Much like rap music and ethnic foods, Chicano lowrider culture has become sufficiently widespread in recent decades to almost be considered qmainstream.q However, those outside of lowriding may not realize that this cultural phenomenon is not the result of a recent fadait originated in the preaWorld War II era, and has continued to grow and evolve since then. Lowriders in Chicano Culture: From Low to Slow to Show allows readers to see how this expressive culture fits within the broader context of Chicano culture and understand how lowriding reflects the social, artistic, and political dimensions of America's fastest-growing ethnic group. It includes chapters that explain the culture of pachucas/os and cholas/os; the unique aesthetics of lowrider vehicles; lowrider music, shows, and clubs; the mechanics of building a lowrider vehicle; and lowrider culture in the media including film, newspapers, and television. The book also traces how lowrider culture has recently expanded beyond the urban streets and into the massive exhibit halls of lowrider shows, exposing lowrider culture to even more enthusiasts.The brothers proved to be very precocious and attentive students, so by the age of 13 each of them had a car that they were too young to drive ... each brother developed an individual area of expertise in areas such as bodywork, painting, upholstery, and electrical wiring. ... In the late 1960s, the Dukes lowrider car club played a prominent role in the proliferation of lowrider culture in the Los Angeles area.
|Title||:||Lowriders in Chicano Culture: From Low to Slow to Show|
|Author||:||Charles M. Tatum|
|Publisher||:||ABC-CLIO - 2011-07-22|