New Book ‘On Loop’ Details Oakland’s Crackdowns on Black Sonic Expression
Lowriders Cruise Onto the National Stage In Smithsonian Exhibition
A Play Staged Entirely Out of a Vintage Convertible
In Santa Rosa, ‘Cruisin’’ Celebrates a Vibrant Lowrider Culture
Rare Lowrider Documentaries Screen at MACLA for Cinco de Mayo
A Lowrider Cruise in Honor of Selena, the Queen of Tejano, in San Francisco
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"content": "\u003cp>What do \u003ca href=\"https://www.kqed.org/news/11910890/how-oaklands-16th-street-train-station-helped-build-west-oakland-and-the-modern-civil-rights-movement\">train porters\u003c/a>, boomboxes, \u003ca href=\"https://www.kqed.org/arts/13824571/oakland-sideshows-legalize-macarthur\">Lincoln Continentals\u003c/a>, barbecues, \u003ca href=\"https://www.kqed.org/arts/tag/nightlife\">nightclubs\u003c/a> and crowded intersections have in common?\u003c/p>\n\u003cp>As author Alex Werth illustrates in his new book, \u003cem>On Loop: Black Sonic Politics in Oakland\u003c/em> (UC Press), all have been targeted by police and lawmakers throughout decades of sound containment in Oakland. Part history of Black expression, part dissertation on the squelching thereof, \u003cem>On Loop\u003c/em> disassembles and analyzes the longstanding infrastructure that serves to keep Oakland’s creative and dynamic Black youth from reaching their full potential.\u003c/p>\n\u003cp>For those who’ve lived in Oakland, or paid attention to its culture, much of \u003cem>On Loop\u003c/em> will be familiar terrain: the \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#oakland-cracks-down-on-sideshows\">crackdown on sideshows\u003c/a>, the “urban renewal” of the \u003ca href=\"https://www.kqed.org/news/11986396/when-bart-was-built-people-and-houses-had-to-go\">West Seventh Street cultural corridor\u003c/a>, anti-cruising laws, a yearlong \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#oakland-bans-rap-concerts-in-city-owned-venues\">ban on rap concerts\u003c/a> in 1989 and the end of \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival at the Lake\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13927325\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927325\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_.jpg\" alt=\"\" width=\"1024\" height=\"723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-768x542.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">MC Hammer films the music video for ‘Let’s Get It Started’ at Sweet Jimmie’s nightclub in downtown Oakland, March 19, 1988. \u003ccite>(Deanne Fitzmaurice/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Werth — a geographer, DJ and dancer who grew up in Massachusetts and came to Oakland in 2009 — brings a bird’s-eye perspective to these issues while unearthing telling details in decades-old police files and newspaper accounts. (He also cites reporting from KQED, \u003cem>East Bay Express\u003c/em> and other media outlets.) Though his approach may be academic, his writing isn’t impenetrable. Anyone interested in Oakland culture, and the way it has been shaped as well as cauterized, will find his research valuable.\u003c/p>\n\u003cp>The book’s title \u003cem>On Loop\u003c/em> refers to the musical rhythms of funk and rap as much as the spinning of a sideshow car, a DJ’s record, a walk around Lake Merritt and the cyclical nature of policing. Through a sound-studies lens, Werth equates sonic presence, and taking up space in its many forms, with Black liberation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From the closure of clubs like \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#urban-renewal-destroys-a-black-nightlife-district\">Slim Jenkins’ Place\u003c/a> to the 2018 “\u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">BBQ Becky\u003c/a>” incident at Lake Merritt, Werth painstakingly shows the ways white privilege has operated under the cover of anti-nuisance laws, property values and “keeping the peace.”\u003c/p>\n\u003cfigure id=\"attachment_13983068\" class=\"wp-caption aligncenter\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/AlexWerth.jpg\" alt=\"\" width=\"1071\" height=\"1071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/AlexWerth.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/AlexWerth-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/AlexWerth-768x768.jpg 768w\" sizes=\"auto, (max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Alex Werth, author of ‘On Loop: Black Sonic Politics in Oakland.’ \u003ccite>(UC Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This precision is especially present in a chapter detailing the punitive fines the Oakland Police Department issued to club owners to cover officers’ presence at rap shows, preemptively deemed a nuisance. In a lengthy section, Werth shows how OPD and the courts effectively ended regular nightclub events at Geoffrey’s Inner Circle in downtown Oakland. In another, he lays out how the nightclub Sweet Jimmie’s went from a Black-owned hotspot to a music venue owned by white men — one of them the head of concerts and festivals at Another Planet Entertainment, the most powerful live music promoter in Northern California.\u003c/p>\n\u003cp>Some heroes do emerge in \u003cem>On Loop\u003c/em>, like Boots Riley, filmmaker and frontman for The Coup, who \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#boots-riley-and-the-young-comrades-speak-out-against-police-discrimination\">organized young residents against police crackdowns\u003c/a> at the lake in the 1990s. The entire \u003ca href=\"https://www.kqed.org/arts/tag/hyphy\">hyphy\u003c/a> movement is characterized, rightfully, as a \u003ca href=\"https://www.kqed.org/arts/13934874/hyphy-kids-got-trauma\">massive force of opposition\u003c/a>. (Meanwhile, Oakland’s first two Black mayors, Lionel Wilson and Elihu Harris, are shown as complicit in over-enforcement of quality-of-life ordinances and redevelopment to assuage the city’s “image problem.”)\u003c/p>\n\u003cp>With patience, focus and deep research (the footnotes alone take up 48 pages), Werth has written a book that will last — just like the oppression of Black culture will also seemingly last, coming and going in different forms, on a constant loop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alex Werth discusses ‘On Loop’ in a series of Bay Area author appearances, including Oct. 29 at UC Berkeley, Oct. 30 at Oakland Library’s main branch, Nov. 1 at Book Passage Ferry Building, and Nov. 2 at Chapter 510. \u003ca href=\"https://www.instagram.com/p/DPjERZxDZ9V/?hl=en\">More information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do \u003ca href=\"https://www.kqed.org/news/11910890/how-oaklands-16th-street-train-station-helped-build-west-oakland-and-the-modern-civil-rights-movement\">train porters\u003c/a>, boomboxes, \u003ca href=\"https://www.kqed.org/arts/13824571/oakland-sideshows-legalize-macarthur\">Lincoln Continentals\u003c/a>, barbecues, \u003ca href=\"https://www.kqed.org/arts/tag/nightlife\">nightclubs\u003c/a> and crowded intersections have in common?\u003c/p>\n\u003cp>As author Alex Werth illustrates in his new book, \u003cem>On Loop: Black Sonic Politics in Oakland\u003c/em> (UC Press), all have been targeted by police and lawmakers throughout decades of sound containment in Oakland. Part history of Black expression, part dissertation on the squelching thereof, \u003cem>On Loop\u003c/em> disassembles and analyzes the longstanding infrastructure that serves to keep Oakland’s creative and dynamic Black youth from reaching their full potential.\u003c/p>\n\u003cp>For those who’ve lived in Oakland, or paid attention to its culture, much of \u003cem>On Loop\u003c/em> will be familiar terrain: the \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#oakland-cracks-down-on-sideshows\">crackdown on sideshows\u003c/a>, the “urban renewal” of the \u003ca href=\"https://www.kqed.org/news/11986396/when-bart-was-built-people-and-houses-had-to-go\">West Seventh Street cultural corridor\u003c/a>, anti-cruising laws, a yearlong \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#oakland-bans-rap-concerts-in-city-owned-venues\">ban on rap concerts\u003c/a> in 1989 and the end of \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival at the Lake\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13927325\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927325\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_.jpg\" alt=\"\" width=\"1024\" height=\"723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-1020x720.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Hammer.VIdeoShoot.NewParish.Getty_-768x542.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">MC Hammer films the music video for ‘Let’s Get It Started’ at Sweet Jimmie’s nightclub in downtown Oakland, March 19, 1988. \u003ccite>(Deanne Fitzmaurice/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Werth — a geographer, DJ and dancer who grew up in Massachusetts and came to Oakland in 2009 — brings a bird’s-eye perspective to these issues while unearthing telling details in decades-old police files and newspaper accounts. (He also cites reporting from KQED, \u003cem>East Bay Express\u003c/em> and other media outlets.) Though his approach may be academic, his writing isn’t impenetrable. Anyone interested in Oakland culture, and the way it has been shaped as well as cauterized, will find his research valuable.\u003c/p>\n\u003cp>The book’s title \u003cem>On Loop\u003c/em> refers to the musical rhythms of funk and rap as much as the spinning of a sideshow car, a DJ’s record, a walk around Lake Merritt and the cyclical nature of policing. Through a sound-studies lens, Werth equates sonic presence, and taking up space in its many forms, with Black liberation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From the closure of clubs like \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#urban-renewal-destroys-a-black-nightlife-district\">Slim Jenkins’ Place\u003c/a> to the 2018 “\u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">BBQ Becky\u003c/a>” incident at Lake Merritt, Werth painstakingly shows the ways white privilege has operated under the cover of anti-nuisance laws, property values and “keeping the peace.”\u003c/p>\n\u003cfigure id=\"attachment_13983068\" class=\"wp-caption aligncenter\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/AlexWerth.jpg\" alt=\"\" width=\"1071\" height=\"1071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/AlexWerth.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/AlexWerth-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/AlexWerth-768x768.jpg 768w\" sizes=\"auto, (max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Alex Werth, author of ‘On Loop: Black Sonic Politics in Oakland.’ \u003ccite>(UC Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This precision is especially present in a chapter detailing the punitive fines the Oakland Police Department issued to club owners to cover officers’ presence at rap shows, preemptively deemed a nuisance. In a lengthy section, Werth shows how OPD and the courts effectively ended regular nightclub events at Geoffrey’s Inner Circle in downtown Oakland. In another, he lays out how the nightclub Sweet Jimmie’s went from a Black-owned hotspot to a music venue owned by white men — one of them the head of concerts and festivals at Another Planet Entertainment, the most powerful live music promoter in Northern California.\u003c/p>\n\u003cp>Some heroes do emerge in \u003cem>On Loop\u003c/em>, like Boots Riley, filmmaker and frontman for The Coup, who \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#boots-riley-and-the-young-comrades-speak-out-against-police-discrimination\">organized young residents against police crackdowns\u003c/a> at the lake in the 1990s. The entire \u003ca href=\"https://www.kqed.org/arts/tag/hyphy\">hyphy\u003c/a> movement is characterized, rightfully, as a \u003ca href=\"https://www.kqed.org/arts/13934874/hyphy-kids-got-trauma\">massive force of opposition\u003c/a>. (Meanwhile, Oakland’s first two Black mayors, Lionel Wilson and Elihu Harris, are shown as complicit in over-enforcement of quality-of-life ordinances and redevelopment to assuage the city’s “image problem.”)\u003c/p>\n\u003cp>With patience, focus and deep research (the footnotes alone take up 48 pages), Werth has written a book that will last — just like the oppression of Black culture will also seemingly last, coming and going in different forms, on a constant loop.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Alex Werth discusses ‘On Loop’ in a series of Bay Area author appearances, including Oct. 29 at UC Berkeley, Oct. 30 at Oakland Library’s main branch, Nov. 1 at Book Passage Ferry Building, and Nov. 2 at Chapter 510. \u003ca href=\"https://www.instagram.com/p/DPjERZxDZ9V/?hl=en\">More information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lowriders — American-made muscle cars customized with chrome plates, glossy paint and pristine rims — comprise an art form that neatly represents the ideals of this country.\u003c/p>\n\u003cp>The cars are products of engineering and ingenuity, as well as community and culture. With candy paint and gold rims, the mobile masterpieces come from a long tradition that’s been stigmatized and even criminalized.\u003c/p>\n\u003cp>Now, lowriding culture is being celebrated on the highest national level.\u003c/p>\n\u003cp>On Friday, Sept. 26, the Smithsonian National Museum of American History in Washington D.C. will open the exhibition \u003ca href=\"https://americanhistory.si.edu/explore/exhibitions/corazon-y-vida-lowriding-culture\">\u003cem>Corazón y vida\u003c/em>\u003c/a>, honoring more than 80 years of lowriding culture.\u003c/p>\n\u003cfigure id=\"attachment_13981674\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981674 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ.jpg\" alt=\"\" width=\"1600\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-1536x762.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">El Rey, a vintage 1963 Chevrolet Impala, has been named Lowrider of the Year three times by Lowrider Magazine. \u003ccite>(National Musuem of American History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition includes photographs from artists like \u003ca href=\"https://www.sfmoma.org/artist/Lou_Dematteis/\">Lou Dematteis\u003c/a> and posters from the \u003ca href=\"https://library.harvard.edu/collections/royal-chicano-air-force-posters\">Royal Chicano Air Force\u003c/a>. Artifacts such as plaques, jackets, a tool box and a “No Cruising” sign from Sacramento help fill in important context.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And of course, there’s the legendary vehicles. Those include “\u003ca href=\"https://www.petersen.org/vehicle-spotlights/1963-chevrolet-impala-el-rey\">El Rey\u003c/a>,” Albert de Alba, Sr.’s 1963 cherry-and-sherbet-colored Chevrolet Impala, and “\u003ca href=\"https://www.petersen.org/vehicle-spotlights/1964-chevrolet-impala-gypsy-rose\">Gypsy Rose\u003c/a>,” a 1964 Chevrolet Impala hand-painted with a floral design by the late Jesse Valadez Sr..\u003c/p>\n\u003cp>“Yes, the car is the star,” exhibition curator Steve Velasquez tells me in a recent phone interview. “But it takes a community to build it. It takes a community to show it. It takes the community to really appreciate it.”\u003c/p>\n\u003cp>That community of lowrider lovers that Velasquez references is largely Latino. As the federal government makes it a point to accost, harass and deport immigrants — specifically Latino people — \u003ca href=\"https://www.npr.org/2025/09/23/nx-s1-5550915/trump-immigration-judges\">without due process\u003c/a>, \u003cem>Corazón y vida\u003c/em> comes at an interesting time, to say the least.\u003c/p>\n\u003cp>Add to that this administration’s \u003ca href=\"https://www.pbs.org/newshour/nation/trump-executive-order-to-force-changes-at-smithsonian-institution-targeting-funding-for-programs-with-improper-ideology\">meddling into the Smithsonian\u003c/a>, an institution under threat of a “\u003ca href=\"https://www.npr.org/2025/09/22/nx-s1-5517973/smithsonian-document-citizen-historians\">comprehensive internal review\u003c/a>” to weed out “improper ideology” and “divisive narratives.”\u003c/p>\n\u003cp>The exhibition has been in the works since the end of Trump’s first term, but it comes at the right time, says Velasquez, adding that it’s “the right thing to do” regardless of who’s in power.\u003c/p>\n\u003cp>Long before the current administration, lowriding and the culture from which it emerged faced harsh critiques, over-policing and biased legislation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9RAavisatXA\u003c/p>\n\u003cp>In January of last year, \u003ca href=\"https://lataco.com/california-cruising-law\">California’s Assembly Bill 436\u003c/a> took effect, ending a more than 25-year ban on “cruising zones” throughout the state. And while changing laws is a major accomplishment, changing people’s minds is a separate hurdle.\u003c/p>\n\u003cp>“It’s taken a lot of work, from a lot of people, to change the perception of lowriding as criminal and to make it more of an expression of culture,” says Velasquez.\u003c/p>\n\u003cp>Many car clubs serve the community by volunteering at hospitals, speaking to the incarcerated and organizing food drives, Velasquez says. Along with hanging fuzzy dice on the rear-view and installing hydraulics to make their cars hop, lowrider groups for years have filled the gaps created by a lack of city services and other social institutions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13923205/best-of-roll-with-us-a-sisterhood-of-lowriding\">Dueñas\u003c/a>, an all-women, intergenerational collective from the South Bay led by Angel Romero, exemplifies the changing perception of lowriders.\u003c/p>\n\u003cp>Since their founding more than five years ago, the collective has turned heads at car shows, organized holiday toy drives for kids and performed philanthropic work throughout the South Bay.\u003c/p>\n\u003cfigure id=\"attachment_13981668\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Duen%CC%81as_2-scaled.jpeg\" alt=\"An intergenerational group of Latina women pose for a photo.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-2000x1333.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-2048x1365.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dueńas car club, pictured in 2021, is an intergenerational collective of women from the South Bay. \u003ccite>(Renée Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, an image of Dueñas will be included in the Smithsonian exhibition.\u003c/p>\n\u003cp>“I never thought that lowriding, in general, would be this widely accepted,” says Romero. “Especially in times like this, where we’re facing a lot of different things going on in our communities.”\u003c/p>\n\u003cp>Those “different things” include a widespread federal crackdown on immigration, which sharply increased after Trump’s spending bill, approved in July, dedicated a staggering $75 billion to ICE enforcement over the next four years.\u003c/p>\n\u003cp>“To see our culture and our history highlighted in the Smithsonian,” Romero says, “it shows that no matter what, we will always be here.”\u003c/p>\n\u003cp>The image of Romero’s car club included in the Smithsonian exhibit was created by Northern California-based photographer \u003ca href=\"https://www.instagram.com/misslopezmedia/?hl=en\">Renée Lopez\u003c/a>.\u003c/p>\n\u003cp>When Lopez got final confirmation of the exhibition, she printed the image and hand-delivered it to the car club members. “I was like, ‘Hey, by the way, y’all are about to be in Smithsonian,’” Lopez says. “We all cried, it was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13981669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981669 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-2000x2667.jpg\" alt=\"\" width=\"2000\" height=\"2667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-2000x2667.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-scaled.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Renée Lopez, seen here at work in Oakland, has documented lowrider culture for years, with a specific focus on women. \u003ccite>(Courtesy of Miss Lopez Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://unscriptedphotographers.com/misslopezmedia\">A photographer\u003c/a> who’s spent the past six years documenting lowrider culture, specifically the women in the scene, Lopez says the inclusion in the exhibit is a huge honor, and something that she’s still trying to wrap her head around.\u003c/p>\n\u003cp>“I don’t get paid,” she says about her cultural documentation, “I do it out of love.”\u003c/p>\n\u003cp>Lopez’s mission to center women in lowriding underscores a significant shift within the culture. “We were really only allowed to be passengers,” Lopez says, in reference to older ways of thinking. “Now,” she says, “women have money to buy their own cars, they’re building their own cars and painting their own cars.” Two years ago, for the first time, she saw a woman compete in a hop contest.\u003c/p>\n\u003cp>“This is what I’ve been working for, to push the culture forward,” says Lopez. “For it to be at this time, with what’s happening in this country right now, it is so special. I can’t even explain it.”\u003c/p>\n\u003cp>Lopez, who is currently working on a documentary about women in lowriding, plans to make the trip to the nation’s capitol for this weekend’s opening.\u003c/p>\n\u003cp>“Lowriding has been happening for a long time, and it’s always about resistance and resilience, right?” she says.\u003c/p>\n\u003cp>“For it to be shown right now, I feel like the timing couldn’t have been better.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Corazón y vida’ opens Friday, Sept. 26, at the Smithsonian National Museum of American History in Washington D.C. \u003ca href=\"https://americanhistory.si.edu/explore/exhibitions/corazon-y-vida-lowriding-culture\">Details and more information here\u003c/a>. The touring exhibition \u003ca href=\"https://www.sites.si.edu/s/tour-schedule?exhibit=Lowrider%20Culture%20in%20the%20United%20States%20%2F%20Cultura%20Lowrider%20en%20los%20Estados%20Unidos\">visits three cities in California\u003c/a>: Anaheim, Port Hueneme and Fresno. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lowriders — American-made muscle cars customized with chrome plates, glossy paint and pristine rims — comprise an art form that neatly represents the ideals of this country.\u003c/p>\n\u003cp>The cars are products of engineering and ingenuity, as well as community and culture. With candy paint and gold rims, the mobile masterpieces come from a long tradition that’s been stigmatized and even criminalized.\u003c/p>\n\u003cp>Now, lowriding culture is being celebrated on the highest national level.\u003c/p>\n\u003cp>On Friday, Sept. 26, the Smithsonian National Museum of American History in Washington D.C. will open the exhibition \u003ca href=\"https://americanhistory.si.edu/explore/exhibitions/corazon-y-vida-lowriding-culture\">\u003cem>Corazón y vida\u003c/em>\u003c/a>, honoring more than 80 years of lowriding culture.\u003c/p>\n\u003cfigure id=\"attachment_13981674\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981674 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ.jpg\" alt=\"\" width=\"1600\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-768x381.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/iwJihpZQ-1536x762.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">El Rey, a vintage 1963 Chevrolet Impala, has been named Lowrider of the Year three times by Lowrider Magazine. \u003ccite>(National Musuem of American History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition includes photographs from artists like \u003ca href=\"https://www.sfmoma.org/artist/Lou_Dematteis/\">Lou Dematteis\u003c/a> and posters from the \u003ca href=\"https://library.harvard.edu/collections/royal-chicano-air-force-posters\">Royal Chicano Air Force\u003c/a>. Artifacts such as plaques, jackets, a tool box and a “No Cruising” sign from Sacramento help fill in important context.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And of course, there’s the legendary vehicles. Those include “\u003ca href=\"https://www.petersen.org/vehicle-spotlights/1963-chevrolet-impala-el-rey\">El Rey\u003c/a>,” Albert de Alba, Sr.’s 1963 cherry-and-sherbet-colored Chevrolet Impala, and “\u003ca href=\"https://www.petersen.org/vehicle-spotlights/1964-chevrolet-impala-gypsy-rose\">Gypsy Rose\u003c/a>,” a 1964 Chevrolet Impala hand-painted with a floral design by the late Jesse Valadez Sr..\u003c/p>\n\u003cp>“Yes, the car is the star,” exhibition curator Steve Velasquez tells me in a recent phone interview. “But it takes a community to build it. It takes a community to show it. It takes the community to really appreciate it.”\u003c/p>\n\u003cp>That community of lowrider lovers that Velasquez references is largely Latino. As the federal government makes it a point to accost, harass and deport immigrants — specifically Latino people — \u003ca href=\"https://www.npr.org/2025/09/23/nx-s1-5550915/trump-immigration-judges\">without due process\u003c/a>, \u003cem>Corazón y vida\u003c/em> comes at an interesting time, to say the least.\u003c/p>\n\u003cp>Add to that this administration’s \u003ca href=\"https://www.pbs.org/newshour/nation/trump-executive-order-to-force-changes-at-smithsonian-institution-targeting-funding-for-programs-with-improper-ideology\">meddling into the Smithsonian\u003c/a>, an institution under threat of a “\u003ca href=\"https://www.npr.org/2025/09/22/nx-s1-5517973/smithsonian-document-citizen-historians\">comprehensive internal review\u003c/a>” to weed out “improper ideology” and “divisive narratives.”\u003c/p>\n\u003cp>The exhibition has been in the works since the end of Trump’s first term, but it comes at the right time, says Velasquez, adding that it’s “the right thing to do” regardless of who’s in power.\u003c/p>\n\u003cp>Long before the current administration, lowriding and the culture from which it emerged faced harsh critiques, over-policing and biased legislation.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9RAavisatXA'\n title='//www.youtube.com/embed/9RAavisatXA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In January of last year, \u003ca href=\"https://lataco.com/california-cruising-law\">California’s Assembly Bill 436\u003c/a> took effect, ending a more than 25-year ban on “cruising zones” throughout the state. And while changing laws is a major accomplishment, changing people’s minds is a separate hurdle.\u003c/p>\n\u003cp>“It’s taken a lot of work, from a lot of people, to change the perception of lowriding as criminal and to make it more of an expression of culture,” says Velasquez.\u003c/p>\n\u003cp>Many car clubs serve the community by volunteering at hospitals, speaking to the incarcerated and organizing food drives, Velasquez says. Along with hanging fuzzy dice on the rear-view and installing hydraulics to make their cars hop, lowrider groups for years have filled the gaps created by a lack of city services and other social institutions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13923205/best-of-roll-with-us-a-sisterhood-of-lowriding\">Dueñas\u003c/a>, an all-women, intergenerational collective from the South Bay led by Angel Romero, exemplifies the changing perception of lowriders.\u003c/p>\n\u003cp>Since their founding more than five years ago, the collective has turned heads at car shows, organized holiday toy drives for kids and performed philanthropic work throughout the South Bay.\u003c/p>\n\u003cfigure id=\"attachment_13981668\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Duen%CC%81as_2-scaled.jpeg\" alt=\"An intergenerational group of Latina women pose for a photo.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-2000x1333.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Dueńas_2-2048x1365.jpeg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Dueńas car club, pictured in 2021, is an intergenerational collective of women from the South Bay. \u003ccite>(Renée Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, an image of Dueñas will be included in the Smithsonian exhibition.\u003c/p>\n\u003cp>“I never thought that lowriding, in general, would be this widely accepted,” says Romero. “Especially in times like this, where we’re facing a lot of different things going on in our communities.”\u003c/p>\n\u003cp>Those “different things” include a widespread federal crackdown on immigration, which sharply increased after Trump’s spending bill, approved in July, dedicated a staggering $75 billion to ICE enforcement over the next four years.\u003c/p>\n\u003cp>“To see our culture and our history highlighted in the Smithsonian,” Romero says, “it shows that no matter what, we will always be here.”\u003c/p>\n\u003cp>The image of Romero’s car club included in the Smithsonian exhibit was created by Northern California-based photographer \u003ca href=\"https://www.instagram.com/misslopezmedia/?hl=en\">Renée Lopez\u003c/a>.\u003c/p>\n\u003cp>When Lopez got final confirmation of the exhibition, she printed the image and hand-delivered it to the car club members. “I was like, ‘Hey, by the way, y’all are about to be in Smithsonian,’” Lopez says. “We all cried, it was amazing.”\u003c/p>\n\u003cfigure id=\"attachment_13981669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981669 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-2000x2667.jpg\" alt=\"\" width=\"2000\" height=\"2667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-2000x2667.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Miss-Lopez-scaled.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Renée Lopez, seen here at work in Oakland, has documented lowrider culture for years, with a specific focus on women. \u003ccite>(Courtesy of Miss Lopez Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://unscriptedphotographers.com/misslopezmedia\">A photographer\u003c/a> who’s spent the past six years documenting lowrider culture, specifically the women in the scene, Lopez says the inclusion in the exhibit is a huge honor, and something that she’s still trying to wrap her head around.\u003c/p>\n\u003cp>“I don’t get paid,” she says about her cultural documentation, “I do it out of love.”\u003c/p>\n\u003cp>Lopez’s mission to center women in lowriding underscores a significant shift within the culture. “We were really only allowed to be passengers,” Lopez says, in reference to older ways of thinking. “Now,” she says, “women have money to buy their own cars, they’re building their own cars and painting their own cars.” Two years ago, for the first time, she saw a woman compete in a hop contest.\u003c/p>\n\u003cp>“This is what I’ve been working for, to push the culture forward,” says Lopez. “For it to be at this time, with what’s happening in this country right now, it is so special. I can’t even explain it.”\u003c/p>\n\u003cp>Lopez, who is currently working on a documentary about women in lowriding, plans to make the trip to the nation’s capitol for this weekend’s opening.\u003c/p>\n\u003cp>“Lowriding has been happening for a long time, and it’s always about resistance and resilience, right?” she says.\u003c/p>\n\u003cp>“For it to be shown right now, I feel like the timing couldn’t have been better.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Corazón y vida’ opens Friday, Sept. 26, at the Smithsonian National Museum of American History in Washington D.C. \u003ca href=\"https://americanhistory.si.edu/explore/exhibitions/corazon-y-vida-lowriding-culture\">Details and more information here\u003c/a>. The touring exhibition \u003ca href=\"https://www.sites.si.edu/s/tour-schedule?exhibit=Lowrider%20Culture%20in%20the%20United%20States%20%2F%20Cultura%20Lowrider%20en%20los%20Estados%20Unidos\">visits three cities in California\u003c/a>: Anaheim, Port Hueneme and Fresno. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Play Staged Entirely Out of a Vintage Convertible",
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"content": "\u003cp>In the middle of the COVID-19 pandemic, Jess Bliss got an idea.\u003c/p>\n\u003cp>Bliss, founder of \u003ca href=\"https://www.therootsandwingsproject.com/mission-history\" target=\"_blank\" rel=\"noopener\">The Roots and Wings Project\u003c/a> theatre company, wanted to stage a play for an audience in an outside venue while the actors used a parked car as a stage. And a vintage convertible car, at that.\u003c/p>\n\u003cp>Fast-forward a few years, and that play, \u003ca href=\"https://www.therootsandwingsproject.com/the-joy-ride\" target=\"_blank\" rel=\"noopener\">\u003cem>The Joy Ride\u003c/em>\u003c/a>, is about to roll into the Bay Area \u003ca href=\"https://www.eventbrite.com/e/the-joy-ride-tickets-973833631607?aff=oddtdtcreator\" target=\"_blank\" rel=\"noopener\">on Sunday, Oct. 20, at 7th West in Oakland\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13966594']The play stars Darian Dauchan, Reginald P. Louis, Ashlee Olivia and Marlene Luna Castañeda as four adults on a trip, each metaphorically going through the learning curves that make up life’s winding road.\u003c/p>\n\u003cp>While one character, Rafael, deals with long-term COVID, another, Kenzi, is learning to navigate the world after three decades in prison. There’s Yasmine, who recently left a toxic relationship, and Lina, a dedicated single mother who just wants a little free time. While in the car together, they realize that time is a common thread in each of their stories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GkTTj7QaWps\u003c/p>\n\u003cp>The soundtrack for \u003cem>The Joy Ride\u003c/em> is by \u003ca href=\"https://www.instagram.com/teaosense/\">Teao Sense\u003c/a>, a Bay Area-raised music producer and founder of the world hip-hop collective \u003ca href=\"https://www.audiopharmacy.com/\" target=\"_blank\" rel=\"noopener\">Audiopharmacy\u003c/a>.\u003c/p>\n\u003cp>Playwright Jess Bliss had originally contacted Sense for permission to use the Audiopharmacy song “\u003ca href=\"https://www.youtube.com/watch?v=8VzP5VlK5TQ\" target=\"_blank\" rel=\"noopener\">Prophecies\u003c/a>.” But after Bliss sent the full script, Sense realized the parallels between the play and the focus of his group’s music.\u003c/p>\n\u003cp>“It was right up our alley, content-wise and message-wise,” says Sense, who went on to produce the play’s entire soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_13966735\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966735\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/img_2404_720.png\" alt=\"\" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/img_2404_720.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/img_2404_720-160x120.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Audiopharmacy Collective. \u003ccite>(Youssif Salah/U Filmz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sense, whose audio cinema piece “\u003ca href=\"https://www.youtube.com/watch?v=L79fvZM66dw\" target=\"_blank\" rel=\"noopener\">Lose Your Mind\u003c/a>” screens at next week’s \u003ca href=\"https://roxie.com/film/apature-2024-film-showcase/\" target=\"_blank\" rel=\"noopener\">APAture 2024 Film Showcase\u003c/a> at San Francisco’s Roxie Theatre, says directing film is a new venture. But as a longtime music director, DJ and producer, he isn’t new to creating soundtracks for film or theatre. And in making the music for \u003cem>The Joy Ride\u003c/em>, he found ease in simply letting the story’s concepts guide the sound.\u003c/p>\n\u003cp>[aside postID='arts_13966570']“Interestingly enough,” says Sense, attempting to explain the plot of the play without giving away too much detail, “the car breaks down.”\u003c/p>\n\u003cp>While the characters come together for a lighthearted joy ride, they ultimately confront individual obstacles they’ve each been trying to escape. That’s the tone of the music, too, Sense says.\u003c/p>\n\u003cp>“It’s addressing social issues and mental health,” Sense says. “It’s really interesting and really relatable to all types of audiences… Everybody’s got challenges, and can relate.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Roots & Wings Project’s outdoor performance of ‘The Joy Ride’ takes place on Sunday, Oct. 20, at 7th West in Oakland. \u003ca href=\"https://www.eventbrite.com/e/the-joy-ride-tickets-973833631607?aff=oddtdtcreator\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the middle of the COVID-19 pandemic, Jess Bliss got an idea.\u003c/p>\n\u003cp>Bliss, founder of \u003ca href=\"https://www.therootsandwingsproject.com/mission-history\" target=\"_blank\" rel=\"noopener\">The Roots and Wings Project\u003c/a> theatre company, wanted to stage a play for an audience in an outside venue while the actors used a parked car as a stage. And a vintage convertible car, at that.\u003c/p>\n\u003cp>Fast-forward a few years, and that play, \u003ca href=\"https://www.therootsandwingsproject.com/the-joy-ride\" target=\"_blank\" rel=\"noopener\">\u003cem>The Joy Ride\u003c/em>\u003c/a>, is about to roll into the Bay Area \u003ca href=\"https://www.eventbrite.com/e/the-joy-ride-tickets-973833631607?aff=oddtdtcreator\" target=\"_blank\" rel=\"noopener\">on Sunday, Oct. 20, at 7th West in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The play stars Darian Dauchan, Reginald P. Louis, Ashlee Olivia and Marlene Luna Castañeda as four adults on a trip, each metaphorically going through the learning curves that make up life’s winding road.\u003c/p>\n\u003cp>While one character, Rafael, deals with long-term COVID, another, Kenzi, is learning to navigate the world after three decades in prison. There’s Yasmine, who recently left a toxic relationship, and Lina, a dedicated single mother who just wants a little free time. While in the car together, they realize that time is a common thread in each of their stories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GkTTj7QaWps'\n title='//www.youtube.com/embed/GkTTj7QaWps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The soundtrack for \u003cem>The Joy Ride\u003c/em> is by \u003ca href=\"https://www.instagram.com/teaosense/\">Teao Sense\u003c/a>, a Bay Area-raised music producer and founder of the world hip-hop collective \u003ca href=\"https://www.audiopharmacy.com/\" target=\"_blank\" rel=\"noopener\">Audiopharmacy\u003c/a>.\u003c/p>\n\u003cp>Playwright Jess Bliss had originally contacted Sense for permission to use the Audiopharmacy song “\u003ca href=\"https://www.youtube.com/watch?v=8VzP5VlK5TQ\" target=\"_blank\" rel=\"noopener\">Prophecies\u003c/a>.” But after Bliss sent the full script, Sense realized the parallels between the play and the focus of his group’s music.\u003c/p>\n\u003cp>“It was right up our alley, content-wise and message-wise,” says Sense, who went on to produce the play’s entire soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_13966735\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966735\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/img_2404_720.png\" alt=\"\" width=\"720\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/img_2404_720.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/img_2404_720-160x120.png 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Audiopharmacy Collective. \u003ccite>(Youssif Salah/U Filmz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sense, whose audio cinema piece “\u003ca href=\"https://www.youtube.com/watch?v=L79fvZM66dw\" target=\"_blank\" rel=\"noopener\">Lose Your Mind\u003c/a>” screens at next week’s \u003ca href=\"https://roxie.com/film/apature-2024-film-showcase/\" target=\"_blank\" rel=\"noopener\">APAture 2024 Film Showcase\u003c/a> at San Francisco’s Roxie Theatre, says directing film is a new venture. But as a longtime music director, DJ and producer, he isn’t new to creating soundtracks for film or theatre. And in making the music for \u003cem>The Joy Ride\u003c/em>, he found ease in simply letting the story’s concepts guide the sound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Interestingly enough,” says Sense, attempting to explain the plot of the play without giving away too much detail, “the car breaks down.”\u003c/p>\n\u003cp>While the characters come together for a lighthearted joy ride, they ultimately confront individual obstacles they’ve each been trying to escape. That’s the tone of the music, too, Sense says.\u003c/p>\n\u003cp>“It’s addressing social issues and mental health,” Sense says. “It’s really interesting and really relatable to all types of audiences… Everybody’s got challenges, and can relate.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Roots & Wings Project’s outdoor performance of ‘The Joy Ride’ takes place on Sunday, Oct. 20, at 7th West in Oakland. \u003ca href=\"https://www.eventbrite.com/e/the-joy-ride-tickets-973833631607?aff=oddtdtcreator\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "santa-rosa-cruisin-lowrider-museum-sonoma-county-review",
"title": "In Santa Rosa, ‘Cruisin’’ Celebrates a Vibrant Lowrider Culture",
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"content": "\u003cp>Ask any longtime Santa Rosan about the cruising scene in town, and they’re likely to reminisce about the bustling weekend-night cruise strip of their teen years. It might have been Fourth Street between Courthouse Square and the Eat ‘n’ Run drive-in, or Mendocino Avenue between Long’s Drugs and downtown. \u003c/p>\n\u003cp>As it happened, my younger years coincided with \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CC-Ordinance-2519.pdf\">Santa Rosa’s first anti-cruising ordinance (PDF)\u003c/a>. Perhaps not so coincidentally, it wasn’t enacted until Chicano lowrider culture became prominent on the city’s cruise strip, with hydraulics and large speakers. On Saturday nights, skateboarding on the sidewalk while custom Cadillacs and mini-trucks showed out in the street, I regularly witnessed cops pulling over these drivers, most of them Black or Latino. \u003c/p>\n\u003cp>Change came slowly. After 37 years on the books, \u003ca href=\"https://www.pressdemocrat.com/article/news/repeal-of-santa-rosas-decades-old-cruising-ban-seen-as-step-toward-greater/\">Santa Rosa’s cruising ban was finally repealed in 2023\u003c/a>, thanks in part to the city’s \u003ca href=\"https://www.kqed.org/news/11845882/roseland-santa-rosas-largely-latino-neighborhood-elects-first-ever-city-council-member\">first-ever council member from the largely Latino Roseland neighborhood\u003c/a>, who knew his constituents’ frustration and decided to do something about it. \u003c/p>\n\u003cfigure id=\"attachment_13961682\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques.jpg\" alt=\"\" width=\"2000\" height=\"1108\" class=\"size-full wp-image-13961682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-800x443.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1020x565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-768x425.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1536x851.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1920x1064.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) A custom upholstery panel by Jose “Pepe” Lombera and a display of plaques from car clubs around Sonoma County. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even at age 11, my skater friends and I could sense that laws like Santa Rosa’s cruising ordinance were discriminatory and unjust. \u003cem>Cruisin’\u003c/em>, an exhibition at the Museum of Sonoma County on display through Nov. 24, is a giant step toward understanding rather than persecuting lowrider culture.\u003c/p>\n\u003cp>Filled with the artwork and custom designs of Sonoma County car clubs, \u003cem>Cruisin’\u003c/em> shows the familial bonds forged in the lowrider community, and the unceasing dedication and creativity of the scene. With the cooperation of local riders, artists and archivists, along with members from the \u003ca href=\"https://www.srcity.org/Blog.aspx?IID=104\">Sonoma County Lowrider Council\u003c/a>, the exhibition gathers all the material evidence of lowrider life: meticulously painted car hoods. A reimagined upholstery panel. Airbrushed T-shirts. Sixteen different jackets and 19 custom car plaques. A large chassis with hydraulics. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two vintage cars form the centerpiece of the show. Neto Longoria’s 1938 Plymouth was first lowered in the 1960s; it’s said to be the longest running lowrider in Sonoma County. And Bill Llamas’ 1940 Chevrolet Business Coupe reveals new incredible details with each close inspection. \u003c/p>\n\u003cfigure id=\"attachment_13961685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet.jpg\" alt=\"\" width=\"2000\" height=\"1389\" class=\"size-full wp-image-13961685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-1920x1333.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bill Llamas’ 1940 Chevrolet Business Coupe, on display at ‘Cruisin’,’ a lowrider exhibit at the Museum of Sonoma County. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re members of a car club, not a gang,” says one interviewee in a looping video that’s worth watching in full. Filmed in the early 1980s through a community access-style county program, it includes footage of cruises along Santa Rosa Avenue near City Hall and Juilliard Park, and interviews about the issues lowriders face: prejudice, selective enforcement and unlawful searches of their cars. \u003c/p>\n\u003cp>“A lowrider has dignity, self-respect, self-esteem,” says another interview subject. “They don’t have to show anybody how bad they are. They’re proud of who they are when they get dressed in the morning, they’re dressed clean and neat. They take pride in their car, themselves, their family, their friends. That’s what it means to me.” \u003c/p>\n\u003cp>Alfonso Dominguez’s \u003cem>Twisted Obsession\u003c/em> lowrider bike, which won \u003cem>Lowrider\u003c/em> magazine’s 1995 Bike of the Year, is on display, as is Jose Fausto’s customized 2001 Harley-Davidson, \u003cem>Aztlán\u003c/em>, combining Native American and Chicano aesthetics. There’s even a full-size piñata rendition of a 1964 Impala by mixed-media artist Justin Favela. \u003c/p>\n\u003cfigure id=\"attachment_13961684\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela.jpg\" alt=\"\" width=\"2000\" height=\"1308\" class=\"size-full wp-image-13961684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-1536x1005.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-1920x1256.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Justin Favela’s ‘Santa Rosa piñata lowrider,’ on display at ‘Cruisin’,’ a lowrider exhibit at the Museum of Sonoma County. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the exhibit, it’s made clear that this is a street-level culture. Vintage photos prove that the lowrider footprint in Sonoma County stretched as far as Duncans Mills, out near the coast. Sonja Vasquez’s incredible portraits capture lowriders’ determination and pride. And a wall of hand-drawn artwork depicts fantastical dreams alongside daily life, such as a red pencil illustration from Anthony “Chuko” Garduño that includes a paleta cart and a Dollar Tree.\u003c/p>\n\u003cp>No single museum exhibit can thoroughly capture Sonoma County’s entire lowrider scene, which includes hundreds of families — sometimes stretching back generations — and 21 different car clubs. But because of the museum’s decision to work directly with the community for this exhibit, \u003cem>Cruisin’\u003c/em> is undoubtedly what every lowrider aspires to be: authentic.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cruisin’’ is on view at the Museum of Sonoma County in Santa Rosa through Sunday, Nov. 24, 2024. \u003ca href=\"https://museumsc.org/cruisin/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask any longtime Santa Rosan about the cruising scene in town, and they’re likely to reminisce about the bustling weekend-night cruise strip of their teen years. It might have been Fourth Street between Courthouse Square and the Eat ‘n’ Run drive-in, or Mendocino Avenue between Long’s Drugs and downtown. \u003c/p>\n\u003cp>As it happened, my younger years coincided with \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/CC-Ordinance-2519.pdf\">Santa Rosa’s first anti-cruising ordinance (PDF)\u003c/a>. Perhaps not so coincidentally, it wasn’t enacted until Chicano lowrider culture became prominent on the city’s cruise strip, with hydraulics and large speakers. On Saturday nights, skateboarding on the sidewalk while custom Cadillacs and mini-trucks showed out in the street, I regularly witnessed cops pulling over these drivers, most of them Black or Latino. \u003c/p>\n\u003cp>Change came slowly. After 37 years on the books, \u003ca href=\"https://www.pressdemocrat.com/article/news/repeal-of-santa-rosas-decades-old-cruising-ban-seen-as-step-toward-greater/\">Santa Rosa’s cruising ban was finally repealed in 2023\u003c/a>, thanks in part to the city’s \u003ca href=\"https://www.kqed.org/news/11845882/roseland-santa-rosas-largely-latino-neighborhood-elects-first-ever-city-council-member\">first-ever council member from the largely Latino Roseland neighborhood\u003c/a>, who knew his constituents’ frustration and decided to do something about it. \u003c/p>\n\u003cfigure id=\"attachment_13961682\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques.jpg\" alt=\"\" width=\"2000\" height=\"1108\" class=\"size-full wp-image-13961682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-800x443.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1020x565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-768x425.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1536x851.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.Upholstery.Plaques-1920x1064.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) A custom upholstery panel by Jose “Pepe” Lombera and a display of plaques from car clubs around Sonoma County. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even at age 11, my skater friends and I could sense that laws like Santa Rosa’s cruising ordinance were discriminatory and unjust. \u003cem>Cruisin’\u003c/em>, an exhibition at the Museum of Sonoma County on display through Nov. 24, is a giant step toward understanding rather than persecuting lowrider culture.\u003c/p>\n\u003cp>Filled with the artwork and custom designs of Sonoma County car clubs, \u003cem>Cruisin’\u003c/em> shows the familial bonds forged in the lowrider community, and the unceasing dedication and creativity of the scene. With the cooperation of local riders, artists and archivists, along with members from the \u003ca href=\"https://www.srcity.org/Blog.aspx?IID=104\">Sonoma County Lowrider Council\u003c/a>, the exhibition gathers all the material evidence of lowrider life: meticulously painted car hoods. A reimagined upholstery panel. Airbrushed T-shirts. Sixteen different jackets and 19 custom car plaques. A large chassis with hydraulics. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two vintage cars form the centerpiece of the show. Neto Longoria’s 1938 Plymouth was first lowered in the 1960s; it’s said to be the longest running lowrider in Sonoma County. And Bill Llamas’ 1940 Chevrolet Business Coupe reveals new incredible details with each close inspection. \u003c/p>\n\u003cfigure id=\"attachment_13961685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet.jpg\" alt=\"\" width=\"2000\" height=\"1389\" class=\"size-full wp-image-13961685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-1020x708.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-1536x1067.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.1940Chevrolet-1920x1333.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bill Llamas’ 1940 Chevrolet Business Coupe, on display at ‘Cruisin’,’ a lowrider exhibit at the Museum of Sonoma County. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re members of a car club, not a gang,” says one interviewee in a looping video that’s worth watching in full. Filmed in the early 1980s through a community access-style county program, it includes footage of cruises along Santa Rosa Avenue near City Hall and Juilliard Park, and interviews about the issues lowriders face: prejudice, selective enforcement and unlawful searches of their cars. \u003c/p>\n\u003cp>“A lowrider has dignity, self-respect, self-esteem,” says another interview subject. “They don’t have to show anybody how bad they are. They’re proud of who they are when they get dressed in the morning, they’re dressed clean and neat. They take pride in their car, themselves, their family, their friends. That’s what it means to me.” \u003c/p>\n\u003cp>Alfonso Dominguez’s \u003cem>Twisted Obsession\u003c/em> lowrider bike, which won \u003cem>Lowrider\u003c/em> magazine’s 1995 Bike of the Year, is on display, as is Jose Fausto’s customized 2001 Harley-Davidson, \u003cem>Aztlán\u003c/em>, combining Native American and Chicano aesthetics. There’s even a full-size piñata rendition of a 1964 Impala by mixed-media artist Justin Favela. \u003c/p>\n\u003cfigure id=\"attachment_13961684\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela.jpg\" alt=\"\" width=\"2000\" height=\"1308\" class=\"size-full wp-image-13961684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-1536x1005.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Lowriders.JustinFavela-1920x1256.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Justin Favela’s ‘Santa Rosa piñata lowrider,’ on display at ‘Cruisin’,’ a lowrider exhibit at the Museum of Sonoma County. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the exhibit, it’s made clear that this is a street-level culture. Vintage photos prove that the lowrider footprint in Sonoma County stretched as far as Duncans Mills, out near the coast. Sonja Vasquez’s incredible portraits capture lowriders’ determination and pride. And a wall of hand-drawn artwork depicts fantastical dreams alongside daily life, such as a red pencil illustration from Anthony “Chuko” Garduño that includes a paleta cart and a Dollar Tree.\u003c/p>\n\u003cp>No single museum exhibit can thoroughly capture Sonoma County’s entire lowrider scene, which includes hundreds of families — sometimes stretching back generations — and 21 different car clubs. But because of the museum’s decision to work directly with the community for this exhibit, \u003cem>Cruisin’\u003c/em> is undoubtedly what every lowrider aspires to be: authentic.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Cruisin’’ is on view at the Museum of Sonoma County in Santa Rosa through Sunday, Nov. 24, 2024. \u003ca href=\"https://museumsc.org/cruisin/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "firme-films-lowrider-showcase-macla-documentaries-cinco-de-mayo",
"title": "Rare Lowrider Documentaries Screen at MACLA for Cinco de Mayo",
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"content": "\u003cp>When \u003ca href=\"https://www.mercurynews.com/2024/04/30/cinco-de-mayo-celebrations-in-san-jose-include-parades-lowrider-shows/\">San José celebrates Cinco de Mayo\u003c/a> this weekend, there will be parades, live cumbia music and lucha libre wrestling spread across two days of revelry. But for those craving a slightly more subdued scene, a darkened screening room at \u003ca href=\"https://maclaarte.org/\">MACLA (Movimiento de Arte y Cultura Latino Americana)\u003c/a> might be your dream destination.\u003c/p>\n\u003cp>On May 4, at 12 p.m. and 2:30 p.m., Ricardo Cortez will be screening the first annual \u003ca href=\"https://partiful.com/e/IeGzltW6WC1jNCw8mRUj\">Firme Films Lowrider Showcase\u003c/a>, a free two-hour program of historic lowrider documentaries. \u003c/p>\n\u003cp>“I’ve been into lowrider culture since I was 13 years old,” says Cortez, a creative director, artist and author of \u003ci>\u003ca href=\"https://lowriderabc.com/\">The ABCs of Lowriding\u003c/a>\u003c/i>. When his daughter was born in 2017, he couldn’t find any children’s books that would introduce kids to the culture he loved so much. So he wrote and illustrated one himself.\u003c/p>\n\u003cfigure id=\"attachment_13957185\" class=\"wp-caption aligncenter\" style=\"max-width: 913px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low.png\" alt=\"white text over image of shiny cars\" width=\"913\" height=\"621\" class=\"size-full wp-image-13957185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low.png 913w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low-800x544.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low-768x522.png 768w\" sizes=\"(max-width: 913px) 100vw, 913px\">\u003cfigcaption class=\"wp-caption-text\">A still from 1981’s ‘Crusin’ Low’ documentary, screening at MACLA on May 4. \u003ccite>(Courtesy of Ricardo Cortez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cortez is also a collector, an amateur historian of all the ephemera that circulates around these sleek custom cars and the sense of community they create. Magazines and car show fliers led him to lowrider documentaries, many of which were made for television and now exist only in archival collections. \u003c/p>\n\u003cp>Working with libraries and directors, Cortez has digitized VHS copies of films specifically for this festival. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’ll be showing a program of documentaries — \u003ci>Cruisin’ Low\u003c/i> from 1981, \u003ci>Low ’n Slow: The Art of Lowriding\u003c/i> from 1983, and 2005’s \u003ci>Lowriding in Aztlan\u003c/i> — along with a trailer for the forthcoming film \u003ci>La Vida Low: San Jose\u003c/i> and bonus TV coverage of lowriders.\u003c/p>\n\u003cp>Word of the screening has even spread to some of the people originally featured in the ’80s documentaries. “Back then they were like 17 years old, and now they’re in their 60s,” Cortez says. “They’re like, ‘Hey this is totally cool that we’re being featured, put on the big screen.’ And so they’re coming down from Sonoma to be able to be a part of this event.”\u003c/p>\n\u003cp>For Cortez, preserving and presenting these documentaries on a much larger scale (a large-scale projection as opposed to a home television screen) is part of honoring the material and its subject matter. “I think that there’s going to be a sense of pride,” he says, “knowing that we’re really putting our culture on a pedestal during this event.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Firme Films Lowrider Showcase screens for free Saturday, May 4, 12–2 p.m. and 2:30–4:30 p.m. at MACLA (510 S. 1st St., San José). \u003ca href=\"https://partiful.com/e/IeGzltW6WC1jNCw8mRUj\">Registration is encouraged\u003c/a>, but does not guarantee a seat. Seating is first come, first served.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.mercurynews.com/2024/04/30/cinco-de-mayo-celebrations-in-san-jose-include-parades-lowrider-shows/\">San José celebrates Cinco de Mayo\u003c/a> this weekend, there will be parades, live cumbia music and lucha libre wrestling spread across two days of revelry. But for those craving a slightly more subdued scene, a darkened screening room at \u003ca href=\"https://maclaarte.org/\">MACLA (Movimiento de Arte y Cultura Latino Americana)\u003c/a> might be your dream destination.\u003c/p>\n\u003cp>On May 4, at 12 p.m. and 2:30 p.m., Ricardo Cortez will be screening the first annual \u003ca href=\"https://partiful.com/e/IeGzltW6WC1jNCw8mRUj\">Firme Films Lowrider Showcase\u003c/a>, a free two-hour program of historic lowrider documentaries. \u003c/p>\n\u003cp>“I’ve been into lowrider culture since I was 13 years old,” says Cortez, a creative director, artist and author of \u003ci>\u003ca href=\"https://lowriderabc.com/\">The ABCs of Lowriding\u003c/a>\u003c/i>. When his daughter was born in 2017, he couldn’t find any children’s books that would introduce kids to the culture he loved so much. So he wrote and illustrated one himself.\u003c/p>\n\u003cfigure id=\"attachment_13957185\" class=\"wp-caption aligncenter\" style=\"max-width: 913px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low.png\" alt=\"white text over image of shiny cars\" width=\"913\" height=\"621\" class=\"size-full wp-image-13957185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low.png 913w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low-800x544.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/crusin-low-768x522.png 768w\" sizes=\"(max-width: 913px) 100vw, 913px\">\u003cfigcaption class=\"wp-caption-text\">A still from 1981’s ‘Crusin’ Low’ documentary, screening at MACLA on May 4. \u003ccite>(Courtesy of Ricardo Cortez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cortez is also a collector, an amateur historian of all the ephemera that circulates around these sleek custom cars and the sense of community they create. Magazines and car show fliers led him to lowrider documentaries, many of which were made for television and now exist only in archival collections. \u003c/p>\n\u003cp>Working with libraries and directors, Cortez has digitized VHS copies of films specifically for this festival. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’ll be showing a program of documentaries — \u003ci>Cruisin’ Low\u003c/i> from 1981, \u003ci>Low ’n Slow: The Art of Lowriding\u003c/i> from 1983, and 2005’s \u003ci>Lowriding in Aztlan\u003c/i> — along with a trailer for the forthcoming film \u003ci>La Vida Low: San Jose\u003c/i> and bonus TV coverage of lowriders.\u003c/p>\n\u003cp>Word of the screening has even spread to some of the people originally featured in the ’80s documentaries. “Back then they were like 17 years old, and now they’re in their 60s,” Cortez says. “They’re like, ‘Hey this is totally cool that we’re being featured, put on the big screen.’ And so they’re coming down from Sonoma to be able to be a part of this event.”\u003c/p>\n\u003cp>For Cortez, preserving and presenting these documentaries on a much larger scale (a large-scale projection as opposed to a home television screen) is part of honoring the material and its subject matter. “I think that there’s going to be a sense of pride,” he says, “knowing that we’re really putting our culture on a pedestal during this event.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Firme Films Lowrider Showcase screens for free Saturday, May 4, 12–2 p.m. and 2:30–4:30 p.m. at MACLA (510 S. 1st St., San José). \u003ca href=\"https://partiful.com/e/IeGzltW6WC1jNCw8mRUj\">Registration is encouraged\u003c/a>, but does not guarantee a seat. Seating is first come, first served.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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