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The Rhetoric of Lowriding: a Misunderstood Cultural Movement in the Public Realm."

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CALIFORNIA STATE UNIVERSITY SAN MARCOS THESIS SIGNATURE PAGE THESIS SUBJvlITTEDIN PARTIAL FULFILUvlENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS IN LITERATURE ANDWRITING STUDIES THESIS TITLE: "THE RHETORIC OF LOWRIDING: A MISUNDERSTOOD CULTURAL MOVEMENT IN THE PUBLIC REALM." AUTHOR: Francisco Ortega DATE OF SUCCESSFUL DEFENSE: August 3, 2020 THE THESIS HAS BEEN ACCEPTED BY THE THESIS Co:tvlMITTEEIN PARTIAL FULFILLMENT OF THE REQUIREMENTSFOR THE DEGREE OF MASTER OF ARTS IN LITERATURE ANDWRITING STUDIES. Jmie La11Ca! Jtt 08/03/2020 Susie Cassel Susie Lan Cassel (Aug 3, 2020 15:35 PDT) THESIS COMJvlITTEE CHAlR SIGNATURE DATE Yu.Mt,,UM!,, y 08/03/2020 Yuan Yuan Yuan Yuan (Aug 3, 2020 15:18 PDT) THESIS COMJvlITTEEMEMBER SIGNATURE DATE 08/03/2020 Rebecca Lush l-£.�� THESIS COMJvlITTEEMEMBER SIGNATURE DATE Ortega 1 The Rhetoric of Lowriding: A Misunderstood Cultural Movement in the Public Realm A Master’s Thesis by Francisco Adrian Ortega for the Department of Literature & Writing Studies California State University, San Marcos Ortega 2 Preface I’d like to begin by stating that this thesis is my effort as a scholar to positively contribute to the lowrider community, one which is widely misunderstood. In lowrider culture, it is important for unfamiliar audiences to understand the concept of lowriders as vehicles and individuals who embody the cultural values. The limits of this thesis allow for exploration of the lowrider in its very specific ethnic context from which it originated, and the arguments I build within rely on a carefully grounded essentialist approach. I have attempted to offer a nuanced perspective based not only on research, but personal experience, which may not be shared or recognized by all lowriders. It is thus I offer this special message to my audiences, in particular to those who are involved with the culture: some of the ideas expressed throughout this thesis may contradict testimonies of other lowrider individuals, and I am well aware. I have utilized sources as necessary to build my argument, and mean no disrespect towards any individual. Once reading the following section, it is my hope that I come clear to my audience as a supporter of creating unity and community, much like any lowrider with similar values should be. I am on the side of the lowrider, and encourage further scholarly (and informal) discussion of this rich culture. We all deserve our own voice to tell our narratives—the key is to do so in a respectable manner, so as to be heard. There is a widely shared belief that individuals such as myself—who have, or are beginning a desk-based career—are oblivious to real world phenomenon such as the cultural activities of the common people. Such isn’t the case in this thesis; if I weren’t personally involved with this rich culture from a young age, it would not be of my greatest interests to address the stereotypical rhetoric of lowriding. My intention of writing this thesis is to take advantage of the fortunate circumstances I’ve been blessed with—to afford an education and be able to write for the academic university—and simultaneously give a service back to my culture, all from a very particular experience. Thus, I thank all of my audiences in advance, for hearing me out, for I believe in any scenario—and between any people—listening is the first step to creating a sense of understanding and peace among us. This thesis is dedicated to the lowriders who continue to make history out on the calles. ¡Orale! Ortega 3 Table of Contents Preface ......................................................................................................................................... 2 Table of Figures ....................................................................................................................... 5 Chapter 1: The Complications of “Mexican” and “American” Identity: The Lowrider as an Artistic Symbol of Solidarity ...................................................................................................... 6 The Lowrider & The Lifestyle: ............................................................................................... 7 The Ambiguity of “American” Ideology and Recognizing the Dominant vs. Subordinate: ... 9 Borderland Terminology: From Paisa to Pocho: .................................................................. 13 Beyond “American” and “Mexican:” Hope for one’s Space Through Lowriding: ............... 20 Chapter 2: From Mexican Braceros to their Mexican(-American) Lowrider Descendants: Patterns of Disillusion and Systematic Discrimination ............................................................. 24 The Mexican’s Place in the Borderlands: .............................................................................. 26 Pachucos and their Zoot Suit: Popular Symbols Misunderstood .......................................... 29 The Sleepy Lagoon Trial and its Aftermath: The Racialized Zoot Suit Riots: ..................... 32 Barrio Life in the 1950’s: Recognizing Faults and Overcoming them: ................................ 36 Social Clubs: A New Way for Mexican(-Americans) to “Survive” and Overcome the Stereotype .............................................................................................................................. 38 Conclusion: From Pachucos to the Lowriders ....................................................................... 41 Chapter 3: (Aesthetics) at Work: The Strategically (Im-)Practical Mexican-Style Lowrider .. 43 At a Glance: Lowriders vs. Hot Rods (Icon for Icon) ........................................................... 45 Choices of Culturally Different Cars: What they are and why .............................................. 52 Low and Slow Lowrider Car Resistance: ............................................................................... 57 i. Ride Height: Low ....................................................................................................... 57 ii. Wheels & Tires: .......................................................................................................... 58 iii. Slow as Resistance: ................................................................................................. 59 iv. Cruising: A Lowrider’s Canvas for Low n’ Slow Artistic Expression of Difference & its Manifestations ............................................................................................................... 61 v. Hydraulics as Resistance: ........................................................................................... 62 Lowrider Artistic Resistance: ................................................................................................ 66 i. Artistic Chrome, Body & Paint: ................................................................................. 67 ii. Accessorization: a Reflection of Cultural and Material Value ................................... 69 iii. Ingenuity & Creativity ................................................................................................ 70 Resistance through Self-expression: The Lowrider Individual ............................................. 71 Ortega 4 i. Style: ........................................................................................................................... 72 ii. Music: ......................................................................................................................... 73 Reception and Systematic Action against the Lowrider Movement: .................................... 76 Chapter 4: Rhetoric and Reality of Michael Pressman’s Boulevard Nights: a Misunderstood Portrayal of Lowrider and Chicano Culture .............................................................................. 82 Context: ................................................................................................................................. 84 Sypnosis & Character Dynamics of Boulevard Nights: ........................................................ 85 Film Analysis:........................................................................................................................ 87 The Ending: Stereotypes of Senseless Violent Mexican Youth Disproved .......................... 90 Theatrical poster: ................................................................................................................... 92 Concluding Points on Pressman’s film:................................................................................. 96 Chapter 5: The Legacy of Lowriding: A Potential to Write All-Inclusive Global Style .......... 99 Lowrider Culture: One of Many Elements and Decades of Influence ................................ 100 “Family-Oriented” Car Club and Lowrider Culture Post-boulevard Era ............................ 102 i. Veteranos/as: ........................................................................................................... 102 ii. The Car Clubs: .......................................................................................................... 103 Lowrider Dances: A Survived Tradition ............................................................................. 105 Traditional Outdoor Lowrider Events beyond the Golden era ............................................ 108 i. Car Shows: ................................................................................................................ 109 ii. Picnics & Car Club Gatherings: ............................................................................... 113 iii. Cruises & Cruise Nights:
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