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The true story of a World War II lieutenant’s incredible journey home
The Crew of the Little One—Rear: Charles Cartmille, ball turret gunner; Merle Weik, top turret gunner; John Lewis, tail turret gunner; Guy Howard, radio operator; Robert Marcum, nose turret gunner; Bob Garin, flight engineer. Front: Lt. Joseph Lidiak, navigator; Lt. John Rucigay, copilot, 1 Lt. Tom MacDonald, pilot; 2 Lt. Robert Denison, bombardier.
Robert Denison was serving as the bombardier aboard a B-24 when he was forced to bail out, separated from his crew, and survived for 40 days in Nazi-occupied Yugoslavia. In commemoration of Veterans Day, our copy chief put together this story, of his grandfather’s last mission in World War II. What follows is a composite, assembled from spoken and written accounts he gave over the years.
Between May and July of 1944, I flew 17 missions over Europe in the B-24 Liberator Little One. Most of the 10 men in our crew were fresh out of high school. I was just 19 years old, and the pilot was the “old man”—at 23.
Our plane was built right here in San Diego. As part of the 15th Air Force, we were sent to Pantanella Airfield in Southern Italy, to replace a crew who had just been lost. Over the previous year, the 15th alone had lost 186 planes.
We flew missions to Northern Italy, Bulgaria, Romania, Slovakia, and occupied France without major incident. Then on July 19, we embarked on our final mission—the one where we flew out and walked back.
When the curtains went up in the briefing room, they revealed our target: the BMW Aircraft Engine Factory in Allach, Munich—the third-most-defended city in the Reich, and we all knew what that meant. It was our first mission over Germany, and the chaplain announced that any Jewish soldiers among us could ask to be excused from it without fault.
The entire 15th Air Force took part in the raid—nearly 3,000 planes in formation at once. We took off like an assembly line, in 20-second intervals.
It was very cold in the plane. I had to wear two sets of work clothes, my flight suit, my winter flying jacket, and even a second pair of fleece-lined boots over my GI boots. You could rest your beers on the bomb bay doors and they’d stay ice cold.
Things started going wrong before we were halfway to the target. First our new navigation unit caught fire; then Engine 1 quit on us. With just three engines, we had to drop out of formation and fell to a lower altitude.
“I painted our plane’s nose art myself, out on the tarmac in the rain. ‘Little One’ was the pilot’s nickname for his wife.”
The sky over Munich filled with bursts of antiaircraft fire; it got so close I could hear the shrapnel tinkling on the hull. Since we’d broken formation, we had to pick out a different “target of opportunity” to hit; then we banked to head for home. Only then did someone notice the holes shot through the wings. It was shortly after noon.
When Engine 2 went out as well, all the aircraft’s power was coming from one side, creating a constant midair skid. The flak also shorted out our electrical system, which meant no power for the turrets, the radio, most of the instrumentation—or even the flight controls. Now the only force keeping the plane level was the pilots’ own physical strength, same as losing power steering in a car. They stood up and put all their weight on the rudder pedals to keep us from entering an uncontrollable tailspin. I relieved the engineer on the waist guns so he could go up and help the pilots. Unfortunately, this meant I could no longer keep track of our position.
We flew south for another hour until we passed over a well-defended city and the sky filled with flak again. Then, who should appear but two red-tailed P-51 Mustangs—those brave Black pilots of the Tuskeegee Airmen.
They could see we were in trouble. One flew closer to the city to draw the enemy fire, and the other came up alongside and escorted us awhile. We communicated with him out the window by sign language, since our radio was out. He smiled, and wiggled his wings. Eventually he had to return to his own mission.
Soon after that, Engine 3 failed. After three hours of fighting to stay airborne, we were down to 11,000 feet and falling. There was no way to make it home with a single engine.
The pilot gave the order to bail out.
The Little One releases its payload while flying with other B-24s of the 464th Bomb Group, 15th Air Force.
I relayed the order to the four airmen in the waist gun section. They all just stared at me and shook their heads. “No sir,” they said. “After you.”
No time to argue. I opened the rear hatch and told the men to head southeast once they hit the ground, so they’d reach the Allied front line. We were turning back over land from the ocean, and I assumed we’d made it to the main “boot” of Italy, south of Venice. I was wrong.
I was first to tumble out. I caught a glimpse of everyone else opening their parachutes right away, high above me, but I knew what easy targets that would make us to ground fire, so I waited to pull my ripcord until I was just 300 feet up. We were trained to roll as we landed, to distribute the impact evenly—but in the confusion of the moment I tucked my knees and smacked hard heels-first, spraining my ankles.
This photo shows Denison’s actual plane.
I was in a cornfield, and a three-gun antiaircraft battery was close enough that I could hear the soldiers’ voices. They also had two German shepherds—who were both looking right at me and barking.
I lay on my back, my ankles throbbing in pain, trying to gather my thoughts and expecting to be taken prisoner at any moment. I rolled up my parachute and took off my jacket, which was covered with identifying insignia. Now I saw that the dogs were wagging their tails. To my astonishment, no one came.
So finally I crawled away into a dry irrigation ditch at the edge of the field, where I hid my jacket and parachute. A little more safely out of sight, I decided to rest and give my ankles some time to recover. I kept looking around for my crew but never saw them. Having opened their chutes much earlier, they could have drifted miles away before landing.
Before I knew it I’d fallen asleep. I was awakened in the middle of the night when the gun battery opened fire—the sound shook me to pieces. British bombers were flying overhead, heading southwest.
Veterans Day / Little One’s Flight Path Map
The next morning I ate some raw corn and took inventory of my escape kit: bouillon cubes, matches, needle and thread, a compass, waterproof silk maps of Europe, and 42 US dollars. Too late I realized I’d left my .45 pistol behind in the bombardier’s position when I went to relieve the engineer. My only personal item was the wristwatch my parents had given me at my high school graduation two year ago.
As soon as I could bear putting weight on my ankles, I set out, slowly and limping. The countryside looked just like California. I knew the Allies were gaining ground every day, so we were bound to run into them if we just kept heading southeast.
I picked up more corn and some tomatoes to eat as I passed through the fields. To my surprise, by late afternoon I reached the ocean. I’d had no water all day and was feeling awful, so I drank some seawater. Of course, following the coastline south, the next thing I came upon was a rock quarry where fresh water had collected in the bottom levels. I drank up all I could.
It was dark by the time I came to a small cove with an unattended boat. I swam out, untied it, and quietly rowed to sea. I was already exhausted, but I knew night would be the safest time to travel, so I followed the shore for hours and hours.
Based on how long we’d been flying since Munich, I expected to be just northwest of San Marino—but the coast was turning southwest, which didn’t resemble anything in that part of the map. So where was I?
The moon was just a tiny sliver. In the darkness, the water at the stern glowed softly green—phosphorescent algae, churned up by the oars. By the time dawn approached, I couldn’t row any longer. I returned to shore, found the nearest shelter from the wind, and fell right to sleep.
I walked along the coast for days, eating what I could from the fields I passed through. Eventually it became clear that I wasn’t going to just stumble upon friendly troops—I’d have to risk turning west, toward the village centers, and asking someone for help.
On the sixth day after bailing out, I spotted a well behind a farmhouse. I was so excited by the thought of fresh water I went straight for it—and didn’t notice the farmer and his dog coming out to meet me there.
We got to the well at the same time. His wife and daughter were standing in the doorway, watching us. I gestured asking for water, and the farmer asked, “Parla italiano?”
I shook my head no.
Then he said, “Sprechen Sie Deutsch?”
I knew I had to fake it somehow. The puppy was tugging on my pant leg, so I knelt down, started playing with him, and sang the only thing I could remember from the German class I’d taken in junior college: “Die Lorelei,” a poem that, incidentally, is about a siren leading a pilot to shipwreck.
When I looked up, the farmer was smiling. He probably thought I was some harmless nut. The family brought out some bread, and when they drew up the bucket from the well, it was full of beer!
A half mile down the road I stopped and turned back. They were all still watching me. They waved, and I waved. I spent that night in a haystack.
Clockwise from top left: Notes Denison took while in Pula; women of the Yugoslavian Partisans; the Istrian countryside; an Italian cruiser docked in Pula Harbor; a clipping from Denison’s hometown newspaper; Pula Amphitheatre. Center: A letter Denison’s father received while he was missing.
I set off at sunrise the next day. It was now July 24, and right away I saw a church steeple in the distance. I’d arrived at a major city. The street signs were in Italian, which clued me in a little—but the Italian Empire had also extended deep into Yugoslavia for years. I needed more concrete information.
Wearing a nondescript gray sweatshirt and khaki pants, I must have blended in somewhat with the Italian workforce—lucky for me, since there were so many German soldiers on the sidewalks, I had to walk in the middle of the street.
I went toward the center of town. It had seen a lot of damage, and recently. Radar installations and fuel depots lay in ruins; the aftermath of those British bombers that had awakened me the first night.
I came to the city seaport, where about a dozen torpedo boats were docked one right after the other, flying swastika flags. Painted on the conning tower of each one were red silhouettes of American ships—their kills.
My spirits fell. That really got to me. Those were my people.
I left the seaport in a daze, and there looming overhead, I could’ve sworn, was the Roman Colosseum. I thought, There’s no way I’m in Rome—am I?
I sat on a park bench and watched the German troops marching past those ancient arches. They were all such young men, and for over an hour there was no end to them. Yet performances were still happening in that amphitheater; posters all around it advertised the evening opera.
Finally I shook myself back to my senses. I had to get out of here.
On my way out of the city, I saw a girl about my age lean her bicycle against her house as she went in. It was a quieter neighborhood, and I thought, A bicycle would be much faster, and easier on my ankles.
I looked around, saw no one else, and right as I was reaching for the bike, the girl came back outside. My hands were already outstretched, so I had to do something—I mimed asking for food and water.
She gave me a suspicious look, but after a minute she nodded and opened the door. Two other women were inside—her mother and grandmother, I assumed—speaking Italian and preparing lunch. They invited me to join them.
Then the mother asked me, “Chi sei, ragazzo?”
I must’ve felt safer there because they were women. So I answered in English, “I’m an American flyer.”
The mother’s face turned white. She quickly stood up and closed the front door. Hanging on the inside of the door was a fascist uniform.
I was the enemy. But I was also their guest. I could barely breathe; I had no idea what was coming next.
Then the girl asked me in English, “How long until the war is over?”
I said, “I don’t know. ’46, maybe.”
Her family waited for her to translate, and when she did, none of them were happy about it.
“Please, can you help me?” I asked. “I don’t know where I am.”
The girl got up and came back with an atlas. She pointed to Pula, the largest city on the Istrian Peninsula.
I was shocked. The entire Adriatic Sea lay between me and friendly territory. But then I remembered our briefings on the political situation there. Istria was close to the borders of Croatia and Slovenia. All of this land was still occupied by the Germans, but it had just been reclaimed as united Yugoslavia the previous November by the Communist National Liberation Army, better known as the Partisans. If we landed anywhere in Yugoslavia, we were supposed to seek them out for help.
I asked the girl how I could contact the Partisans. She glanced at her family, then traced a line northeast out of the city. “Follow this road and they will find you.”
Then she closed the atlas and said, “My father will be home soon.”
Veterans Day / Bob’s Hike Map
The only way out of Pula was through a gated checkpoint. By the time I saw the German guards, the pedestrian crowd had drawn down to single file, and turning back would only look more suspicious.
My turn. A Wehrmacht officer pointed his finger at me and I stopped. We sized each other up at the same time. I glanced over his immaculate green uniform, his jackboots, jodhpurs, his black-visor cap with the Nazi eagle dead center. He seemed disgusted by my seven-day unwashed clothes—and he squinted at my boots.
Then it hit me. Even the dirt couldn’t hide that my boots were brand-new leather. And the dead giveaway: stamped in large font right across the soles were the initials “U.S.”
The moment stretched on forever. But then he waved me through.
My knees went weak and as soon as I was out of sight I sat down at the side of the road. I didn’t know how I was still alive and walking free.
I followed the road northeast like the girl had told me, and made much faster progress than in the fields. Toward evening I came across a woman chopping wood near a small group of cabins. I greeted her with gestures as I had the others, but she backed away, gripping the ax tighter.
Without thinking, I said, “It’s okay! Me Americano!”
She nodded as if to say, So what? And when I kept advancing, she turned and ran.
The path led up a steep hill and I started up it as quickly as I could. Someone shouted—a crowd of people had come out of the cabins, and three armed soldiers were coming up the road toward me.
I started running, and they started running. If I could just make it over the top of the hill first, they would lose sight of me and I could hide. But I was exhausted, hungry, my ankles in agony; before I knew it they’d all caught up.
There was no way out.
I turned to face the soldiers. One approached me and said, “Tu americano?”
I nodded.
Then he grabbed my shoulders—and kissed both my cheeks. The other two did the same.
At the bottom of the hill, everyone who’d been watching the chase started cheering.
The Partisans had found me.
The Partisans on a long march through the mountains.
When I told my story to the person back at the cabins who spoke the most English, he said his comrades had picked up some Americans a few days ago and taken them north, to one of their secret headquarters in the mountains. He offered to take me there.
We set out at dusk and hiked all night long, until finally we arrived at a farmhouse just before dawn. The inside was filled with people hard at work on typewriters, decoding messages by lamplight. My guide checked in with them, and then showed me out back to a tall barn.
Sleeping in the hayloft, above the cows, were all nine of my crewmates safe and sound.
It was a joyous reunion. I couldn’t believe their story, and they couldn’t believe mine. A Partisan happened to be in the field where the copilot and top turret gunner landed, so they were rescued immediately. Six more joined them at their camp by evening, so except for the pilot, who caught up to them the next day, everyone except me had been reunited within four hours of bailing out!
That first night, while I’d been hiding in a ditch next to a German cannon, my crew was drinking wine, eating lettuce and black bread with strawberry jam, and dancing with the locals in Krnica, the very first village I would pass the next morning.
My spirits were soaring at seeing their faces again after an entire week alone. But our journey home was just beginning. The Partisans were taking us north, on a sort of “underground railroad” to the closest friendly airstrip—350 miles across the southeastern Alps, in Slovenia.
Copilot John Rucigay reunites with one of their rescuers, Marija Benčina, in 1971.
We had one day to rest. The next evening, the Partisans served beef stew with plum brandy and Charms lollipops. Turns out, they’d tracked down the Little One’s crash site and scavenged everything they could from the wreckage—they were serving us dessert from the survival kits of our own airplane.
From then on it was 11 miles a day at least; the ten of us, plus half as many Partisans who joined or left at certain points to pursue their own missions. Usually that number included a couple civilian women, who carried big flasks of milk from village to village.
We marched, single file, over the mountains every night for almost three weeks, sleeping by day, until we finally entered Slovenia, which was still mostly under German control.
We arrived in a lush valley that the Partisans had recently liberated; they’d driven the Germans back to the head of the valley, just a few miles north. A makeshift landing strip there proved a crucial staging point, and the Partisans suffered heavy losses to maintain control of it.
In the tiny village of Nadlesk, a woman named Marija Benčina let us stay in the hayloft of her barn. Her husband had joined a Slovene anti-communist force, and giving us shelter was her way of subverting his cause. She had two little children, and before we left we gave her all the money we had to support their education.
Other downed Allied troops came into the valley every day, until about 500 of us were all waiting for a spot on the next plane out. A cargo resupply plane came and went on August 19, and another one week later; but so many wounded deserved first priority, we had to wait our turn.
Finally, on August 27, all ten crewmembers of the Little One boarded a British C-47 en route to Southern Italy. We were infested with lice and underweight—I’d lost over 35 pounds—but for the first time in 40 days, we felt safe. Our adventure had come to an end.
John Rucigay, our copilot, was a second-generation Slovene immigrant, so he’d been able to communicate with our rescuers somewhat. He ended up returning decades later to find the village where his parents grew up, and reconnect with the people who saved our lives. Marija Benčina was still living there at her farm. Her children were both well, but her husband never returned from the war.
The story of my service in Europe is filled with unbelievable coincidences, but the greatest of them came years later.
In 1965 I was on R&R in Yokohama, Japan, during the Vietnam War. On our air base there, I met a woman employed in the US Civil Service and invited her to dinner.
I asked her about her German accent. She was about my age, and though she was now an American citizen, she had lived in Munich during the war.
“I bombed Munich during the war,” I admitted.
She didn’t seem surprised. “And I was defending Munich during the war.”
She explained that she’d been a marksman in the German Army; she and two other women were stationed on an anti-aircraft battery. A strange idea popped into my head. “Were you on the guns on July 19, 1944?”
She gave me a funny look. “Yes I was. I remember because we got credit for a possible kill that day.”
“I’ll be god damned.” I burst out laughing. “I think you might’ve shot me down.”
She took another drink. “I bet I did.”
“Aren’t you sorry?” I asked.
“Are you sorry for dropping bombs on my city?”
Well, neither of us would apologize. We were both doing our duty to our country. And now here the two of us were, 21 years later, laughing over drinks and having a great time.
From left: Denison in the 2007 San Diego Veterans Day Parade, and Denison at bombardier school in 1943.
For our final mission, everyone on my crew was awarded the Distinguished Flying Cross—even though we missed our target, destroyed our plane, and had to be rescued by the Partisans. I have always found that ironic. In fact, practically everyone who came to our aid were either Communist soldiers or women (sometimes both) or Black men. Those women helped us at great risk to themselves, because the men in their family had joined the other side.
I think about my experience every single day of the year. The problems we had were amazing, and I can’t help but wonder how we did it. We were all just a bunch of kids. They said go, and we went.
Bob Denison retired from the Air Force in 1970 as a lieutenant colonel and lived in San Diego for the rest of his life. When he passed away in 2017, he was the last surviving crewmember of the Little One.
Dan Letchworth is the copy chief of San Diego Magazine. His print column Dansplaining explores San Diego trivia, and his theater review blog Everyone’s a Critic was a finalist for best online column in the 2019 National City & Regional Magazine Awards.
Artists and advocates are building a more sustainable creative future through public funding, political organization, and cross-border collaboration
This is part of a three-part series. This is Act III. See Act I and Act II here.
We’ve been here before.
In 2012, city funding for the arts and culture in San Diego had eroded. As a corrective, the city council unanimously approved “Penny for the Arts”—a promise to dedicate roughly one penny of every dollar spent on hotel rooms (the Transient Occupancy Tax, or TOT).
The logic was fair and sound: Cultural institutions and events help attract visitors. Those visitors pay hotel taxes. So, the people agreed, some of that hotel-tax revenue should go back into maintaining the cultural ecosystem that helps bring those visitors and that money.
Projected as a five-year plan, the measure was supposed to increase funding to $17.9 million by 2017.
It never did. The penny was never guaranteed, so each year the city used part of it for other priorities. By 2023, the money going to arts and culture was up to about a half a penny. Even as TOT revenue has gone up significantly.
In 2019, TOT revenue was $245 million.
In 2025: $325 million.
One fix would be to guarantee the penny. Not simple, given San Diego’s financial woes. But the alternative—eroding the culture that makes San Diego San Diego, give it its identity—also doesn’t feel wise. Plus, even a locked percentage still rises and falls with tourism, which is why culture advocates want a guaranteed floor on top of it.
Another solution would be to give the arts commission actual authority.
“It’s an advisory body,” says arts commissioner Kamaal Martin. “You’d be hard-pressed to find anybody who takes our advice.”

He described the commissioners debating real, consequential questions this year, like whether and how to divide the cuts between funding pools. But those conversations “don’t connect to whoever’s actually deciding,” Martin says. “We haven’t been entrusted with decision-making about relevant things nearly enough.”
Christine Martinez is building political infrastructure through her organization Arts+Culture:San Diego—which is starting a 501(c)(4) lobbying structure not unlike police and fire unions. Martinez is also keeping her community actively engaged. “We won’t be caught off guard next year like we were this year,” she tells me.
Then there’s the evergreen issue of affordability and accessibility. Kiplinger’s most recent report ranks San Diego as the 11th most expensive city in the US, based on cost of living. The average home value is $980,700 (the US median is $540,000), but San Diego’s median household income is only one-third greater than the national level. Rent is also 66 percent higher than the national average ($2,716 vs. $1,636).
This is why San Diego has long suffered from the creative brain drain—creatives leaving for more affordable cities. “Artists are free to live wherever they want, and they will go where the rent is affordable,” says Jennifer de Poyen of Space 4 Art. “When they leave, they take their gifts with them, and their contributions, and their economic impact.”
One saving grace is the presence of Tijuana, where the cost of living is about 60 percent lower than San Diego, per Numbeo. Tijuana has long functioned as an affordable neighborhood for many in San Diego’s creative culture. It’s part of the reason why the binational identity is such a constant in our galleries, music, theater, murals, and culture. While that cross-border blood flow is one of San Diego’s most compelling attributes, few artists living that life would call it convenient or easy. A city is at a disadvantage when its culture creators have to cross a border to go home at night, and cross again the next morning to work.
In May, San Diego County Board of Supervisors approved a $2.75 million arts initiative of its own. It includes an Artist Space Grant Program aimed directly at the affordability crisis, as well as an artist-in-residence program, a dedicated Binational Creative Economy Investment, and a one-time investment in the Black Arts and Culture District in Encanto.
Bob Lehman of San Diego Art Matters has been doing county-level, binational organizing for years; in 2023, he helped get the county’s arts commission reestablished after 30 years of defunctness. That’s important because it gives arts and culture an official seat in county government, advising the County Board of Supervisors on arts and culture policy. He also brought in consultant Laura Zucker, who ran LA County’s arts program for three decades, to build a real regional plan.
“I really believe we’ll have something set up here that other communities come and look at,” he told me. “A national template other cities come to learn from.”
When asked who decides which artists will get the new grant money, county arts commissioner and executive director of the Chicano Park Museum and Cultural Center Monica Delgadillo Hernandez doesn’t hedge.
“That’s part of the infrastructure we’re going to be building,” she says. “What should a panel of reviewers look like? Should it be the commissioners? Should it be other folks? A supervisor?” She was just as candid that the commission itself doesn’t reflect San Diego’s population—Chicano communities are roughly a third of the city, she tells me, “and that’s not represented at the table yet.”

The great news is that none of these solutions have to be invented from scratch. Numerous cities serve as examples of what’s possible—if we have the will.
Jonathon Glus—Prebys Foundation Senior Fellow for Art & Design, the Executive Director of the Art + Design District, and board president for California for the Arts—worked in Houston before coming to San Diego. The Texas city dedicates 74.5 percent of its hotel tax to arts grants by formula, and that support is guaranteed. Washington, DC locked in dedicated arts funding in 2019. Salt Lake City, my hometown, has run a voter-approved arts tax for almost 30 years, most recently reauthorized through 2034. And just this summer, New York City pushed cultural funding to a record $323.8 million, even incorporating an emergency fund.
Denver’s model is interesting because instead of a city-dependent funding model, theirs is a 0.1 percent regional sales tax. In place since 1988 and renewed by voters three times, their Scientific & Cultural Facilities District has distributed between $54 million and $85 million to arts, culture, and scientific orgs—each of the last 12 years.
This is part of a three-part series. This is Act III. See Act I and Act II here.
None of these cities got there by accident. They decided, on purpose, that arts and culture were worth protecting from politics—and, in some cases, worth building an entire identity around.
“That’s how Miami has flipped the switch,” says Glus. “People go to Miami for culture as much as they do the beach.”
San Diego has spent decades selling itself backward: Beach and weather first, culture as an afterthought you might stumble into. Glus would love to see the strategy flipped: Visitors should come for the art, “and then, by the way, you’re on the beach.”

“I do think it was a wake-up call for the community,” de Poyen says of the budget fight. “People understand that our funding is vulnerable. It was a lesson in how much power people have when they coalesce. But wow, is it painful.”
Glus says he’s genuinely optimistic. “The players have all changed seats, but the work is moving forward.”
“I believe optimism is a moral duty,” says Martin, who’s both power-fist and polite.
In eight months, there will be another budget fight. Everyone I talked to expects it will be worse. But something happened this spring that can’t be undone.
“I hope this rupture has brought us together in a moment of self-realization,” says Leticia Gomez Franco of the Balboa Art Conservation Center. “I hope we stop being so transactional; we begin to see ourselves and each other as partners in this work.”
That’s the whole ask, really. And it’s on all of us.
This is part of a three-part series. This is Act III. See Act I and Act II here.
Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.
The history, communities, and creative movements behind a cultural scene that extends far beyond the city’s postcard image
This is part of a three-part series. This is Act II. See Act I and Act III here.
Without concrete, wildflowers are just weeds. Any honest history of San Diego art and culture is tension and its reckonings. It begins before the name existed, with the Kumeyaay. It must pass through the Panama-California Exposition, one hell of a county fair that conjured Balboa Park as our grand cultural stage. It pays tribute to the lights of La Jolla, where the donor pool helped realize unrealizable things. It should mention names like Marston, Scripps, Ochoa, DeWitt, Lopez, Klauber, Baldessari, Torres… so many.
In short spaces like this, long histories like that become roll calls. So this is more of a walk through pressure points, notes on recurring forces and regional oddities.
Border life is key to understanding the here of here. Art without dialogue is just decoration. At its best, that dialogue should be a tad muddy, emotionally gassed. In other words, it should be in need of art—to widen perspective, parse meaning, see the unseen.
San Diego’s central dialogue—the magic and the stressor—is being flatmates with Mexico’s second-largest city by population. That makes San Diego a swing-gate of shared and vastly different perspectives, both its own place and something larger. And in no other major city in the US do the fresh flow of ideas from two countries—different governments, laws, mores, expressions, arts, cultures, traditions, economies, loves, and resentments—mingle at such a constant daily rate (due respect to El Paso).
That binational steam created Chicano Park, one of the most uniquely San Diegan contributions to national and international culture. When construction of the I-5 and Coronado Bridge divided Logan Heights, neighbors protested by transmuting prejudicial concrete into redwoods of Chicano art. Turning a civic wound into a beautiful and enduring landmark that expressed and preserved a core identity—like East Side Gallery in Berlin or Constitution Hill in Johannesburg—is damn near the core of what art is supposed to do.
Like any city, the underground-overground friction is crucial in San Diego. Our culture is headlined by institutions that lift creative work onto national and international stages: MCASD, The Nat, SDMA, Centro Cultural de la Raza, the Symphony, WorldBeat Center, The Old Globe, La Jolla Playhouse, Mingei, Museum of Us, Stuart Collection, Timken, ICA, Comic-Con, etc. The next mutations grow in the seams: street murals, music dives, tattoo shops, wheatpasted walls, graffiti, lowriders, surf and skate art (though in San Diego, this is mainstream), pop-up shows, backyard shows, beach raves, any place with room for people and a loose relationship with regulations.

Both art and culture get their power from power. They’re fundamentally a conversation with and retort against dominant structures. San Diego’s most pervasive structure is arguably the most rigid form: the military. Its presence is heavy in the southern tip (Border Patrol), the middle (Navy and MCAS Miramar), and northern edge (Camp Pendleton). The military is San Diego’s largest employer, by a long shot.
Within this plus-sized environment of order and hierarchy, it’s understandable that Shepard Fairey’s “OBEY” posters in the late ’90s struck such a potent chord. The most compelling punk rock is often outside a strong governor’s window. (The “OBEY” series featured an ominous, propaganda-style André the Giant wheatpasted on random ugly surfaces across San Diego—launching Fairey’s style that he eventually used for Obama’s “HOPE” poster.)
Armed forces are often viewed as the absence of creative culture—understandably so, since rogue individual expression feels like a pretty sure way to sink a war effort.
But in San Diego, the Navy’s unsuspecting role as art creator—directly or indirectly—is hard to ignore. Tattoos are a dawn-of-time practice of many early cultures, including the Kumeyaay. But Polynesia was a core realm. Sailors were exposed to it on deployment in the Pacific Rim, inking their arms with the names of loved ones and unit insignia. Back in San Diego, they’d flaunt those tats in the beaches and bars of Mission Beach or PB (Marines did the same in Oceanside.) Enlistees were the muscular flesh galleries that helped turn skin art into one of the city’s most widespread modern art forms.
During WWII, the military also trained huge legions of San Diego laborers how to build war machines. Those mechanics, engineers, machinists, welders, painters, and metal fabricators used those skills for creative good in their neighborhoods—especially in custom car culture, which took off in the post-war ’50s and ’60s. Mexican-American vets helped develop the lowrider scene, a deeply rooted part of San Diego creative expression. Galleries on slow-moving wheels.
Tourism is the other mainstream force ripe for creating against. It is both critical to San Diego’s economy, and one of the greatest barriers to deeper, more nuanced expressions of what and who San Diego is. The industry of selling our city to passers-through creates a gigantic tarp of cultural tropes. It reinforces the most obvious charms—cute zoo animal takes in an epic sunset with a giant margarita—and doesn’t yield much airspace to the thrilling micro-cultures that live and breathe where locals live and breathe. Nothing against watercolors of dolphins, but much against the hegemony of watercolors of dolphins.
Maybe because of these dominant forces, San Diegans especially tend to force underground and institutional art into a needless cage match. It’s human instinct to champion the underdog as more worthy, but that has always felt like a form of articide.

It’s like saying the only good food is made by gritty upstarts who crafted their own whisks from discarded shopping carts. Most of those plucky whisk-makers would love to eventually be paid properly, would love a stage, a grant, a building, a donor, a lighting rig, health insurance, maybe even one chair that doesn’t threaten the spine.
That’s what the major institutions do. Both stages—the duct-taped and the donored—serve vital roles and deserve commensurate support if we care about the entire lifespan of creative expression and not just its first exciting steps. Championing the starving artist exclusively just secures an enduring poverty for the creative class at large.
I’ve often theorized it’s harder to create great art and culture in cities like San Diego, where the climate is supernaturally pleasant. In colder/hotter/rainier/less beautiful cities, people are forced indoors to fabricate their own beauty (the grunge music of Seattle, the obscene creative output of Reykjavík). San Diego’s eternally mild sunshine tends to make the human body our art medium of choice. But scratch the surface of that surf poster (and I’ve only scratched a miniscule percent here), and this city’s far from the cultural shallows it gets accused of being.
Addendum: A Personal Agenda. In scouting the route of art and culture across San Diego county through history, two areas come up again and again: La Jolla and Barrio Logan. So I propose a collaboration between two icons of artful concrete—Chicano Park and Salk Institute (one of the world’s great examples of brutalism architecture). Let Barrio Logan’s muralists go nuts on that coastal science fortress, unite the realms for a moment in time.
This is part of a three-part series. This is Act II. See Act I and Act III here.
Troy Johnson is the magazine’s award-winning food writer and humorist, and a long-standing expert on Food Network. His work has been featured on NatGeo, Travel Channel, NPR, and in Food Matters, a textbook of the best American food writing.
The city’s cultural sector regained millions after a proposed 85 percent cut, yet nonprofits, youth programs and major institutions still face painful losses
This is part of a three-part series. This is Act I. See Act II and Act III here.
Every spring, Christine Martinez reaches out to the arts community to explain what’s on the line, hoping they’ll engage with the city’s budget process. Cultural funding, she constantly reminds, is almost always strapped to the guillotine. Especially in a city strapped for cash.
“It’s not an easy ask,” says Martinez, manager of Arts+Culture:San Diego. “Showing up is a real cost for small, volunteer-run groups that can’t spare half a day at City Council without possibly having to close their doors.”
Then, last April—with one day’s notice to arts leaders—Mayor Todd Gloria proposed a budget that didn’t trim arts funding; it eviscerated it, from $13.8 million to $2 million. An 85 percent slash. Other city departments faced cuts of about 7 percent.
The scheduled date of the cuts was just three months away (beginning of the fiscal year). Organizational leaders have to plan months if not years ahead to run their organizations. They had made hires, dedicated spending, and programmed their seasons based on a reasonable expectation that support for the arts would be somewhat in line with previous years. (The City has allotted at least $7 million a year to arts every year for the last 20 years, and the last four years have ranged between $13.8 and $18.2 million.)
The day felt even more existential given the national and international climate around the arts: namely, the federal government’s repeated proposal to eliminate the country’s two biggest cultural foundations (NEA and NEH), and the global trend of AI replacing more costly human creatives.
“It shocked everybody,” says Kamaal Martin, arts commissioner and co-founder of Art Power Equity. “If the message had been, ‘Times are tough, everybody tighten their belts a little,’ it would have landed differently. But there was no vision offered for the future, no parity in the cut. It was just, essentially, ‘Fuck you.’”
Among things I’m good at—sleeping late, low bidding for expensive shoes on Poshmark, parallel parking on either side of the street—budget analysis isn’t among them. In trying to understand how bad the finances were for San Diego to propose this drastic cut, I found myself drowning in numbers, pie charts, and politi-speak.
In his April 27 newsletter, Gloria explained that balancing the budget means “asking hard questions about every single dollar this city spends: Is this a core responsibility of city government, or is it something we do when we can afford to?”
Fair enough—if he were to ask those hard questions about every single dollar this city spends. It also makes his conclusion clear: The City of San Diego does not view supporting arts and culture as a core responsibility.
Which begs more than a few questions: Should the City be responsible? If not, then who? How crucial are arts and culture to a city? And since this is a budget discussion, how much revenue does the arts and culture industry generate for San Diego? What’s the ROI?

$1.2 billion.
That’s how much economic activity San Diego’s arts and culture nonprofits generated in 2022, according to the City’s latest Arts & Economic Prosperity 6 report. The industry created nearly 17,000 jobs and generated $878 million of personal income for local residents. About 15 percent of the people showing up to arts events in San Diego are tourists, so money was raised through TOT (Transit Occupancy Tax). The activity generated $275.7 million in tax revenue to the city.
In other words, the ROI seems to be ROI-ing.
Still, there have been signs that cuts were coming. In 2025, the City demoted the Department of Cultural Affairs to a division, folding it into the Economic Development Department (EDD). That meant Cultural Affairs no longer had independence, nor its own leader sitting at the same organizational level as departments like parks and recreation, library, police, and fire. It lost institutional leverage and would now have to compete with other EDD priorities—real estate, airport operations, business development, etc.—for budget allocation.
To be clear, few arts administrators and leaders I spoke with are interested in the either/or false choice of funding law enforcement or after-school programs; the fire departments or libraries. They’re sincere in looking for solutions that don’t leave any single group with a greater burden of righting a long-out-of-balance budget.
Jennifer de Poyen, executive director of Space 4 Art, says Gloria had long been a supporter of the arts, which made his attempted Red Wedding especially upsetting.
Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.
ArtsConnect brings those experiences into view, helping residents discover what they can see, hear and create at UC San Diego while experiencing the campus in a new way.
Ask most people what UC San Diego is known for, and the arts may not be the first answer. Yet this fall, San Diegans can watch Ghostbusters with a live orchestra, try their hand at glassmaking and wander among more than 20 works of public art woven throughout the university’s La Jolla campus.
ArtsConnect brings those experiences into view, helping residents discover what they can see, hear and create at UC San Diego while experiencing the campus in a new way.

“The arts are at the heart of UC San Diego’s student-centered mission and vision,” says Alysson Satterlund, Vice Chancellor for Student Affairs and Campus Life. “Whether creating, participating in, or experiencing performances, the arts are essential to a healthy and truly fun Triton student experience.”
That invitation often begins where the arts intersect with other fields.
“Some of the most innovative work and discovery happen where disciplines don’t usually share a stage,” says Cristina Della Coletta, Dean of the UC San Diego School of Arts and Humanities. “So through our unique intersection of the arts with science, technology, and medicine, we are improving lives, physically and emotionally.
Take The Inaudible Ocean, a collaboration between Department of Music Professor Lei Liang and Scripps Institution of Oceanography Assistant Project Scientist Josh Jones. Over eight years, the pair recorded earthquakes, ship noise, whale songs and other sounds in remote underwater locations. They transformed those recordings into a live music experience that allowed audiences to hear the ocean in an entirely new way. The work premiered on campus in May and continues to evolve.
The arts also connect the campus to the global art world and diverse perspectives. Chief Campus Curator Jessica Berlanga Taylor recently curated the Mexico Pavilion at the 61st Venice Biennale, featuring RojoNegro, the collective formed by Noé Martínez and María Sosa. The collective will unveil a compelling new permanent installation for UC San Diego’s celebrated Stuart Collection later this fall.

ArtPower offers another easy entry point, bringing touring performers to venues including the outdoor Epstein Family Amphitheater and the intimate Loft. The nearly three dozen performances featured through its 2026-2027 season span music, dance, film, theater and conversation.
Among the fall highlights is Ghostbusters in Concert on Sept. 25, pairing the beloved 1984 film with a live performance of Elmer Bernstein’s score. Tickets start at $35, and the amphitheater is located next to the UC San Diego Blue Line trolley station.
“Every member of our community should have access to world-class art, so we work hard to remove the barriers that stand in the way,” says Colleen Kollar Smith, executive artistic director of the Campus Performances and Events Office. “That means affordable ticket prices, and performances, voices and experiences where people see themselves reflected on stage and know they belong.”
The arts at UC San Diego are not only something to watch. The Craft Center offers public classes and workshops in ceramics, jewelry, woodworking, culinary arts and even surfboard shaping. At the new Glass Center, beginners and experienced makers can explore glassmaking through classes, demonstrations and studio experiences.
Whether you want to attend a performance, make something yourself or spend an afternoon exploring public art, there is an easy way in. And the invitation extends well beyond students and alumni.
Kollar Smith says it best: “Visit, participate, spectate or create. You’re invited, and we hope you’ll connect with us soon.”
Explore upcoming experiences at ucsd.edu/artsconnect.
Meet the artists, makers, and advocates whose work shapes how the city looks, sounds, gathers, and connects
San Diego is full of people who deserve a few thousand words on what they make, who they bring together, and how their work changes the city around them. The artists, makers, advocates, and behind-the-scenes talent below are a small part of that larger ecosystem.
To help us narrow our list, we looked for names that kept coming up, work that reflects the diversity of our region, and people building something bigger than themselves.
Jackie is a long-time freelance journalist covering cannabis, food/restaurants, travel, labor, wine, spirits, arts & culture, design, and other topics. Her work has been selected twice for Best American Travel Writing, and she has won a variety of national and local awards for her writing and reporting.
Isabella Dallas is a freelance writer for San Diego Magazine and the Arts and Culture Editor at The Daily Aztec in her final year at San Diego State University. She previously worked as an editorial intern for SDM, but when she’s not writing, you can find her trying the best coffee spots in SD, devouring the latest rom-coms, and indulging in anything and everything pop culture.
Matt Eisenberg is an award-winning writer and photographer based in San Diego. A former ESPN editor, his work has also been published by CNN, Bleacher Report and the New York Daily News.
Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.
Leorah Gavidor won her first essay contest at age 5. She writes features, news, and non-fiction in San Diego.
Lili Kim is a content coordinator and writer for San Diego Magazine, with experience highlighting local businesses and communities. When not writing or shooting film, she is likely brewing her seventh cup of tea of the day or strolling along Sunset Cliffs.
Emma Veidt is an editor at San Diego Magazine. She earned her bachelor's and master's degrees from the Missouri School of Journalism. She loves running, hiking, and rock climbing, but really, she mostly loves encounters with the street cats around North Park.
Gail Czyszczon is owner/copywriter at Z3 Writing and best-selling author of a children’s book series. As a strategic communications professional and editorialist, she's passionate about discovering untold stories and themes that ignite fresh conversation and true change in communities.
For Jonathon Glus, San Diego’s next chapter begins with the artists who help us understand where we’ve been
Some ancient philosophers believed that humans experience seven-year life cycles or phases of life. Some went so far as to believe that every cell in the body regenerates every seven years.
Much later, in the 1800s, Austrian philosopher, architect, and social reformer Rudolf Steiner developed anthroposophy—an integration of science, art, and spirituality—into his understanding of the human experience. Steiner believed that each of us changes every seven years—from spiritual beliefs to physical evolution—and art is the connective tissue through each of these cycles. Still today, Steiner’s teachings are foundational to the principles of Waldorf education.
While I’ve certainly experienced more than a few human life cycles of my own, I believe that, just like us, cities have their own life cycles.
Cities are living organisms, regenerated every day by the people that live, work, and gather there. Environmental changes, human migration, economic shifts, technological advances, politics, and public policy—they all inform a city’s evolution, sometimes intentionally and sometimes by forces outside of our control. But ultimately, we as humans respond, adapt, and sometimes make our most important new advances.

In the aftermath of World War II, in 1947, the Edinburgh International Festival was established to promote international peace through the performing arts. Today, that festival continues as a global gathering place to experience some of the world’s most innovative dance and theater.
In post-revolution Mexico, that country’s government launched a monumental muralism program to celebrate the history of its Indigenous cultures. Today, that tradition still informs the way Mexico tells its stories and how we understand its history.
Here in the US, the National Endowment for the Arts was established in 1965, at a time when the arts were seen as part of our national strength and resilience. For the first time, federal funds were directed to communities across the country to invest in the arts at a local level.
San Diego may be relatively young as a major American urban center, and even younger on the world stage, but our region as home to humans is ancient. Today, we love a San Diego that is built on roads and traditions of the Kumeyaay Nation, where we share a modern mega-region with our sister city and cultural twin, Tijuana, on unceded Kumeyaay land.
History has shown us that the arts generate the very human connection and understanding that allows our politics, policies, technological advances, and human migration to move forward. In that way and more, the arts are the very heartbeat of our city.
In this issue of San Diego Magazine, we celebrate the artists, creatives, culture bearers, and workers who keep our region connected and in conversation as we take on challenges big and small—internationally as well as on our own neighborhood streets.
Artists are our storytellers. They respond to and chronicle the best and the worst of us—our foibles and weaknesses, our struggles, and, undeniably, our successes.
Now: a look back into the past seven years in history. They have not been a walk in the park, with a pandemic, global unrest, and shifting domestic politics as only a few forces that have challenged our lives and our region. Together, we experienced some of our greatest struggles and witnessed tremendous resilience.
That’s exactly why this is an exciting time for the arts in San Diego. We are on the precipice of an even more fertile, sustained, and inclusive time for the arts in our region.
In some ways, Covid seems like an eternity ago. I remember all too well the massive economic impact on our cultural institutions, some of which have never fully recovered. I remember the mass layoffs of the workers who keep our arts institutions going and the teaching artists who were suddenly out of work.
I also remember the poets, filmmakers, actors, and musicians who helped us grapple with the disruptions of the pandemic. Our communities became virtual, and artists gave us the space to make sense of it all.
In fact, a common phrase emerged from the Covid: artists as second responders.
Still today, I think about the short film made by San Diegans Susanna Peredo Swap and Gill Sotu called History of Joy, which captured so brilliantly what we were experiencing during those days of lockdown.
Since then, as an arts community, we’ve pushed forward transformational work that we will continue to build upon in this next seven-year cycle and well beyond.
Hundreds of artists and culture bearers have spent the past several years going to work with community groups across the region as part of Far South/Border North, our region’s component of the California Arts Council’s groundbreaking artist work program, Creative Corps. The impact resonated so deeply that local government and philanthropy partnered for a second iteration, Artist Count, this time a binational initiative launched just a few months ago.
We’ve invested mightily in cultural infrastructure. Need some examples? There’s the reimagined Jacobs Music Center and Museum of Contemporary Art San Diego, the Black Arts & Culture District, the state designation of Arts District Liberty Station, and now the burgeoning Art + Design District downtown.
World Design Capital San Diego Tijuana 2024 elevated what we already knew—that the two neighboring cities are culturally and creatively intertwined as one region—and boosted our global presence as a creative juggernaut. Artists, designers, and community leaders worked together to produce more than 600 events across our region that year, and the impact continues.
And “Creative City,” the City of San Diego’s first cultural plan that incorporates arts and culture advancements in the city’s development, was crafted by thousands of San Diegans as a roadmap to take us into the future.
Here’s what I know about the past seven years: San Diego’s artists, creatives, and culture bearers showed up for our region as our storytellers, second responders, and creative workforce.
And for the next seven? San Diego will morph and change, as every city does. Sometimes because of us, sometimes in spite of us. But our city’s creative community has a solid foundation on which to build, led by the artists who witness and tell our stories each and every day.
—Jonathon Glus, Conrad Prebys Foundation’s Senior Fellow for Art and Design in Residence at the Downtown San Diego Partnership
Laika Nur, MD, takes her love of volleyball from the court to the clinic as team physician for the San Diego Mojo
Growing up, Laika Nur, MD, Scripps Clinic sports medicine specialist, loved watching beach volleyball when the Association of Volleyball Professionals tour came to her hometown of Chicago. A talented volleyball player herself, she remembers sitting in the stands all day, and once, even got a couple autographs. Years later, Dr. Nur was attending a professional event focused on women’s sports, and the discussion turned to a new professional women’s volleyball league. The general manager and coaching staff for San Diego’s team, the Mojo, happened to be in attendance, and Dr. Nur took the opportunity to ask them if they needed a team doctor. Flash forward to the Mojo’s inaugural 2024 season, when Dr. Nur officially became the team physician. Click here to read more about Dr. Nur and how she incorporates lessons she learned on the court into her practice.
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