Eco-Justice Radio - Monday, June 8, 2026

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1. Hello and you are listening to Eco Justice Radio, a project of SoCal 350 Climate Action.
2. Our show presents environmental and climate stories from a social justice frame, featuring
3. voices not necessarily heard on mainstream media.
4. Eco Justice Radio acknowledges that we record the show on the traditional territory of the
5. Tongva and all of their relatives. Welcome. I am Jessica Aldridge. On today's show, Poetry
6. and Politics, City on the Second Floor, I will be interviewing Matt Cedillo, poet and
7. writer in residence at Rearte. Matt Cedillo, author of Mowing Leaves of Grass and City
8. on the Second Floor, has been described as the best political poet in America and the
9. poet laureate of struggle by famed historians and academics. He has appeared on C-SPAN and
10. in the Los Angeles Times.
11. He is also a returning guest of Ecojustice Radio.
12. Check out episode 105, where he and fellow poet Awa Njai discuss spoken word, challenging
13. mainstream discourse on climate.
14. our guest today matt cedillo has been described in roar magazine as one of the most important
15. working class intellectuals of our time today matt will be discussing his latest book city on the
16. second floor published by Flowersong Press. Author Paul Ortiz wrote, Matt Cedillo's poetic work is
17. full of history, struggle, tragedy, anger, joy, despair, possibility, and faith in the struggles
18. of working class people to overcome the forces of capitalism and racism. Cambridge professor
19. Thomas Jeffrey Miley called his poetry electric, like a lightning bolt, and sees the work as a
20. foray into sociology, into Marxist geography, as Cedillo roams the streets of Los Angeles
21. reporting what he sees and relaying what he knows.
22. Fame journalist Greg Pallast summed it up,
23. Cedillo is vengeance, the one we've been waiting for.
24. Thank you for tuning in to Eco Justice Radio and our show Poetry and Politics,
25. City on the Second Floor.
26. I am your host, Jessica Aldridge, and it is my honor to welcome our guest, Matt Cedillo,
27. author of Mowing Leaves of Grass and City on the Second Floor, and writer-in-residence at Rearte.
28. Welcome to Eco Justice Radio.
29. Hey, thank you for having me. I'm really excited to be here.
30. I'm excited too. This is the second time we've had you on the show.
31. You've been involved with SoCal 350 since our inception, actually, before we were even SoCal 350.
32. And at that point, we were doing a march and you shared your poetry with us,
33. which happens to be in your new book, City on the Second Floor.
34. That piece of poetry is in the book.
35. You've been described as the best political poet alive.
36. What inspired you to embark upon your artistic and political journey?
37. Okay, so when I was a kid, I wanted to be a writer.
38. And then things happened, and fast forward, that didn't quite work out.
39. But before that, I wanted to be president of the United States,
40. because I understood, even as a little child, that I needed to get a job when I grew up.
41. wanted the job where i'd be in charge of the most things and then my father told me you know we
42. can't be we can't be pres you can't be president because we're mexican and i was like what no no no
43. you don't understand like i'm gonna do this and you know as time went on it really didn't make
44. as much sense so i was like i'm gonna be in a writer and i'm gonna make art for art's sake
45. and i thought i mean i like 12 saying this kind of stuff it was ridiculous but that was my idea and i wanted to write a novel and all this kind of stuff like that But then you know things happen and work And then I had to work right
46. And then all of a sudden, you know, bad things happen.
47. You know, winds and tides of the economy.
48. And I got myself in a lot of bad situations.
49. But then I was like, okay.
50. I kind of recovered myself.
51. I was going to the library more.
52. I was reading all these books about political economy.
53. And I'm like, I'm going to put away my dreams of being a bourgeois artist.
54. I will now be a serious organizer.
55. And they may not like me, but they're going to respect me.
56. And I had this ridiculous attitude.
57. I read somewhere that you have to work harder than everybody to show that you know how to do the job so they'll respect you and then you can organize them.
58. Absolutely not true.
59. I worked so hard and everyone hated me because it just looked like I was kissing up to the bosses and making everyone demand more of them.
60. And so that plan did not work.
61. I don't know who thought that was a good idea, but that didn't work.
62. But then I came back home and I saw a friend of mine, David Romero was also a poet.
63. He took me to an open mic.
64. And when I went to his open mic, I saw all these people doing this kind of political type poetry.
65. And I heard it.
66. And just like when you hear a voice on the radio and you can imitate, I knew I could imitate what the guy was doing.
67. So I was like, I can come back here and I'm with this.
68. And they may not like me, but they're going to respect me, which was also a bad attitude.
69. But anyways, that's how that happened.
70. And now I have the life I have.
71. So this kid that wanted to be an artist and this kid that wanted to be involved in politics has merged into one person.
72. And that's who I am now.
73. And your upbringing, you were raised in the suburb of East Los Angeles.
74. How has that shaped your poetry?
75. Well, you know, growing up in El Sereno, it was a very beautiful thing.
76. It's a very wonderful, great neighborhood, very vibrant.
77. The whole inside, you know, El Sereno, City Terrace, Boyle Heights, Lincoln Heights, and East LA, obviously.
78. So, you know, just growing up in that area, just being part of that kind of culture.
79. It's an interesting thing because on the one hand, yeah, it's a very Mexican neighborhood, and that's kind of known.
80. But it's also a part of the world that a lot of people know about.
81. Like that area is a place that a lot of people know about.
82. And it's not the only place where the population lives.
83. I mean, there's places in, you know, all throughout the San Gabriel Valley, all throughout the Inland Empire, all throughout the San Fernando Valley, where you have these very similar neighborhoods, but doesn't have that same kind of like eye on it the way that that kind of part is.
84. And that's something that's changing, and we want to facilitate the change of that.
85. But, of course, you know, growing up on the east side of L.A. is just, you know, that's profoundly shaped me.
86. And just to be part of that whole history, that whole thing.
87. My mom was at the walkouts in 68.
88. I think she might have not walked out because she was confused by the walkouts.
89. She went to the Chicano Moratorium in 1970, but she was on double date and left early.
90. So she was like, my mom was kind of the Forrest Gump of the movement.
91. She was there and was kind of like, what's going on?
92. Very sweet woman.
93. But be part of that whole thing and have family lineage organic to that, not just some idea
94. about that.
95. So it's always profoundly shaped me.
96. And you recently released your second book of poetry.
97. It's called City on the Second Floor.
98. What is meant by the city on the second floor?
99. Well, city on the second floor is a general metaphor for people,
100. how they view themselves and how they view themselves as separate and apart from the street.
101. The devastating effects of having your life just completely gone, right?
102. And you're trying to strive for this thing that you can't reach, which is a penthouse suite.
103. So that's what city on the second floor means.
104. But City on the Second Floor literally comes from the Hotel Bonaventure in downtown L.A., where there are bridges that connect all these office buildings so that people can go into the Bonaventure, and then they can go to Kinko's, and they can go to Starbucks, and they can go to this office building over here.
105. They can conduct all their meetings without ever having to walk on the street.
106. And to me, that was just so stark, and it's so whatever.
107. It's a real thing.
108. It a metaphor but it also really exists in L And L is one of the cruelest cruelest cities in terms of the disparity of wealth and poverty I mean just go to downtown L and see banks literally banks that stretch into the
109. sky, the Bank of America. But the tallest buildings in L.A. are banks, like, you know,
110. the Bank of America building, you know, sure, they can just blank it right now, but
111. that stretches the sky and then all of a sudden you're in Skid Row, you know? And so
112. homeless encampments. That's the wealth disparity in Los Angeles. It's starker than I've ever seen
113. anywhere else.
114. I mean, even New York
115. is starker than New York,
116. starker than what I saw
117. in Mexico City.
118. I mean, it's really,
119. really stark in Los Angeles
120. because it's really
121. just like blocks
122. and like, you know,
123. that you're from here to there.
124. And the overall premise
125. of your book,
126. the poems that are in
127. City on the Second Floor,
128. what's the overall premise?
129. Well, the overall premise,
130. there's a couple
131. running themes, right?
132. But basically,
133. if I really break it down,
134. there's really two major themes,
135. right?
136. There's the fact that
137. the city is built
138. against people.
139. The way that things
140. are physically laid out
141. is built against the people
142. that live in them and that you're trying to strive, you're trying to work, you're paranoid
143. that the bottom's going to fall out and maybe the bottom will fall out.
144. Maybe it will.
145. Or maybe you're going to spend your whole life in that precarious situation just trying
146. to prevent the bottom to fall out.
147. That's one theme.
148. And the other running theme is, and also these cities are going to destroy the world or destroy
149. life on the planet.
150. This industrial way of life is the undercurrent.
151. So the industrial way of life is unfair because there are owners and workers and because there
152. are people that are exploiters and exploited and all these things all these dynamics that exist
153. between human beings right but in the meantime all this gas all these all this drilling all this you
154. know drilling and pumping into the ocean all this attempts to colonize this the moon is actually
155. killing all of us and killing life life for everything else on the planet and that's kind
156. of like the this like undercurrent it's kind of like the subplot that eventually overtakes the
157. book. I want to jump into one of these poems. Can you share L.A. is full of pigs? Los Angeles is the
158. only part. In the streets, in the suburbs, in the wind. And it barely kept Hollywood bathroom,
159. wheezing, vomiting, coughing up blood. These past few days, these past few years, I've spread myself
160. across the sprawl. And now fear this drive may kill me, may kill us all. And I wander over the
161. general hospital between whose walls desperation wears in high concentration.
162. Upon the faces of the shopworn and prematurely ill alike.
163. As they wait upon the news of illness they cannot afford to have, survival without insurance
164. may take a while.
165. Los Angeles is full of untold misery.
166. A homeless man sleeps next to me and I can smell the years of hard distance between who
167. he is now and who he may have been.
168. And all that stands between him and the bitter wind is chance.
169. is the kindness of a night nurse who will let him sleep in peace.
170. Los Angeles is full of good people
171. who from time to time can turn a blind eye to killer policy.
172. And I wonder how I'm going to balance checks,
173. free clinics, carry cash,
174. and leave the account in the negative stamp to me and him.
175. Me and the bitter wind.
176. And if so, where would I go from Venice to San Francisco
177. that's not a war on the homeless, a war on the dispossessed?
178. They've got fewer and fewer options.
179. There are shelters for women and children, all inadequate.
180. For me, just man up, homeboy.
181. to that concrete pillow, cardboard blanket,
182. and freeze yourself to death.
183. Yes, the city will leave you to die
184. on the same stretch of sidewalk
185. where banks stretch into the sky.
186. And I wonder, as even now,
187. Skid Row is being gentrified.
188. As a city, as a system,
189. as the pigs push people past poverty,
190. past hunger, past homelessness,
191. the very edge of existence on Skid Row
192. where all so-called complexities of an economy
193. are laid bare,
194. where the rich are literally stacked upon the poor.
195. Los Angeles is full of grotesque absurdity,
196. especially on Skid Row
197. with millions annually policing the misery
198. of people with nowhere to go
199. Your pockets are empty ain got nothing and change is not coming There no real difference between a boy metropolis and a barren desert and the world of money passes by you passes through you as though you were part of the scenery protected in the knowledge they are serviced by pigs who
200. speak the language of violence the language of the nightstick the language of untold misery
201. that will beat you for begging beat you for sleeping beat you for breathing beat you for
202. doing whatever it is you need to do to survive the night in the bitter wind Los Angeles.
203. I said Los Angeles is full of pigs.
204. Thank you.
205. Going back to this concept of spatial relations that you're talking about in your book and
206. how our environment is built for exploitation.
207. How do you see the role of everyday people versus those that are in a position of power
208. and elevated privilege?
209. Well, I see them as getting exploited.
210. I see the cities are built to exploit people or exclude them.
211. So the whole point is that as working people, we're either being exploited or being excluded from things.
212. And that's when we look at the physical landscape of every way we interact with each other.
213. I mean, you walk somewhere and you're hungry.
214. Let's say you're walking around and you're hungry and you want to go to this thing.
215. And you don't have any money, you don't have whatever, but you have a guitar.
216. right and so your rational idea is you're going to sit outside you're going to play music try
217. and entertain people and give you some money so you go and buy an omelet or something or whatever
218. some cup of coffee that's your rational ever now if a bear were to come here
219. the bear would just like you know go in the kitchen start eating that's that's actually
220. much more rational our whole thing is just completely an irrational way of operating we
221. have a completely irrational way of operating but we think that's normal right so like that's
222. So everything we do is either we're being exploited or we're being excluded.
223. We're being exploited or we're being excluded in a world of plenty, in a world where there is so much abundance.
224. There's so many things that could be shared.
225. There's so many things that could happen.
226. And all those things are built from our collaborative effort.
227. And yet they're privately owned.
228. They're privately owned in a way that takes from us, that makes us unable to get a hold of it.
229. So that's the way the cities are set up.
230. That's the way the world is set up.
231. But when I say the world, it's really the physical space where human beings live.
232. In your poem, L.A. is Full of Pigs, you reference Skid Row, gentrification, a police state targeting those with nowhere to go.
233. Skid Row in Los Angeles is globally well known.
234. It's referenced in movies and songs.
235. But there are Skid Rows throughout metropolis areas in the United States.
236. What are your thoughts about what is taking place in our collective Skid Rows?
237. And has it become, because there is gentrification.
238. happening as well? And has it become illegal for some people to even exist in certain areas of our
239. major cities? I mean, yeah, I mean, absolutely. You hit the nail on the head. Absolutely. There's,
240. there's, you know, you know, I travel around a lot. So I see, I see, I see increasingly,
241. all these cities, I mean, all these, like all these skid rows popping up all over the place.
242. And increasingly, in just different pockets of LA, you're seeing more and more tent cities,
243. just popping up alongside the side of the freeway out into the San Gabriel Valley,
244. out into the San Fernando Valley,
245. you know, in the Empire,
246. in Orange County.
247. I mean, you see a lot of this.
248. I mean, this is just increasing
249. everywhere in our general region
250. and throughout the country it's increasing.
251. I mean, like, I said that, you know,
252. LA is one of the most grossest things,
253. but I remember last time I was just in Vegas,
254. I saw, like, you know, outside a casino,
255. a tent city underneath the freeway
256. that you could see from the parking lot.
257. So you're looking in the parking lot,
258. you look in one direction,
259. you see this casino.
260. You look in the other direction,
261. a tent city.
262. You know, and it's just horrible.
263. And then this idea
264. that it becomes illegal for people to exist that way too, because, you know, people are forced into that existence.
265. But now, you know, here in Los Angeles, throughout the United States, what's this concept of it being illegal to be homeless?
266. Yeah, I mean, it's an outright war. It's even worse.
267. And you came in like, oh, I'm going to help.
268. But like, the crackdown is increasing and increasing and increasing and increasing.
269. And it's global. It's not just here.
270. Yeah, they sweep these homeless encampments in 10 cities.
271. Right. I remember when Google and all the tech companies were getting ready to take over San Francisco, right? Before it actually happened, I have a lot of friends up there who organized, many of them poets, who organized much of the resistance against this. And they were telling these horrible stories of how the police would come in and they would throw bleach on the streets.
272. Oh, Jesus.
273. To prevent people from sleeping there because, you know, it would be toxic.
274. And so that was the kind of things that they were doing.
275. That's the kind of things they were doing.
276. And that's the kind of, increasingly, in order to make a place look chic, in order to make a place look like it's going to be developed, in order to make a place look like this is somewhere where that's welcoming to capital.
277. I mean, look at the Olympics.
278. I mean, everywhere it goes.
279. You know, it goes out driving people out of the street, driving people from their homes.
280. It goes around, like, you know, in Greece, they were killing dogs.
281. I mean, this is just a horrific thing that, it's global.
282. It's not just LA.
283. So before we go to the break, I want you to share another poem.
284. Sure.
285. The name of the book, City on the Second Floor, which plays into these themes.
286. Right.
287. So here's a poem, the book's namesake, City on the Second Floor.
288. Which again is named after some building structures in downtown Los Angeles.
289. There is a city on the second floor.
290. International destination whose entrance is prohibited to all those appearing too poor for travel
291. Where commerce crosses bridges of wire and concrete just above streetlight rises an economy of scale
292. Where buildings and offices connect to disconnect from the world below
293. Here, in the space between worker and destination, conversation spins profit
294. And no one moves without reason, and no one speaks without purpose
295. Here, the word is still born a commodity
296. and the world dies anew.
297. While working stiff,
298. spend wages in cheap imitation
299. of their own exploitation,
300. arrogant, delusional,
301. walking dead,
302. laughingly dreaming
303. of a penthouse suite
304. they will never reach
305. while staring down from terraces
306. towards the street below.
307. Thank you.
308. We're going to go to break
309. and we'll be right back.
310. Hey listeners, quick break here.
311. We hope that you're enjoying
312. Eco Justice Radio.
313. Stay connected by subscribing
314. on all major podcast apps
315. and visit our website,
316. ecojusticeradio.org to check out previous shows and guests and get connected with us on social
317. media. Today, you are listening to Poetry and Politics, City on the Second Floor, with host
318. Jessica Aldridge and guest Matt Cedillo, author of Mowing Leaves of Grass and City on the Second
319. Floor and writer in residence at Rearte. Matt, thank you for sharing your poetry with us. We're
320. going to get into a few more of those as the show goes on. I want to talk about poetry and art and
321. the way that it is so incredibly important in activism.
322. So art energizes the spirit in a different way than that of demonstrations or marches
323. or other group-oriented actions or campaigns.
324. What is the role of spoken word poetry in activism and activating change?
325. Yeah, I mean, I could give you the really inspiring answer, which is like, you know,
326. it stirs the soul and it makes the heart move and it does all these things, right?
327. And that's all true.
328. That's all true.
329. And that's true.
330. It activates a different part of the brain.
331. It activates a part of the brain that tells you that you need to do something right When you really touched by something when you really inspired by something just think about your own personal life when you have these conversations right That are not necessarily very tactile not necessarily very utilitarian
332. but they change the entire way you look at things, right? And those are just conversations
333. you have with people. Well, art has the same kind of function as those really meaningful,
334. deep conversations, right? So that's inspiring what you're saying. But I think on top of,
335. you know, saying these inspiring things, we also have to have these very practical kind
336. of conversations. Now, if that's true, that art does that, that art engages a different
337. part of the listener's mind, right? If that's true, then that means we have to make art very
338. central to the things that we do. And people like to say things, well, the most important things
339. are the poets, or the most important things is the art, the most important thing. But they say that.
340. And I don't even know if I believe that necessarily true. But they say that, and then they act as
341. though the exact opposite is true. That art is just kind of like a condiment. It's just like,
342. it's ketchup on the, it's mustard on the meal. The fact of the matter is, you have to treat it
343. just as important as the expert speaker, as the organizer who's going to make sure all
344. the chairs are there.
345. It should be an equal component to all these things.
346. And all these things deserve their respect.
347. You know, the organizer deserves their respect.
348. The expert speaker who took all this time to learn these things and learn all the ins
349. and outs of the specific topics that an audience will come and learn something they didn't
350. know before they got there.
351. That deserves its respect.
352. and the artist who has taken the time to learn a form of communication that engages people at a higher level and a deeper level and a more visceral level that makes them want to really go out and do something.
353. Not just feel like they learned something, but go and do something about it.
354. That has to be treated with an equal amount of respect when we put these things together, when we put these events together, when we put these marches together, when we put these calls to action together.
355. art has to be treated that way and it just really isn't it's people talk about it like if they talk
356. about it in these glowing terms but that's like someone complimenting you and that's like you
357. know it's like it's having a boss that compliments you but that never gives you a raise you know it's
358. like they are a comp or or you know they compliment you and they don't even pay you
359. stealing your wages right that that's kind of i mean artists get that all the time right of course
360. exposure this that the other but i'm not even talking about that i'm talking about the actual
361. the actual effectiveness of the event.
362. The event will be more effective if art is made as an essential component of the event.
363. It'll be more effective for everyone.
364. Politics is very, it's hard for a lot of people to digest and understand,
365. especially when there's so much misinformation and confusing information out there
366. and people's opinions.
367. You know, what does it mean for you to be a political poet?
368. So for me to be a political poet is because, I mean, on the one hand, I mean, it's an interesting question because on the one hand, I could take it two different ways.
369. I could take it like, what does it mean for me or what does it mean, like, what am I trying to do in the world?
370. So I think that those are two separate questions and they're both worth answering.
371. So I'll try to be brief in answering both of them.
372. For me to be a political poet is for me to do all those things I was talking about right now.
373. It's to try and engage in the fight.
374. So like, what does it mean for me to be a political poet is the same thing as what does it mean for you to host Ecojustice?
375. What does it mean for the team to be a part of eco-justice, the whole team behind you, to be part of this radio program?
376. It's because we're trying to do something.
377. It's because we're taking our talents and our skills and these things we've developed over years and bringing them to a struggle.
378. So for me to be a political poet means I care about the fact that there are all kinds of abuses that go on in these cities.
379. And I care that people can end up sleeping in the streets while people are sleeping on yachts half a billion dollar yachts and people are launching cars into space And meanwhile you know bombs are getting dropped all over the world and people are dying in the streets and people and there you know people are going hungry And in that same world yeah
380. that that bothers me, right? So what I'm really good at is writing poetry. So I will throw myself
381. at that. That's what that means, right? So generally, but then for myself, what does it
382. mean? So I really don't like it when people pretend like they're this 100% saintly servants
383. of people, blah, blah, blah, blah, because then they end up lying to themselves.
384. And then when you lie to yourself, you start lying to other people.
385. And then you become the most obnoxious, horrible, just pretending like long suffering, whatever.
386. So you got to really look at something else.
387. So what do you want for yourself?
388. And so for myself, I do want a historical legacy as being one of these like quintessential
389. political poets and really go down as like one of the best to ever do it.
390. And I think that, you know, my work has in the media have gotten drawn a lot of comparisons
391. to Mary Baraka, to Roque Dalton, to Berthold Brecht, to Andre Lord, to Jose Montoya.
392. So all these people write nothing alike.
393. Like their writings are so different.
394. The only thing they have in common is that they all wrote to fight.
395. They all wrote to fight the good fight, right?
396. And so the fact that people are saying things about me in that vein, what does that mean to me?
397. That means the fulfillment of my life's ambition.
398. I mean, or the pursuit of my life's ambition.
399. Not fulfilled, but the pursuit of my life's ambition.
400. And that's how I answer both those.
401. And just for people who are listening and wondering right now, where can people get your books?
402. Well, soon they can go to flowerofsongpress.com, the website we fixed.
403. We're under construction because the press I'm with, we're doing so much right now.
404. It's so overwhelming.
405. I think two years ago we published like 17 people.
406. Last year we published 25.
407. So in this year, it's on pace to do the same.
408. So the press is growing really fast, so the website is still getting updated.
409. But you can get it on Amazon, but don't do that.
410. You can get it directly from me.
411. If you don't know me and you can't get a hold of me, I'm on Facebook.
412. You can inbox me.
413. What about mattsidio.com?
414. Go to mattsidio.com.
415. There you go.
416. Go to mattsidio.com.
417. Don't go to Amazon.
418. Jeff Bezos doesn't need more money.
419. It's on Walmart.
420. The Waltons don't need more money.
421. Barnes doesn't need more money.
422. Noble doesn't need more money.
423. Go to mattsidio.com.
424. I need more money.
425. So you can email me directly from there.
426. Previous to the show, you informed me that colleges where the population is 25% or more Hispanic receive funding.
427. But that money can be spent on anything.
428. It doesn't actually have to be spent to serve Hispanics, which is the title of one of your books.
429. I want you to share your poem, To Serve Hispanics, and explain how this ties into this college reference.
430. All right, so To Serve Hispanics is a poem I wrote.
431. And yeah, Hispanics are being institutions.
432. I mean, people don't know this, but there's many of them, say, in California,
433. because the state is, you know, the population has changed so significantly.
434. So that could mean like almost anywhere.
435. But when that money comes into the college, they could spend it on dry cleaning for the mascot costume.
436. They don't have to spend it on anything that would serve as the population supposedly can help.
437. So this is the poem, To Serve Hispanics.
438. Reach for America, Dream for America, Teach for America, Diversity, Equity, Inclusion, Access and Achievement, USDA Certified, STEM, the Department of Defense, the great state of California, serving as one great big Hispanic serving institution.
439. just imagine the federal funding the brochures of underserved spreadsheets of human misery the proclamations
440. administrations boards of trustees debating safe spaces for students to sleep in parking lots
441. Perchance to dream of a way of life that died decades before they were born dead debt is the final frontier These kids their America future Thank you So how do people find you on social media and follow your work
442. So I'm on Facebook, but I always like max out of friends.
443. And I'm on Instagram, and that's about my age.
444. I'm 40 years old, so I know how to use Facebook really well.
445. I kind of know how to use Instagram.
446. And I'm both simultaneously too young and too old for Twitter.
447. You know what I'm saying?
448. Like, I've seen people that are older and established really use Twitter well, and I've seen young people use Twitter well.
449. But I've never seen anyone in my own age range, in my career level, use Twitter well.
450. So I don't know how to do it.
451. And then I'm way too old for TikTok and all these other things.
452. I'm just, I'm too old.
453. I mean, I encourage people to do it and do whatever they're doing on there and do it well.
454. But I don't know how to do that.
455. So we just look up Matt Cedillo.
456. Look up Matt Cedillo on Instagram or Facebook.
457. I'm getting ready to dump a bunch of people.
458. And you can follow me, though.
459. They have that follow option now, so you can do that.
460. That's great. Well, I just want to say thank you so much for being in the studio with us.
461. This is the first time we've been back in the studio since the pandemic started.
462. And it's a blessing to have you be that guest here, our guest lecturer.
463. KPFK.
464. KPFK guest lecturer. I love it. I love it.
465. Thank you, Matt, for being here today.
466. Thank you so much.
467. Thank you to our guest, Matt Cedillo, poet and writer in residence at Rearte.
468. and thank you to our listeners for joining us.
469. This has been Poetry and Politics,
470. sitting on the second floor.
471. Please connect with us on social media
472. at EcoJusticeRadio, SoCal350,
473. and Adventures in Waste.
474. If you like what you heard
475. and you want others to be informed,
476. well, you know what to do.
477. Subscribe to our podcast,
478. share the episodes,
479. get that information out there,
480. and share that important message of our guests.
481. You have been listening to Eco Justice Radio, a project of SoCal 350 Climate Action.
482. The show can be found at all major podcast apps and at EcoJusticeRadio.org.
483. created by Mark and J.P. Morris, executive producer Jack Geith,
484. producer and co-host Jessica Aldridge, co-host Carrie Kim,
485. and engineer and original music by Blake Wake Beats.
486. And until next time, remember, the power is yours.
487. Hello, beautiful souls and cosmic travelers.
488. Support for KPFK comes in part from the band Definitely Dead,
489. A Grateful Dead tribute band performing Friday, June 12th at Del Mar Social, located at 3444 Trip Court in San Diego, California, and Saturday, June 13th at the El Rey Theater in Los Angeles.
490. Doors open at 7 p.m. and both shows begin at 8 p.m.
491. Further information and tickets are available at definitelydead.com, kpfk.org, and Definitely Dead Band on Facebook.
492. So gather your beautiful people, follow the dancing lights, and let the music carry you into the stars.
493. you're listening to kpfk 90.7 fm los angeles and streaming across the globe at kpfk.org
494. radio powered by the people
495. Thank you.