The Brief

Graffiti writing as a common form of street art makes a lot of sense in a place like Los Angeles.

Long, frequent commutes make boulevards and freeways the ideal canvas for artists to get eyes on a statement they're trying to make or a conversation they're trying to start.

Like many forms of art, graffiti writing is not without controversy — it is often used in acts of vandalism and has been associated with gang activity because of its use by those groups to mark territory. But graffiti writers will tell you their art form is not only about communicating with each other as artists, it's about starting conversations about things like identity, politics or movements the artist feels aren't being had.

LAist talked with local experts on street art and graffiti writing, as well as graffiti writers and artists themselves, about the earliest iterations of this type of street art in Los Angeles, how it morphed into the graffiti writing we see today and its significance as a form of artistic expression in the Southern California art scene.

'Hobo graffiti' and early examples

Some of the earliest graffiti you'll still find in Los Angeles today dates back to the 1870s, from a Civil War-era building in the neighborhood of Wilmington.

Graffiti from around this era was part of so-called "hobo times" according to Susan Phillips , a professor of environmental analysis at Pitzer College and author of The City Beneath: A Century of Los Angeles Graffiti.

A wall along the Arroyo Seco with hobo graffiti referred to as "Kid Bill," it contains old writing and markings that date back to roughly some time between 1914-1921.

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Courtesy of Susan Phillips

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"As the country transferred from an agrarian society to more of an industrialized society post-Civil War, you just get massive numbers of people who are displaced and travel all over the country," said Phillips. "And then [they] eventually create these incredible written traditions with their own history."

So for the decades following, you'd see the "hobo graffiti" era take shape in these small-scale hieroglyphs made for writers as a means of communicating with one another.

L.A. graffiti writing as a form of protest

As graffiti writing evolved over the years, it also became a way for artists to tell a political message, or call attention to an issue they feel isn't being represented in other forms of media.

"The wall is almost both a first and last resort for telling an alternative story and history ... and it's meant to get people maybe a bit angry, maybe a bit annoyed," said Stefano Bloch , professor of cultural geography at the University of Arizona and the author of Going All City: Struggle And Survival in LA’s Graffiti Subculture.

"It's meant to bring information to people who have a different form of literacy. So, wall art or murals or graffiti or whatever you want to call it ... gets people riled and it does that on purpose," said Bloch, who was himself a noted graffiti writer who went by the name "Cisco" in Los Angeles in the 1990s.

One of the most notable political murals still around today can be found on Olvera Street — Mexican muralist David Alfaro Siqueiros's América Tropical: Oprimida y Destrozada por los Imperialismos , one of three pieces done in the artist's time in political exile in Los Angeles.

América Tropical and his other public project, Street Meeting, were seen as controversial and ultimately whitewashed (literally painted over with white paint), although the former was found to still be intact in the 1960s.

Projects like these helped fuel parts of El Movimiento in Los Angeles. One group that is well known for its political art in L.A. was Asco, a collective of Chicano artists whose work includes performance art like Stations of the Cross and graffiti writing like Spray Paint LACMA .

"I do remember is their uses of public space, photography, and street theater in a sense ... pushing the boundaries of all that [and] was a great celebratory moment [for] the Chicano movement," said Phillips.

But even within the Chicano movement, graffiti artists had to fight for recognition. Chaz Bojórquez, who is seen as the "godfather of West Coast graffiti," has noted that some Chicano artists viewed graffiti as anti-Chicano that undermined the larger goal of the movement.

Increase name recognition

Dating back to some of the earliest known graffiti writers in L.A. like Bojórquez, graffiti was a creative outlet that was meant to be a political statement and also a means for artists to get their name out there.

Two graffiti writers, including one who goes by "Cisco," writing on a wall.

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Courtesy of Stefano Bloch

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Not every artist who grew up in Los Angeles could get their art seen through traditional means. It's why Professor Bloch considers graffiti writing as a means for "other people [to] see their name and think about them."

"They're doing it in an aesthetically pleasing way sometimes, sometimes they're doing it [cryptically] … but it's always about a conversation with surfaces," Bloch said. "The legality of surfaces, the appropriate placement of surfaces, and subcultural hierarchy."

How graffiti writers are making money

When graffiti writer Man One began his career in 1980s, the first thing he tagged was a bus.

"When I first started, I started talking about transit ... because the bus is what moves us around as kids. I was 16, 17 years old and taking the bus all over the, all over the place."

He has since spun that desire to start conversations into exhibitions across Southern California, the Smithsonian in Washington D.C., the Parco Museum in Japan, and more.

Man One said when he was starting out, magazines were one of the only ways that graffiti writers like him could get exposure, at least beyond people happening upon their work in public.

"The first magazines that I saw were probably coming out of L.A. [like] Can Control Magazine ... but the book Spray Can Art, that came from New York, that was one of our Bibles," Man One said. "Subway Art was another book, but Spray Can Art spoke to the world ... artwork that was being painted on walls [and] not just on subway trains."

Not only did these magazines serve as inspiration, but getting any of your work published could mean getting into an art exhibition and eventually making a living from your work.

A mural titled "Faces of Pomona" by Man One, commissioned by the city of Pomona.

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Courtesy of Man One

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Growing through every new piece of graffiti writing, or other artistic projects writers did, is what helped create word-of-mouth that eventually translated to commissions.

"I remember the first time I got paid $50 to paint a garage door. I was like, 'This is it. Someone paid me $50, that means I can make $100, that means I can make $200, and it just snowballed from there," Man One said.

Since then, social media has become more of a platform for folks to find your work. Graffiti writers of all generations across the country have found similar artistic mediums that help grow their portfolios.

"Graffiti writers in the East Coast go into graphic design, tattooing, many different types of artistic endeavors that pay," Bloch said. "Here on the West Coast, a lot of graffiti writers go into the film industry as set designers or set dressers, background dressers, or any kind of artistic endeavor, even into fashion and television writing."

Fans tired of waiting for the next Frozen sequel or the next chapter in the Star Wars saga may soon have new ways to engage with those worlds — by creating their own content using Disney's IP.

That was the tantalizing hint Disney CEO Bob Iger dropped during an earnings call Thursday, as he described how the company is exploring ways to make the Disney+ subscription-based streaming service more interactive, and customizable for users.

While Iger stopped short of making any formal announcements, he suggested Disney is in discussions with artificial intelligence companies about tools that could allow subscribers to generate and share their own content built from Disney-owned stories.

"AI is going to give us the ability to provide users of Disney+ with a much more engaged experience, including the ability for them to create user-generated content," Iger said.

Disney+ declined to offer additional details about what form these new creative tools might take or which tech companies were involved in the negotiations. Meanwhile, AI remains a concern in many parts of the entertainment industry, with many companies including Disney engaged in lawsuits against AI players for copyright infringement.

Iger acknowledged this tension. On the earnings call, the CEO said the company's conversations with potential AI partners are focused on enabling new forms of fan engagement and guarding against uses that could dilute or misuse Disney IP.

"It's obviously imperative for us to protect our IP with this new technology," Iger said.

The trend towards increased interactivity 

Disney isn't alone in trying to rethink the boundaries between audiences and the entertainment they consume.

At the recent TechCrunch Disrupt conference in San Francisco, Netflix's chief technology officer, Elizabeth Stone, offered her own look at a future shaped by deeper user engagement.

"The future of entertainment is likely to be even more personalized, even more interactive, even more immersive," Stone said during an on-stage conversation with TechCrunch editor-in-chief Connie Loizos.

In addition to games and social media videos, one of Netflix's most talked-about experiments in this direction arrives next year: Stone said viewers of the classic talent competition Star Search reboot will be able to cast votes directly from their TVs or phones, influencing which contestants advance – or do not.

Younger audiences and deal-making climate drive quest for interactivity

This engagement layer sits on top of Netflix's vast library of films and TV series. But platform leaders increasingly see passive watching as only part of the picture.

Younger audiences, especially Gen Z, are gravitating toward spaces where they can participate, remix and respond rather than simply watch. According to Deloitte's 2025 Digital Media Trends survey , more than half of Gen Z respondents say social media content feels more relevant to them than traditional TV shows and movies. The research also points to the growing popularity of indie creators, and a change in consumer expectations around quality: Content doesn't always have to be polished to be extremely popular, as some of the most-watched feeds on YouTube and TikTok prove.

At the same time, despite ongoing litigation, entertainment corporations are starting to get comfortable with the idea of licensing content to AI companies. One of the most high-profile in recent weeks is the licensing partnership between Universal Music Group and the AI music creation platform Udio.

"It shows that the AI companies can work with the creative community to come up with models that work for both of them," Copyright Alliance CEO Keith Kupferschmid told NPR regarding this particular deal. "And I think we're going to start seeing more and more deals come through because they realize they can do this and do it the right way."

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The Trump administration is upending its homelessness policy, with deep cuts to funding for long-term housing. Instead, it will shift money toward transitional housing that requires work and addiction treatment.

In a statement, the Department of Housing and Urban Development said the new policies will "restore accountability" and promote "self-sufficiency" by addressing the "root causes of homelessness, including illicit drugs and mental illness."

Critics warn the major overhaul could put 170,000 people at risk of losing their housing again. And they say the timing of this major overhaul is terrible. Normally, funding notices go out in August, but now programs around the country will have little time to start applying for new funding in January. And in many places, it will leave a months-long gap after current funding runs out and before new money flows.

In another change, HUD will no longer automatically renew existing programs — creating the possibility that formerly homeless people who've lived in subsidized housing for years will be forced out. The agency is also opening up more funding for faith-based groups.

The National Alliance to End Homelessness says the new policies could upend life for many people who've found stability in permanent housing programs. "HUD's new funding priorities slam the door on them, their providers, and their communities. Make no mistake: homelessness will only increase because of this reckless and irresponsible decision," CEO Ann Oliva said in a statement.

The funding shift reflects a conservative backlash to longstanding policies

For two decades, federal funding has prioritized getting people into permanent housing and then offering them treatment. That policy is called Housing First and has long had bipartisan support. Backers say the approach has a proven track record of keeping people off the streets.

But critics counter that it has failed to stem the steady rise of homelessness to what are now historic levels.

Those critics include President Donald Trump, who has long pushed cities to clear homeless encampments from streets and parks. The new funding shift reflects an executive order he signed in July , which also sought to make it easier to confine unhoused people in mental institutions against their will.

"The influence of Housing First just became too powerful," says Stephen Eide, a senior fellow at the Manhattan Institute, a conservative think-tank. He calls it a top-down approach, and says for years it was hard to get funding unless a program followed that policy. Eide says that left out a large group of people who may not need permanent housing or who may want the enforced sobriety it does not offer.

"I think what we're going to be looking for is a reinvestment in transitional housing," he says. That means places people can stay for 18 months or so to get sober or recover in other ways, and then — ideally — move out and succeed on their own.

There's broad agreement that the U.S. needs more of every kind of support for homeless people: permanent housing, rehab and mental illness treatment. But critics of HUD's shift fear this may make it harder for some to get help.

"It is moving away from trauma-informed care, and that's problematic," says Stephanie Klasky-Gamer, president and CEO of LA Family Housing in Los Angeles.

For example, she thinks this will lead more shelters to bar people unless they're already sober or enrolled in recovery or mental health care. But that's a high bar for many people, she says, and it could backfire.
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President Donald Trump says he is going to "make America affordable again." It's a pledge he made frequently during the campaign. And now, after dropping it from his lexicon for more than eight months, he's saying it again as polls show voters rank the economy and cost of living as their top concern and blame Trump's policies for making things worse.

A senior administration official tells NPR Trump will soon travel around the country with a message that while some things have improved, there is more work to do to help people feeling economic strain. The official, who was not authorized to speak on the record, added that when it comes to affordability, "there's no finish line."

Thus far, Trump has spent far more time boasting about how great the economy and stock market are doing than acknowledging any economic anxiety.

"Record high, record high, record high," Trump said of the stock market last week at a business event in Florida.

"Costs are way down," Trump said at a late night signing ceremony in the Oval Office Wednesday. "My administration and our partners in Congress will continue our work to lower the cost of living, restore public safety, grow our economy and make America affordable again for all Americans."

Trump's affordability challenge marks a dramatic reversal of fortune for a president who returned to office on a promise to bring costs down and whose greatest political strength was on the economy. Now his approval rating on the economy is severely underwater.

After sweeping wins by Democrats in last week's elections where the cost-of-living was a key issue, Trump suddenly had a lot to say about "affordability." But he has frequently come across as dismissive and defensive.

"The affordability is much better with the Republicans," Trump said last week. "The only problem is the Republicans don't talk about it, and Republicans should start talking about it and use their heads."

But earlier this week when Fox News' Laura Ingraham pressed Trump on rising costs of things like coffee and ground beef, he called it a "con job by the Democrats."

Asked why people are anxious about the economy, Trump responded by questioning whether people really are saying that.

"I think polls are fake," Trump said. "We have the greatest economy we've ever had."

To support his positive outlook, Trump points to the booming stock market, his tariff policy and pledges by companies and countries to invest in the U.S.

Inflation this year has been persistent but not dramatic, at about 3%. Eggs have gotten cheaper since Trump took office, but other staples like ground beef and coffee are up. According to Gas Buddy , the average price of gasoline in the U.S. is $3.09 per gallon, slightly higher than this time last year.

"Consumer confidence is the lowest it's ever been," said Jason Furman, a professor of economics at Harvard. "People are really negative about inflation."

It's a political truth — and a pitfall for presidents — that people don't want to hear that everything is awesome if they are struggling.

Furman, who served in the Obama administration, says the messaging team in that White House was very cautious not to brag about the economy, as the nation emerged from the Great Recession.

"Because they thought anything we said positive about the economy risked people thinking President Obama was out of touch," said Furman. "I didn't see that type of reserve when Biden was president. He bragged about it quite a lot, and I think that [rang] hollow with a lot of people. And President Trump is even less reserved about his bragging."

Trump's insistence that the economy is great earned him a rebuke from Republican Rep. Marjorie Taylor Greene of Georgia. Appearing on the Sean Spicer Show on YouTube , Greene said she gives Trump credit for holding inflation steady.

"But that doesn't bring prices down," said Greene. "And so gaslighting the people and trying to tell them that prices have come down is not helping. It's actually infuriating people because people know what they are paying at the grocery store, they know what they're paying for their kid's clothes and school supplies. They know what they're paying for their electricity bills."

She called for compassion rather than lecturing.

Former Trump economic adviser Stephen Moore says there are three major cost issues that have to be addressed: grocery prices, home prices and health care costs.

"It is true factually that the average family has more purchasing power today than they did when Biden left office," said Moore. "And yet people don't feel it. You know, they're not feeling the love. And I can't explain why that is except that people tend to focus on things where their prices are rising."

In fact, purchasing power also grew during the Biden administration, because wages rose faster than costs. But voters didn't want to hear it then, and they are in no mood to hear it now.

"People are kind of in a crabby mood right now when it comes to the economy," said Moore.
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