Cruisin' has an ironic yin-yang duality: you're simultaneously in the theater of cruisin', a player on the stage, and you're isolated from it.
Relative to the inside of the car, you are standing still. It's like you're in a capsule, a relativistic space-time capsule. Inside the capsule is a kind of isolation from the motion. And the motion makes you isolated from the community surrounding you, while at the same time you're being an important kinetic player in the whole choreography.
On one level you're community, on another level you're isolation.
Cruisin' leads to parking, getting out of the car, and hanging out with the community of people attracted to cruisin'. Then you become part of the audience.
© Kurt Lightfoot all rights reserved