Andrew Barker Senior Features WriterAs 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 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 yet, despite its doctoral dissertation-style title, “All the Streets Are Silent” lacks a thesis: less a sociological study of the rapper-skater convergence than a celebration of a very specific type of guy in a very specific fragment of space and time.
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