idea what was hap­pen­ing on the field notwith­stand­ing). What’s worse, you can’t dis­cuss it. “There is a shared knowl­edge of sports in Amer­i­ca that is unlike our shared knowl­edge of any­thing else,” as Chuck Kloster­man once put it. “When­ev­er I have to hang out with some­one I’ve nev­er met before, I always find myself secret­ly think­ing, ‘I hope this dude knows about sports. I hope this dude knows about sports. I hope this dude knows about sports.’ ”

Kloster­man is a cul­tur­al crit­ic, a posi­tion not at odds with his sports fanati­cism, and he sure­ly knows that his obser­va­tion holds well beyond the U.S.: just con­sid­er how deeply so much of the world is invest­ed in foot­ball. Despite its rel­a­tive sim­plic­i­ty, many Amer­i­cans nev­er quite grasped the work­ings of what we call soc­cer. But thanks to a Youtu­ber called Ninh Ly, we can learn in just over four min­utes.

Ly’s expla­na­tion of asso­ci­a­tion football/soccer is just one of near­ly 100 such videos on his chan­nel, each of which clear­ly and con­cise­ly lays out the rules of a dif­fer­ent sport. An Amer­i­can who watch­es it imme­di­ate­ly becomes not just able to under­stand a game, but pre­pared to engage with the cul­tures of foot­ball-enthu­si­ast coun­tries from Mex­i­co to Malaysia, Turkey to Thai­land.

Though British, Ly just as cogent­ly explains sports from the Unit­ed States, even the rel­a­tive­ly com­pli­cat­ed ones: bas­ket­ball, for instance, or what most of the world calls Amer­i­can foot­ball (as well as its are­na, Cana­di­an, and twice-failed XFL vari­ants), a game whose devot­ed fans include no less acclaimed-in-Europe an Amer­i­can nov­el­ist than than Paul Auster. Pre­vi­ous­ly on Open Cul­ture, we fea­tured Auster’s cor­re­spon­dence with J.M. Coet­zee on the sub­ject of sports, where­in the for­mer probes his own enthu­si­asm for foot­ball, and the lat­ter his own enthu­si­asm for crick­et. “If I look into my own heart and ask why, in the twi­light of my days, I am still — some­times — pre­pared to spend hours watch­ing crick­et on tele­vi­sion,” writes Coet­zee, “I must report that, how­ev­er absurd­ly, how­ev­er wist­ful­ly, I con­tin­ue to look out for moments of hero­ism, moments of nobil­i­ty.”

Any­one can enjoy such moments when and where they come, but only if they know the rules of crick­et in the first place. Ly has, of course, made a crick­et explain­er, which in four min­utes ful­ly elu­ci­dates a sport as obscure to some as it is beloved of oth­ers. He’s also cov­ered much more spe­cial­ized sports, includ­ing fenc­ing, curl­ing, pick­le­ball, jai alai, axe throw­ing, and sumo wrestling. (Unable to “ignore the over­whelm­ing demand,” he’s even explained the rules of quid­ditch, a game adapt­ed from the Har­ry Pot­ter books.) After a cou­ple of hours with his playlist (embed­ded below), you’ll come away ready to ascend to a new plane of appre­ci­a­tion for sports­man­ship in all its var­i­ous man­i­fes­ta­tions. If you’re any­thing like me, you’ll then revis­it your ear­li­est edu­ca­tion in these sub­jects: Sports Car­toons.

Relat­ed Con­tent:

Jack Ker­ouac Was a Secret, Obses­sive Fan of Fan­ta­sy Base­ball

Albert Camus’ Lessons Learned from Play­ing Goalie: “What I Know Most Sure­ly about Moral­i­ty and Oblig­a­tions, I Owe to Foot­ball”

Mon­ty Python’s Philosopher’s Foot­ball Match: The Epic Show­down Between the Greeks & Ger­mans (1972)

Read and Hear Famous Writ­ers (and Arm­chair Sports­men) J.M. Coet­zee and Paul Auster’s Cor­re­spon­dence

Jorge Luis Borges: “Soc­cer is Pop­u­lar Because Stu­pid­i­ty is Pop­u­lar”

The Weird World of Vin­tage Sports

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

When Jack Johnson, the First Black Heavyweight Champion, Defeated Jim Jeffries & the Footage Was Banned Around the World (1910)

“Being born Black in Amer­i­ca… we all know how that goes.…” 

                        —Miles Davis, lin­er notes for A Trib­ute to Jack John­son

When Muham­mad Ali saw James Earl Jones play a fic­tion­al­ized Jack John­son on Broad­way in Howard Sackler’s Pulitzer Prize-win­ning The Great White Hope in 1968, he report­ed­ly exclaimed, “You just change the time, date and the details and it’s about me!” In John­son’s time, how­ev­er, most white heavy­weight fight­ers flat-out refused to fight Black box­ers. Heavy­weight cham­pi­on Jim Jef­fries swore he would retire “when there were no white men left to fight.” He left the sport in 1905, refus­ing to fight John­son even after John­son had knocked his younger broth­er out in 1902 and taunt­ed him from the ring, say­ing, “I can whip you, too.”

After Jef­fries retired unde­feat­ed, the next heavy­weight world cham­pi­on, Tom­my Burns, agreed to fight John­son in 1908 and lost when police stopped the fight. Two years lat­er, lured out of retire­ment by the press and a $40,000 purse, Jef­fries final­ly agreed to fight John­son, who was then the heavy­weight cham­pi­on of the world. By that time, the bout had been framed as an exis­ten­tial racial cri­sis. John­son was “the white man’s despair” and his chal­lenger “The Great White Hope.” Jef­fries played the part, say­ing, “I am going into this fight for the sole pur­pose of prov­ing that a white man is bet­ter than a Negro.”

Nov­el­ist Jack Lon­don dreamed of a mag­i­cal sce­nario in which the full force of Euro­pean his­to­ry would inhab­it Jef­fries’ body. He “would sure­ly win” because he had “30 cen­turies of tra­di­tion behind him — all the supreme efforts, the inven­tions and the con­quests, and, whether he knows it or not, Bunker Hill and Ther­mopy­lae and Hast­ings and Agin­court.” Blus­ter and myth­mak­ing do not win box­ing match­es. Out of shape and out­classed in the ring, Jef­fries lost in 15 rounds in front of 22,000 fans on July 4, 1910, in what was known as the “Fight of the Cen­tu­ry.” John­son walked away with $117,000 and held the title for anoth­er five years.

Johnson’s vic­to­ry was a tri­umph for African Amer­i­cans, who staged parades and cel­e­bra­tions, and a pro­found defeat for “white box­ing fans who hat­ed see­ing a black man sit atop the sport,” notes a John­son biog­ra­phy. They took out their rage in “race riots” that evening, attack­ing Black peo­ple in cities around the coun­try as col­lec­tive pun­ish­ment for a per­ceived col­lec­tive humil­i­a­tion. Hun­dreds of peo­ple were injured and around 20 killed. The videos above from Vox and Black His­to­ry in Two Min­utes (fea­tur­ing Hen­ry Louis Gates Jr.) tell the sto­ry.

White box­ing fans’ rage had been build­ing since the Burns fight, Vox explains, stoked by the newest form of mass media, com­mer­cial motion pic­tures, which came of age at the same time as pro­fes­sion­al box­ing. Film reels of prize­fights cir­cu­lat­ed the coun­try at the turn of the cen­tu­ry, and pay­ing audi­ences cheered their heroes on the screen: “Box­ing, going back cen­turies, has been wrapped up in themes of iden­ti­ty and pride.” Box­ers rep­re­sent­ed their com­mu­ni­ty, their nation­al­i­ty, their race. Spec­ta­tors “imag­ined,” says Amer­i­can Uni­ver­si­ty his­to­ri­an There­sa Run­st­edtler, “that box­ers in the ring, par­tic­u­lar­ly for inter­ra­cial fights, were almost engaged in this kind of ‘Dar­win­ian strug­gle’” for dom­i­nance.

As a result of the vio­lence on July 4, author­i­ties attempt­ed to ban film of the John­son vs. Jef­fries fight, and “police were instruct­ed to break up screen­ing events.” The osten­si­ble rea­son was that the film caused “riot­ing,” as though the per­pe­tra­tors could not them­selves be held respon­si­ble, and as if the film were itself incen­di­ary. But what it showed, the Black press of the time point­ed out, was noth­ing more or less than a fair fight, some­thing Jef­fries and box­ing leg­end John L. Sul­li­van imme­di­ate­ly con­ced­ed in the press after­ward. (“I could nev­er have whipped John­son at my best,” said Jef­fries.)

In truth, “white author­i­ties were wor­ried,” says Run­st­edtler, “about the sym­bol­ic impli­ca­tions…. They wor­ried that any demon­stra­tion of Black vic­to­ry and any demon­stra­tion of white weak­ness or defeat would under­cut the nar­ra­tives of white suprema­cy, not just in the Unit­ed States,” but also in colonies abroad. The film had to be banned world­wide, but the fight to sup­press it only pushed it under­ground where it pro­lif­er­at­ed. Final­ly, in 1912, Con­gress banned the dis­tri­b­u­tion of all prize-fight films, with South­ern mem­bers of Con­gress “espe­cial­ly inter­est­ed in the pro­posed law,” it was report­ed, “because of the race feel­ing stirred up by the exhi­bi­tion of the Jef­fries-John­son mov­ing pic­tures.”

Aside from the extreme­ly frag­ile reac­tion to a box­ing film, what might strike us now about the vio­lence and the con­tro­ver­sy sur­round­ing the screen­ings is the vehe­mence of racist invec­tive among many com­men­ta­tors, who most­ly fol­lowed London’s lead in open­ly extolling white suprema­cy. This was not at all unusu­al for the time. The nar­ra­tive was woven into the fight before it began. And when the “Great White Hope” went down, he did not do so as an indi­vid­ual con­tender, stand­ing or falling on his own mer­it. The fight’s announc­er, in audio paired with the fight reel above, pro­nounced him “humil­i­at­ed, beat­en, a betray­er of his race.”

Relat­ed Con­tent:  

“Muham­mad Ali, This Is Your Life!”: Cel­e­brate Ali’s Life & Times with This Touch­ing 1978 TV Trib­ute

Muham­mad Ali Gives a Dra­mat­ic Read­ing of His Poem on the Atti­ca Prison Upris­ing

Ernest Hemingway’s Delu­sion­al Adven­tures in Box­ing: “My Writ­ing is Noth­ing, My Box­ing is Every­thing.”

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Werner Herzog Discovers the Ecstasy of Skateboarding: “That’s Kind of My People”

If Wern­er Her­zog has ever stood atop a skate­board, cin­e­ma seems not to have record­ed it. But when asked by online skate­board­ing mag­a­zine Jenkem to dis­cuss the sport and/or lifestyle, he did so with char­ac­ter­is­ti­cal­ly lit­tle reser­va­tion. “I’m not famil­iar with the scene of skate­board­ing,” he admits in the video inter­view above. “At the same time, I had the feel­ing, yes, that’s kind of my peo­ple.” Fans will make the con­nec­tion between skate­board­ing videos and the Bavar­i­an film­mak­er’s ear­ly doc­u­men­tary The Great Ecsta­sy of Wood­carv­er Stein­er, on cham­pi­on ski jumper Wal­ter Stein­er, even before a clip of it appears.

In fact Her­zog him­self, as revealed in the auto­bi­o­graph­i­cal short Por­trait Wern­er Her­zog, only turned film­mak­er after shelv­ing his own dreams of ski-jump­ing. The expe­ri­ence must have taught him vis­cer­al­ly, through those parts of the body that don’t for­get, what it means to make count­less attempts result­ing in count­less fail­ures — with a bet­ter fail­ure here and there, and at some dis­tant, ecsta­t­ic moment, per­haps a suc­cess.

Viewed at great enough length, the kind of skate­board­er who attempts a trick on video dozens, even hun­dreds of times, before land­ing it could well be a char­ac­ter from one of Her­zog’s own films, espe­cial­ly his doc­u­men­taries about men unable to stop putting them­selves in har­m’s way in the name of their fix­a­tions.

“So many fail­ures,” mar­vels Her­zog as he watch­es one such video. “That’s aston­ish­ing.” It cer­tain­ly “does­n’t do good to his pelvis, nor to his elbows,” Her­zog adds, but such is the price of ecsta­sy. For him, the obscu­ri­ty of the vast major­i­ty of skate­board­ers only com­pounds the sacred­ness of their prac­tice. This as opposed to the David Blaines of the world, whose phys­i­cal feats “are meant only for his own pub­lic­i­ty, and for shin­ing out in the media. Skate­board kids are not out for the media. They do it for the joy of it, and for the fun of it.” If Her­zog were to pay cin­e­mat­ic trib­ute to these kids, sure­ly he would make sim­i­lar obser­va­tions though voiceover nar­ra­tion. As for his instinct of how to fill out the rest of the sound­track, “What comes to mind first and fore­most would be Russ­ian Ortho­dox church choirs.”

Relat­ed Con­tent:

Wern­er Her­zog Offers 24 Pieces of Film­mak­ing and Life Advice

Tony Hawk & Archi­tec­tur­al His­to­ri­an Iain Bor­den Tell the Sto­ry of How Skate­board­ing Found a New Use for Cities & Archi­tec­ture

“Try Again. Fail Again. Fail Bet­ter”: How Samuel Beck­ett Cre­at­ed the Unlike­ly Mantra That Inspires Entre­pre­neurs Today

Por­trait Wern­er Her­zog: The Director’s Auto­bi­o­graph­i­cal Short Film from 1986

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Charlie Chaplin & Buster Keaton Go Toe to Toe (Almost) in a Hilarious Boxing Scene Mash Up from Their Classic Silent Films

Coke or Pep­si?

Box­ers or briefs?

Char­lie Chap­lin or Buster Keaton?

A dif­fi­cult choice that usu­al­ly boils down to per­son­al taste…

In the case of the two silent screen greats, they evinced dif­fer­ent per­son­al­i­ties, but both were pos­sessed of phys­i­cal grace, a tremen­dous work eth­ic, and the abil­i­ty to make audi­ences root for the lit­tle guy.

Their endur­ing influ­ence on phys­i­cal com­e­dy is evi­dent in the box­ing scene mash up above, which pulls from Keaton’s star turn in 1926’s Bat­tling But­ler and Chaplin’s wide­ly cel­e­brat­ed City Lights from 1931.

Even cut up and spliced back togeth­er in alter­nat­ing shots, it’s a mas­ter class on build­ing antic­i­pa­tion, defy­ing expec­ta­tions, and the humor of rep­e­ti­tion.

Both films’ plots hinge on a mild fel­low going to extra­or­di­nary lengths to prove him­self wor­thy of the girl he loves.

Chap­lin, besot­ted with a blind flower-sell­er, is drawn into the ring by the prospect of prize mon­ey, which he would use to cov­er her unpaid rent.

His oppo­nent is played by Hank Mann, the brains behind the Key­stone Cops peri­od who went on to work with Jer­ry Lewis.

The pas de trois between the ref and the two box­ers rep­re­sents the pin­na­cle of Chaplin’s long affin­i­ty for the sport, fol­low­ing 1914’s Key­stone short, The Knock­out and 1915’s The Cham­pi­on.

Bat­tling But­ler is built on a case of delib­er­ate­ly mis­tak­en iden­ti­ty, after Keaton’s mil­que­toast rich boy impress­es his work­ing class sweetheart’s fam­i­ly by allow­ing them to think he is a famous box­er whose name he inci­den­tal­ly shares.

The fight scenes were filmed in LA’s brand new Olympic Audi­to­ri­um, aka the Punch Palace, which went on to serve as a loca­tion for the more recent box­ing clas­sics Rocky (1976) and Mil­lion Dol­lar Baby (2004).

The edi­tor who thought to score this mashup to Mari­achi Internacional’s cov­er of Zor­ba El Griego is cer­tain­ly a con­tender in their own right, but read­ers, what we real­ly want to know is in this cham­pi­onship round between Chap­lin and Keaton, who would you declare the win­ner?

Relat­ed Con­tent: 

Dis­cov­er the Cin­e­mat­ic & Comedic Genius of Char­lie Chap­lin with 60+ Free Movies Online

What Would the World of Char­lie Chap­lin Look Like in Col­or?: Watch a Col­or­ful­ly Restored Ver­sion of A Night at the Show (1915)

A Super­cut of Buster Keaton’s Most Amaz­ing Stunts

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday.

Tony Hawk & Architectural Historian Iain Borden Tell the Story of How Skateboarding Found a New Use for Cities & Architecture

Would­n’t we enjoy see­ing our cities like an archi­tec­tur­al his­to­ri­an, in com­mand of deep knowl­edge about the tech­nol­o­gy, ide­ol­o­gy, and aes­thet­ics of the build­ings we pass by every day? For most of us, this would huge­ly enrich our expe­ri­ence of the urban envi­ron­ment. But then so, less obvi­ous­ly, would see­ing our cities like a skate­board­er, in com­mand of deep knowl­edge about how to glide, jump, and bounce along the streets, the build­ings, and all the myr­i­ad pieces of infra­struc­ture as a surfer rides the waves. The archi­tec­tur­al his­to­ri­an learns the city with his mind; the skater learns the city, no less painstak­ing­ly, with his body.

The Vox video above brings mind and body come togeth­er in the per­sons of Iain Bor­den, author of Skate­board­ing and the City: A Com­plete His­to­ry, and Tony Hawk, to whom even those whol­ly igno­rant of skate­board­ing need no intro­duc­tion. Their com­ple­men­tary inter­views reveal the his­to­ry of mod­ern skate­board­ing through the sport’s “leg­endary spots”: pub­lic-school cam­pus­es, aban­doned swim­ming pools, dry drainage ditch­es, for­got­ten sec­tions of con­crete pipe. In the main this selec­tion reflects the high­ly sub­ur­ban­ized 1970s in which skate­boards first came to pop­u­lar­i­ty in the Unit­ed States. But at its out­er lim­its, such as the Mt. Baldy pipeline in north­ern Cal­i­for­nia, it also shows how far skaters will go in search of the ide­al place to ride.

Though pur­pose-build skate parks do exist (their num­bers kept low by for­mi­da­ble insur­ance chal­lenges), seri­ous skaters pre­fer spaces not express­ly designed for skat­ing. This is thanks in large part to the inno­va­tions of a skater with less wider-world name recog­ni­tion than Hawk, but no less influ­ence with­in the sport: Natas Kau­pas. Hawk remem­bers the thoughts trig­gered by footage of the young Kau­pas skat­ing mas­ter­ful­ly through his neigh­bor­hood in the 1987 film Wheels of Fire: “Wow, you can skate curbs like that? You can skate bench­es? You can skate fire hydrants? The whole world is a skate park now.” Sud­den­ly, Bor­den adds, “you did­n’t need to be in Cal­i­for­nia, or in the Ari­zona desert, or in Flori­da any­more. You could be any­where.”

Review­ing Bor­den’s Skate­board­ing and the City, Jack Lay­ton in Urban Stud­ies high­lights its his­to­ry of “how the assem­blage of mate­ri­als that makes up cities has been – in count­less ways – re-imag­ined by the skate­board­er to cre­ate accel­er­a­tion, rota­tion, fric­tion and flow.” It’s easy to for­get, Lay­ton writes, that “along with facil­i­tat­ing com­merce, trans­port and habi­ta­tion, cities can be spaces that facil­i­tate play, exhil­a­ra­tion and plea­sure.” Despite often hav­ing been regard­ed as pub­lic nui­sances, skate­board­ers are “a con­stant reminder that our cities are cre­ative and rich places,” says Bor­den. With the excep­tion of the skate parks secret­ly con­struct­ed in hid­den urban spaces across the world, skaters, of course, don’t build the city — but they do show us some of its untapped poten­tial.

Relat­ed Con­tent:

Ful­ly Flared

3 Icon­ic Paint­ings by Fri­da Kahlo Get Reborn as Vans Skate Shoes

Sax­o­phon­ist Plays into Large Gas Pipes & Then Uses the Echo to Accom­pa­ny Him­self

Every­thing You Ever Want­ed to Know About the Beau­ty of Bru­tal­ist Archi­tec­ture: An Intro­duc­tion in Six Videos

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Michael Jordan’s “The Last Dance” and Hero Worship: A Pretty Much Pop Culture Podcast Discussion (#50)

The 10-part ESPN doc­u­men­tary dis­sect­ing Michael Jor­dan and the Bulls’ six cham­pi­onships has pro­vid­ed some much need­ed sports dur­ing the pan­dem­ic, rop­ing in even sports haters with a mix of game high­lights and behind-the-scenes dra­ma.

Your hosts Bri­an Hirt, Eri­ca Spyres, and Mark Lin­sen­may­er are joined by Seth from The Par­tial­ly Exam­ined Life to inter­ro­gate the event: Was it actu­al­ly worth 10 hours of our time? Did its “time-jump­ing” struc­ture work? Its its treat­ment of Jor­dan real­ly “hagiog­ra­phy” sanc­ti­fy­ing the man, or is the pic­ture of grudge-hold­ing ultra-com­pet­i­tive­ness actu­al­ly pret­ty repul­sive? Why was he like that? Why are sports amenable to cre­at­ing cul­tur­al icons out of its heroes in a way that, say, physics isn’t? Are we going to see many more of these long-form treat­ments of sports heroes?

For more dis­cus­sion, here are some arti­cles we looked at:

If you enjoyed this, check out our episode #25 with sports­cast­er Dave Rev­sine.

Learn more at prettymuchpop.com. This episode includes bonus dis­cus­sion that you can only hear by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts or start with the first episode.

Stream All 18 Hours of Ken Burns’ Baseball for Free on What Would Have Been Opening Day

Base­ball sea­son won’t start today, on what would have been Open Day. So here’s your next best bet. As Sam Barsan­ti writes at AV Club, “PBS and the world’s pre­em­i­nent direc­tor of extreme­ly watch­able and extreme­ly long doc­u­men­taries have a spe­cial treat: The entire­ty of Ken Burns’ Base­ball—over 18 hours—is now avail­able to stream for free on the PBS web­site and all of its relat­ed apps.”

It’s no coin­ci­dence that Burns’ doc­u­men­tary becomes free dur­ing COVID-19. On Twit­ter, Burns adds: “With events can­celed & so much closed, I asked @PBS to stream BASEBALL for free so we can par­tic­i­pate in the nation­al pas­time togeth­er. Watch at the link below or on any stream­ing device. And please look out for those with greater needs. Play ball.”

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Open Culture was founded by Dan Colman.