To Live and Die in LA: Graffiti Towers

I listen. I love this town. I feel like not only the town, but the greater Los Angeles area, the SGV. You know, I got the six to six tattooed on my back. You know, I went to high school in Ie. Some of y'all noticed. My sister is still in the Ie, My aunt and m still in South Central, my daddy in Pomona, and I'm right here in East Lost like we were deep here. I married in my wife from

HP what we would call like Southeast La. So like going down to seventeen, not the seventeen that's like your South Gates, your cutahee, Bell Gardens, Huntington Park, like my in laws are in Bellflower. I love this place. I got roots all over it and of course the time on or tradition that this podcast has used as a springboard, which is just la gang life. It's a part of our experience. But gang life, as in crips and bloods is a very specific experience. That of course, is what

got exported across the world. You know when we did the Banging in Little Rock episode, why are there rolling sixty crypts in Kansas? You know, we talked about this before. A thing that's gotten exported all all over the world. There are things that come out of your mouth that y'all keep calling gen z or you know, hip slang that's really gang talk. Things that y'all don't know is gang talk is la. We there are Brooklyn Bloods like the it's we have exported a certain thing, and not

only that as an export. As one of the things we exported the Chicano culture lowriders, you know, the smile now, cry later stuff like all that type of like drawing in handstyles and lettering that's Chicano. You look in Japan, you go through Osaka, you would think you in East La. It's the most bizarre. It's like it messes with your brain because it's like, man, y'all do Chicanos sometimes better than we do Chicano Like. It's it's the most I

can't I can't explain it. This is the part of LA that I fell in love with that I grew up in. Notice I haven't mentioned anything about Hollywood. Of course y'all know about that. Of course, this is the entertainment capital of the world. Of course, the hollywod signed Griffith Park. You know, the La that the Chili Peppers talked about, the La that the Doors talked about. LA from the sixties, the flower Power, the Troubadour as a venue that launched a thousand careers, the Laurel Canyon scene

I have. I'm not even talking about that. Los Angeles creates culture, and if you cut me open, I'm a bleed it. But there's one thing that I want to talk about today that has now become a tourist attraction that has been in my mind not only what saved my life. I mean this quite literally, but as a beacon of culture, shaping language, cruise, and fashion, and that is our graffiti. We blanket cities with beautiful rainbows of art that some may call vandalism. And if those that

do graffiti are honest. They call it vandalism because that's what it is. But I tell you what our newest tourist attraction that I would love to talk to y'all about right now is the Los Angeles downtown Graphebee towers hook politics, y'all, all right, CALLI folk. I love this because this is this moment is such a cross section of politics, culture, you know, urban life, hip hop is a cross section in the story we about to see

right now, economy, everything. So if you're driving, you know, down the ten ten Freeway, Chris crosses the entire nation. But when you're coming in, let's say you're coming in from the you're gonna go through first, You're gonna you know, cut through all the deserts, the Palm Springs, Joshua Tree. Then you're gonna hit the Inland Empire. And then after you hit the end of the Empire, you're gonna hit

the San Gabriol Valley. The middle part. You know this like Alhambra, Rosemead, San Gabriel Right before you get to the seven ten, when you hit City Terrace, you're gonna see col State, La. Once you hit cal this is going down the ten, and once you hit Colstaate La,

you're officially in Los Angeles. You're about to go through City Terrace Boyle Heights and then have a chance to split and either go up the five to get you into Hollywood area or like Schefez Ravine to go to the Dodger Stadium, or you're gonna swing a little bit a few blocks south to connect to the rest of the ten alongside the La River. Now this is I'm doing this on purpose because it's it's very important for

the context. Now you're going to be driving through this stretch that runs along the downtown bridges where most like movie scenes when people are driving through the you know, having the high speed chases and they're like driving through gutters, that's the La River. Now you're on your way going into through the Arts District, into downtown Flower District. You know Jeelry, the Diamond District, Jewelry, like, all of this is happening right here. Now you're about to get into

La Live. This is where the Lakers play at Crypto Arena, used to be Staples, the Oscars. It all happens here a place that if you grew up here, you know

that downtown was blade Runner zombie land. We used to think as kids, this was the most lackluster downtown, like it was nothing, like just nothing, because it had its glory, like there's like the super beautiful like the Belasco, the Mayan Theater, Orpheum Theater, these places downtown that you could tell in like, you know, twenties and thirties was like, oh, it must have been cracking over here. Then it died.

Downtown died until the Lakers left Englewood the form and they started building La Live when they built the Staples Arena, and it brought life back to downtown and it became a place that now I mean kicking in all the time. You get beautiful high rise buildings, dope bars, and just a really dope like culture and nightlife. If you're single, you know, you can't have kids and lay down there. But it's also there's quite a serious homeless issue down there.

It's back. But a few blocks from Crypto towering over are four high rises that are a little different than the other high rise builds because they're blanketed with a who's who of Los Angeles graffiti riders. And it happened this year. It is one of the dopest Okay, wait, let me not say how dope I think it is because I need to, like, I need to tell you the story behind it before we get into it. But like, it's the dope. I'm sorry. I said I wouldn't go do it, but I have to do it as sciting.

It's the dopest thing the La Graffiti scene. It's four towers right that are abandoned. And I'm going to tell you the whole story about this in this podcast, especially for the LA folks that are listening to this. If you ever wondered, like how this happened and why ain't nothing happening? Since I hope they leave it there. They're

not going to leave it there. But here's the thing. So, it's these four towers that were supposed to be these fancy lofts, right, fancy high rise apartments overlooking Crypto, overlooking downtown luxury apartment lofts that they're supposed to be. Ain't nobody worked on them since twenty nineteen, And the La Graffiti Scene showed up and showed out every floor from

the bottom all the way up to the top. Each artist took a floor all the way into the skyline, it's burners and pieces from the top all the way to the bottom, and it just kept getting bigger. It was the greatest gift we got in twenty twenty four. It started in January and it got filled in a month. It became national news because of what I'm about to explain, which is the tics of it all. But before I

do that, let me talk about graffiti. Graffiti's a Latin word, maybe it's Greek, one of those, it's argued, but the argument is the first graffiti that they've seen came in during like the Roman Empire. Graffiti has to do with

usually or historically, by definition, is a political message. It's not necessarily vandalism because vandalism has to do with property ownership, all right, So if there is no ownership of the location of the griffit, we cannot call this vandalism because and the eyes of the law, as we know, and if you listen to anything on cool Zone, you understand that the law really only exists to protect property and

protecting us. You always say you're trying to protect property. Now, like anything else, things that were seen as a nuisance, if you give it some time, becomes gallery work and celebrated right, you take somebody like Basquiat, it's a craft writer. We consider him one of the first. Now you pay millions of dollars for it. Right, I'm gonna jump around here. But like the drawings and illustrations of somebody like a mister Cartoon who essentially tattooed every rapper you've ever met.

You get a mister Cartoon tattooed, right, those faces like I said earlier, the smile now cry later. The type of lettering, this type of like high calligraphy that you guys would be like, oh that's gangster writing. It's mister Cartoon. Big Sleeps, defer These people like og slick, right, these guys you know those la the la finger that Esteban took of the girl the black and white picture where she's throwing up la. So he has one. But they're

like Mickey Mouse cartoon hands. So that's slick. If you've ever worn a hurly shirt that looked slightly like street wear, that's Big Sleeps. These names who when I was a preteen, these were the guys that I've said before. When I was a child and driving from this city called Melinda, right right, unincorporated area between West Covina and La Pointe,

twenty minutes east of South Central. Driving there to my grandmother's house on sixty seventh to San Pedro and south on the east side of South Central Los Angeles, you have to cross over this one of these sections, depending on which way we went, you're crossing the La River. These since it's paved, it would be these ginormous to me, larger than life. I just these paintings, these letterings, this,

they were these characters. And if y'all know me again, my first love, before music, before anything, was I went to school for illustration. I went to school. I was gonna be an artist. And why because of graffiti? Why I rapped graffiti? This is that was my entry to hip hop. Was whatever that is, that's I want to

be a part of whatever that is. It just it was so colorful and vibrant in this area that was so invested in, you know, infested with violence and gang and just knowing that this was like ghetto art, like we were making this. There wasn't no guy went on, no T shirts. We were making this, and it just captured my imagination in a way nothing else did. Anyway, I'm ahead of myself. These people weren't getting paid for this stuff. These people weren't having you know, mister cartoon

got a Modello commercial. This stuff does not the fifty years of of hip hop, you know, the hip hop to infinity, these like interactive like that wasn't happening. These people were criminals if we were running from the law. One of my favorite one is Chaka, who's from my hood. They did a whole, a whole like news expos say about him because he gets because he used to get up everywhere. Nobody understood how he was able to get up. I'm gonna give you some I need to I'm saying

vocabulary before I explain it to you. Get up just means he got his name on a wall somewhere. You were able to get up somewhere. Anyway, This was the world that introduced me to everything. But at the time they were the scourge, and to the general public there was no distinction between, which made no sense to me. Sense to me because it was so easy to see a distinction between destruction of property, vandalism or like marking of territory, because all they saw was writing on the wall,

and it was so obvious to me. What was the boundary, marking, markings of a neighborhood gang versus a throw up or a piece. Now these are again, let me just give you those vocabulary. A throw up is like you run up. You're scribbling as fast as you can, working on your handstyles. The way your handstyles is like the style for which you write your letters. So you throw up your handstyle, which is your throw up real quick. That's where you got up. That's your name. If for me it was props,

because I've always been propaganda. So just my quicks, props, my little circle, copyright, my little arrow under the bottom. So you just throw that up, get out of there. A lot of times you would sometimes you would go to like you would do sticks where you would go to a post office and get those like just the sticker sheets or the hello my name is. We would just give reams of those things and you just practice your handstyles and then you would throw them on stop signs,

throw them on this right. So just burner is a little takes a little more time. A lot of times those are like one or two color kind of bubble letters, but they're larger your piece. That's like a mirror. A lot of times pieces are done by whole crews. But they are like the size of the building, multi colored, and they they I mean, they take a long time. I am trying to take you to a time for which we didn't have a place like the Arts District, which when you drive through the Arts District in LA

I'm like, this is graffiti. Like we a lot of us have records because of this stuff and some of the dudes doing it, one of them, the homie Vile. I know Vile's work because he used to do these eyes and I'm like on fourth and a Lamita, I'm like, that's Vile like these like these and he is a legend now. But they were criminals. Okay, the culture is so strange, but like this thing that became what it became in Los Angeles of course, or just as far as hip hop's concern comes out of New York, let's

let's be real comes out of New York. The subway train, things that like if you ever see you know, Beach Street or Wild Style, which of course it's like it is really dated, but if you can, just if you could suspend reality, please go see these two movies, like to understand the New York of it all. As far as like him is concerned. Where a lot of this

stuff came from. There was a lot that had to do, especially with the subway trains, because you only had like a few inches to work with in between in between these tunnels. And that was part of the game. Was you'd go in there in the middle of the night, though your burner up, all your peace up on the train, and then would like wait for the morning for that

train to come out. You go up to your little to your project building and look down and it was nothing more glorious than seeing that train come out of the train tunnel and the sunlight hits your piece that you didn't that you only saw in the dark, like you didn't even really get to see it, you haven't seen it from far away. That was part of you know, And those props were like now all the ghetto saw you know what I'm saying, your work. That was part

of it. Part of it was the anonymity of like like kind of like the vigilanti, like fast as fast can be. You can't catch me like you. You can't catch these guys like you. You know the mystery of it, but like we knew, you knew who that was but like that mystery of like you know, hide your face and you just see my work Like that was part of the adrenaline. Part of the adrenaline of that it is illegal and you could get caught, Like that's part of that was part of the allure. It gets to

Los Angeles. You know, we have our train bombing, you know what I'm saying and stuff like that. Of course we have that, but like that wasn't our culture. Our culture again was flowered by gang life. That was always a part of our culture. So we created Cruise right now, Tagging crews had a very different history because a lot of times tagging crews were there as alternatives to gang life,

which is how I got into tag. It was like, well I don't I like art, but you still get the adrenaline, right, And there's still, of course territorial stuff to where it's like, you know, you have different things

like consafas, which means like with safety. So like if I'm gonna tag and I put consavas, that basically means that like the neighborhood gang said, you can't touch this one, right if you cross out a khonsafas or if you cross out somebody that means we fight, and that's disrespectful anyway. What also must be mentioned was the development of what we would call tag which was in some areas, like the tagging crew was almost like a recruiting ground or

entry point into joining the set. So some of them dudes were like just talented thugs. There were crews that were like, like, this dude's like a tag banger, so he's a tagger, but he's also a gangster and like the way that he moved was much more gangway than some of the other dudes that were like, we're just in this for the art. Because again LA has been like colored with gang life. That's just a part of

the way colored. So yeah, there was like some dudes that were like that was their cover or places where like the big homies were recruit you know. So that's that's been a part of the culture too. All of that's there. The point is what we were able to develop as a style, as a community, and as a way for which we were able to celebrate our culture, our art, our rest in Peace murals, just like in New York, you know, are honoring our fallen stars. All of that is kind of a part of graffiti and

this was our art programs. Why I understand color theory, how I was able to get into my ap art program in high school was because I came from graffiti. I already knew how to paint, already knew my primary and secondary colors, already knew perspective, already knew all that stuff because you had to do it for graf already knew how to take a drawing from my black book, my sketch book, and blow it up bigger. All that to say, this has been a historical part of all

that is California. We used to call it a victimless crime, although we were lying to ourselves. Like I said before, we know there's victims here right now. There was also a place in Venice Beach that was one of the first that I know of legal yards. There's a skate park at the end of Venice Beach, right of course, y'all y'all know Muscle Beach, y'all know, the basketball court

was very important. But next to that was a skate park that that was a legal yard, and a lot of graffiti writers would go over there because again it was legal. You practice your work, get your skills up, get your bars up. We would find abandoned places to go to this anyway, we would find a band in places again, go practice your handstyles, like I remember sneaking in the tunnels and abandoned storm drains that like you know,

they they re routed the stuff. So we would sneak in there and work on our our skills, get you know, get our fades together, figure out how to have better can control. Why we would do it there is because it's not just about how good your art is. The location is important. That's part of the props. We would use a lot of times. That's what we would say. We say, look our our our our currency is props, you know, because there wasn't any money to be made,

so it's it's the props. It's the clout. And part of the clout was location. Why we would dangle on the side of freeways. I know dudes that died because they just fell from freeway signs. It was a part of it. The adrenaline, the degree of difficulty to get the spot, for us to be like, dang, how'd you catch the spot? How you figure that out was even a part of and the quality for which you know, your reputation as you know, adult writer would be right.

I'm not talking about toys, like we'd be here all night talking about you know what we would consider a toy and all that good stuff. But all that leads into why this graffiti tower, Because what a spot to catch It's perfect, it's abandoned, it's downtown. Every floor is completely empty, it's not trashed. It's actually super nice. It's hiding in plain sight. It's been empty since twenty nineteen.

No one's touching it. And then one guy gets the idea people were like doing their like base jumping and stuff off of it because it's just sitting there. And even it just sitting there is absurd in a city that has such a problem with houseless community. It's just it's just sitting here and them boys all the way to the top the lope. You gotta remember, that's why I want to give you this context. The location of your spot is also a part of it. This is

why it reached legendary status. Twenty twenty four has given us. Now I can count two legendary hipop moments, this graffiti Tower and the Kindrick and Drake thing. Now the politics of it all all right, we're back. Now it's not so much. This politics I'm gonna give you is something that these adult like writers had consciously on their mind. I'm telling you this as something for us to consider as a city, how to run a budget, how all of these things work. Now, flashback to when I said,

you know, downtown died. Downtown died from what I can gather after the Olympics. The Olympics happened in nineteen eighty four. That's when we built the coliseum, you know, which was condemned for a while. USC used to play there, but they just don't work on it lappen. What happened to La in a lot of ways is what happens to all these other major cities. People get grossly misplayed or displaced. Right. You build up this infrastructure and then it just sits there.

We talked, we did a you could rewind way back. I want to say it was like episode like eighteen nineteen something during the was it twenty twenty Olympics, During the Olympics, when we talked about like should we really have these right like liking stuff you know you're not supposed to like, you know, I obviously I become a complete flag waving patriot when it comes to the Olympics. But the Olympics always has had devastating, decimating effects on

the city. It just bankrupts it and it displaces hundreds of people. Downtown died. Okay, now I'm bringing a care you never thought i'd bring in. Who bought up a lot of these buildings was the guy who owned the Clippers, Donald Sterrole, and the Clippers, as we could tell because they were so trash, was really just I don't know, laundering a pet project of Donald Sterling, because he would just sit there. We would say, man, he just sit

there at the Clipper games looking at his investments. He would just look outside at the buildings he owned that he wasn't doing nothing in and just making money off of. Eventually Downtown got sold to China. We wasn't like they wasn't doing nothing with it. The city said they ain't had a bread to fix it up. Who came in first was La Live to build Staples Arena. Now, once you build Staples Arena, all we need investors. China, as we all know, ain't stupid. They got sense and they

got bread. Now, all this talk about China becoming the new World power and all this stuff that like that's where we as a nation can call because Inas much as you talking about local grown invest in USA, you done sold Downtown LA to China. And you think we don't know this, everybody out here new that's who owned these buildings. China bought them, So don't so don't you know, piss on my back and tell me it's raining. Y'all sold down down to China. Didn't got the nerve to

talk about tariffs anyway. This particular building or this plaza was called Ocean Wide Plaza, and it's bankrupt. It was development in downtown LA owned by this Chinese company called ocean Wide Holdings, which clearly sound made up, right like obviously, come on, y'all, y'all know out that's y'all made that up. That's just that's that's a dva. You done stood up so you can invest this money in. Now check this out. Okay. They started building this thing, ran out of money, and

they stopped working in twenty nineteen. Right now, since then, they've been trying to get bidders right to invest in this and the people who they've been trying to invest in. Now, keep in mind, we are in the middle of one of the largest housing crises. I mean, like, are we lying like ain't enough houses and y'all, y'all, y'all, y'all,

y'all selling our real estate to other people? Okay, So so here go to bidders Blackstone, black Rock, right, and some cash rich overseas like sovereign wealth funds like from the Middle East, like in Asia and Europe. Right, Like, so, y'all, can you hear this cat, this building just sitting here, you like, knock it down? It would cost too much

to knock it down? Is they argument? It would cost too much to knock it down, right, But you're finna sell it to all these other countries while telling us we need to invest logo while telling us that the problem is these illegal immigrants coming into our city. Can you just what are you talking about now? In a

bankruptcy report? Right, because you had to eventually file bankruptcy, Like, yo, this thing's okay before I get specifically, like listen, this thing is about two thirds done and with about it's one point two billion already invested in it. Like that's what A guy that's part of the brokerage team, his name's Mark Tarzinski. He was like, why would anyone I mean, it's a like, why would anyone knock it? There's nothing wrong with the building. It's actually good bread and look

if it works. He fit a ball out, like cash out, cuz like, let me not argue with this, the fact that like there is bread to be made on this, And I don't blame him for being like, who wont what? Now the bankruptcy They said that this thing's market value is almost three hundred and thirty four million dollars, right, but costs to finish it and to fix it is eight hundred and sixty five million, right, And it's only an it and they're sixty percent finished. But you obviously

got set back because you got to fix all these pieces. Now, if it were me, I would leave the pieces in charge double like I feel like you got a piece of history. But they don't think like me. Now the developers, right, which is normal. Developers sometimes stall time from time because you run out of money, but rarely do they just give up and walk away and just leave something have done. And part of why they could do that is because they don't live here. But it's actually more sinister than that,

and I'm explaining it to you in a second. Now, this same company, Ocean Wide Holdings. They bought this parking lot across the street from the arena back in twenty fourteen, right, and then that's when they started working on the tower. So they've been working on this for a while. Right. It was supposed to have apartments, five star hotel right, up market stores, restaurants. Right. They were trying to make this look like some time square out this mug. They

was like, we out of money. We good now how they ran out of money again? And listen to the politics. Why they couldn't finish this mug wasn't just the natural like oh we overspent man, you know, we underestimated the costs. It's because the Chinese government said, we don't like money flowing out bound. Y'all need to leave y'all money here. FAM's it was politics. They said, you you spend it too much money other places. You need to spend your

money here. And since they don't have a free market economy like we do, at least they don't lie to themselves to say they got a free market economy, they just they just mask off with it. They was like, y'all need to stop spending your money over there. Sometimes shutting stuff down just works. That's the type stuff Trump be on. So then you had to stop because the

contract builders stopped being paid. Now, if you're a general contractor, you like and the people that paid you filing Chapter eleven bankruptcy, you like, okay, cool, I need my money. Though I did my part, I need my money. So ocean wide, they owe back taxes to LA and they read to repay the money the city of Los Angeles for all the security they tried to put in place in response to the graffiti stuff. The city allotted four

million dollars. Now on one hand, in the city's defense because I'm gonna drag them later in the city's defense. You get a building like that, it's like, oh, dope, y'all gonna pay for it. Y'all gonna build it. We just get to collect taxes on it, run it. That's quite a play in the defense. If I get to just collect taxes on some mind spend spin to build and you gotta get all the permits and you gotta hire niggas here, I'm creating jobs, I'm collecting tax bread

and I ain't gotta invest that. Oh that's a lick in they defense. I get it. That's a lick. They obviously graffiti the furthest thing from their mind also the furthest thing from their minds. What JJ in king was Finna? Do you? Was Finna? Just like you mess it up the play? And they like, we done ran this play before. It's an easy play. And we get to get on the camera and say we're doing good for the city. Were providing homes. We build it off, like is you

providing homes? Because even if you finished, as you're talking about these four thousand and five thousand dollars a month lofts in downtown, who these homes for? But I'll see the play you running. It just makes sense. We'll make the bread off the taxas. However, y'all thought y'all was gonna get y'all money. Wait hey, so back to my thought. The city allotted four million dollars to erect the fence to protect you from the painters. Yo. On our local news,

I loved it. They were doing these like these little expos a pieces where these people was like, well, we're not trying to condone vandalism, but let's interview our l a graffiti scene and they had like the little Latina newsperson come inner view these dudes, and I could see her trying to like humanize it. I'm looking at this lady and I'm like, okay, you look at you around our as. I was like, oh, you used to tag

when you were younger. I could totally tell anyway. In February, listen to me, four million dollars to put a fence up to protect the building that they don't own and ain't gonna get they money for to protect it from painters. Y'all this listen. You have you ever have a friend that you going out to eat with and they all of a sudden being like, oh man, I ain't got it this week, I get it next week. And you look at their feet, they wearing a pan new pair of JS. Oh you got it. You just don't. You

just spend it in on stuff that don't matter. Let me get this straight. City in Los Angeles, you you gonna spend full million dollars to protect the building that ain't yours, that ain't gonna be done that you're finna sell to another country? You who you gonna get your money back? Let me ask you something. You think they gonna pay you back? I thought you was from the hood. I thought you was from La. You ain't gonna get you who you gonna get your money back? Y'all really

think you gonna get your money back? You think the people they're selling this too after the brokers done got their commission. Come here, come here, come here. Do you know how much trash we talked to China? You think Beijing ain't gonna get you your money? Here's my suggestion.

Leave it there, Let it be an art installation, buy it yourself, because you know what The Olympics is coming, and yo, little sorry tal still need to figure out where to put the one hundred and fifty thousand population of a houseless You also got a housing shortage in Los Angeles. I don't understand why your math ain't mathing, but I get it. You ain't got it, though, but I get it. The graffiti is the nuisance, and like we said, your job is not to protect us but property.

So on behalf of Los Angeles. I want to say thank you to the La graffiti scene for giving us something beautiful. And I hope every time our local government looks at that that they think we really got it all backwards, don't we. I'm definitely not saying just shove the homeless into a building, because that's not that's not loving at all. There's organizations like Path Partners, which I will link into this show notes, who are doing amazing,

amazing things to help transition our houseless population. At least that I can tell. I'm not one of the ours. Listen, maybe they got some skeletons in their closet that I don't know of, if so correct me, But from what I've seen, prey dope er, I just think there's a better use of your money than four million dollars to put up a fence to protect something that ain't even yours. But you know what, don't listen to me. What do I know? All right? Now, don't you hit stop on

this pod? You better listen to these credits. I need you to finish this thing so I can get the download numbers. Okay, so don't stop it yet, but listen. This was recorded in East Lost Boyle Heights by your boy Propaganda. Tap in with me at prop hip hop dot com. If you're in the Coldbrew coffee we got terraform Coldbrew. You can go there dot com and use promo code hood get to twenty percent off get yourself some coffee. This was mixed, edited, and mastered by your

boy Matt Alsowski Killing the Beat Softly. Check out his website Mattowsowski dot com. I'm a speller for you because I know M A T. T O S O W s ki dot com Matthowsowski dot com. He got more music and stuff like that on there, so gonna check out. The Heat Politics is a member of cool Zone Media, executive produced by Sophie Lichterman, part of the iHeartMedia podcast network. Your theme music and scoring is also by the one and nobly Matt Awsowski. Still killing the beat softly, So listen.

Don't let nobody lie to you. If you understand urban living, you understand politics. These people is not smarter than you. We'll see y'all next week. The