The oppositional current of Chicano art was bolstered in the 1980s by a rising hip hop culture. The Olympic freeway murals, including Frank Romero's "Going to the Olympics", created for the 1984 Olympic Games in Los Angeles became another site of contestation, as Chicano and other graffiti artists tagged the state-sanctioned public artwork. Government officials, muralists, and some residents were unable to understand the motivations for this, described it "as ‘mindless', ‘animalistic' vandalism perpetrated by ‘kids' who simply lack respect." L.A. had developed a distinct graffiti culture by the 1990s and, with the rise of drugs and violence, Chicano youth culture gravitated towards graffiti to express themselves and to mark their territory amidst state-sanctioned disorder. Following the Rodney King riots and the murder of Latasha Harlins, which exemplified an explosion of racial tensions bubbling under in American society, racialized youth in L.A., "feeling forgotten, angry, or marginalized, graffiti's expressive power [as a tool to push back."