American sedans retooled to hug the ground (or “dance” through manipulation of their hydraulic system), especially popular among Mexican Americans in the western borderlands. Since the late 1970s, low riders have become assertive “vehicles of display” boasting elaborate paint jobs, murals and interior additions. They have increasingly been recognized in the 1990s as ethnic symbols, while gaining visibility in car shows and Low Rider magazine (founded 1978). The disjunction of automobile and culture they imply becomes visible in Bulworth (1998) when the white hero finds his borrowed car rocking hysterically as he tries to drive it.