A man with no cultural scene will often invent his own. Taylor Steele did just that. When the award-winning producer and director returned to North County two years ago after living in NYC, Australia, and Bali, he sought to reignite the creative community at home, and only one place would do: the historic La Paloma Theater in Encinitas, where he grew up watching films like Searching for Tom Curren on the ratty seats.
“La Paloma is the mecca for surf premieres, but there was no festival here,” says Steele, whose explosive 1992 rockumentary-style film Momentum inspired a generation of surfers to elevate the sport into an art form. His second annual Solento Film Festival takes place Sept. 22-25 at the 1928 Spanish Colonial icon. It’s a legacy story for Steele, who flipped the script with Sipping Jetstreams and Proximity and went on to art direct campaigns for Corona, Apple and HBO.
Last year’s festival debuted to a full house that included industry giants like Kelly Slater, Rob Machado and Mick Fanning. They were lured by more than movies; music has been a crucial part of Steele’s oeuvre ever since his early VHS films helped to boost SoCal bands like The Offspring and blink-182. During this year’s festival, concerts will be held on an outdoor stage at Seaside Reef, Steele’s home break.
One of the festival’s sponsors is Steele’s very own certified organic tequila brand, Solento, packaged in a Chanel N°5-inspired bottle. It’s a long way from the early days of surf films at La Paloma. “There was always the sound of beer bottles rolling down the aisle,” says Steele, legs outstretched on the seats in front of him. “It’s a rite of passage for every filmmaker to show here.”
Last year’s Olympics in Paris delivered plenty of unforgettable moments—a metal band performing alongside a headless Marie Antoinette in a 13th-century castle, breakdancing’s short-lived debut (sorry, Raygun), and even Snoop Dogg serving as a torchbearer. But some of the most memorable concerned our own hometown heroes.
Sixty San Diegans competed for Team USA, earning 25 medals across eight sports, with gold medalists including then-Wave FC players Naomi Girma and Jaedyn Shaw, basketball star Kelsey Plum, and cyclist Jennifer Valente. Encinitas’ own Jagger Eaton hit the street park as one of only three Americans representing the country in men’s street skateboarding, nabbing a silver medal finish. And while TikTok-famous local “rave horse” Suppenkasper and his rider Steffen Peters, beloved for their EDM-fueled dressage routines, didn’t make it to the finals, the 17-year-old gelding had audiences eating out of the palm of his, uh, hoof from the very first beat drop.
The next Chucky Lozano might soon be honing his skills right down the road in El Cajon. San Diego FC kicked off its inaugural season in February and quickly proved itself a force within MLS (at press time, it sits at number one in the Western Conference). With it came the Right to Dream Academy, a scholarship-based academic and training facility where promising players as young as 11 will prepare for a bright future in the pro league under top-tier tutelage.
Best Triple Play
San Diego Padres
Picture it: Padres against the hated Dodgers in LA. With two runners on, the fate of the Padres’ 2024 postseason rests on one play. Bottom of the ninth inning. No outs. Padres closer Robert Suárez is looking to hang on to a 4–2 lead. Crack—a ground ball to Manny Machado. Machado tags third and fires to second. Jake Cronenworth turns it and beats the runner at first. Just like that, San Diego pulls off an unforgettable triple play and clinches their playoff berth. Easily the most cathartic moment in San Diego sports in the last year.
Best Next Step For a Fútbol Phenom
Alex Morgan
As one chapter ends, another kicks off. San Diego’s favorite WNSL icon, Alex Morgan, officially hung up her cleats (along with her number-13 jersey, which the team is retiring in her honor) for good in September 2024 after her final game with San Diego Wave FC against the North Carolina Courage. But before you get too emotional, she also dropped the much happier news that baby number two was on the way.
True to form, she’s not slowing down anytime soon. She’s staying in the game as a minority investor in the Wave, continuing her mission to uplift women in sports and ensure the next generation has even more room to shine.
2024 was a big year for San Diego State alum and world-ranked number-three golfer Xander Schauffele. Following a near-perfect round of 62 at Kentucky’s Valhalla Golf Club, tying the lowest round ever scored in a Major championship, he secured a narrow PGA Tour win over titan Bryson DeChambeau. Fast forward to July, and Schauffele brought his A-game to the Open Championship at Royal Troon Golf Club in Scotland. Battling wind, rain, and the course’s punishing bunkers, Schauffele was one of only 17 golfers to break par throughout the tournament.
Courtesy of Lori Walton
Best Legend We’ll Miss
Bill Walton
We said goodbye to a local icon this year: 6’11 NCAA Hall of Famer Bill Walton. Born in La Mesa, Walton played basketball at Helix High with his brother Bruce (who later became an NFLer) before making his mark at UCLA under legendary coach John Wooden. He won three straight NCAA Player of the Year awards (’72–’74) and was the first overall pick in the 1974 NBA Draft. Leading the Portland Trail Blazers to their only NBA championship in 1977, Walton became a beloved sports legend. A devoted Deadhead, he attended more than 800 Grateful Dead concerts and spent his later years deeply involved in community work, leaving a lasting legacy.
Best Record Breaker
Caitlin Simmers
Growing up in Oceanside, Caitlin Simmers had always gravitated toward the activities that make a California beach city what it is. She dabbled in BMX, dance, martial arts, and skateboarding, but found her calling in surfing at age 6. Now, at 19, she is in her third year of the World Surf League Champions Tour and part of the USA Olympic team. Last year, at Lower Trestles, only 20 miles from her hometown, she notched a pretty serious resume builder: She became the youngest woman winner of the World Surf League Final.
Every year, when winter swells bring San Diego’s best waves to their fullest potential, local surfers flood the lineups of popular spots like Black’s and Swami’s. But some of the heaviest and most dangerous surf lies further south, off the coast of Imperial Beach. The area’s crown jewel, Tijuana Sloughs, sometimes serves up 20-plus-foot waves that break up to a half-mile from shore.
Even as the surfing population has exploded, however, IB remains empty in comparison to the rest of San Diego, thanks to the pollution that plagues its waters. Surfers in IB don’t just check the surf cams and swell forecasts—they monitor the water data from the nearby International Boundary and Water Commission.
“It’s almost a science to go out for a surf and not get sick,” says resident Dwayne Fernandez. “My wife hates that I still surf here; she gets worried. I check the reports every day to see if it’s safe, which has been rare these days. If it’s not, I may have to drive over an hour just to get in the ocean—and I live minutes from the beach in IB.”
Photo Credit: Ariana Drehsler Dwayne Fernandez says his wife hates that he still surfs in IB. He lives near the beach but often must drive more than an hour to surf where water conditions are safer.
According to the Surfrider Foundation, IB has the unfortunate distinction of being the most polluted beach in America. Built in 1996 with the capacity to manage 25 million gallons of wastewater a day, the nearby South Bay International Wastewater Treatment Plant (SBIWTP) is frequently overwhelmed. Anything that exceeds the limits of the SBIWTP comes out as raw sewage, clearly visible in the water as a dark brown plume with an accompanying nasty smell.
The sewage flow can sometimes hit hundreds of millions of gallons in a single day. “You don’t want to be out there when that happens, and it can happen quickly,” says Adam Wraight, an Imperial Beach lifeguard sergeant, junior lifeguard coordinator, and longtime local surfer.
Courtesy of Surfrider Foundation
But that hasn’t stopped some residents, despite mandates prohibiting surfing and swimming during beach closures. If the waves are good, surfers are probably out there. Why take the chance, though, when there are so many other good waves—with cleaner water—in the county?
It’s partly a point of local pride. The surf history in IB runs deep. Stories of the Tijuana Sloughs on its good days are the stuff of legend, discussed in hushed tones in the core San Diego surf community.
Photo Credit: Kevin Stuart Former lifeguard and IB resident Jeff Knox braves toxic conditions to surf his local waves.
“The Sloughs was never a spot meant for everyone,” says Jeff Knox, a former lifeguard and lifelong IB surfer. “The paddle-out alone was enough of a deterrent for most. The shorebreak took care of the rest. It’s mostly locals out there; we like it that way. It’s one of the best waves around and, for that very reason, we never used to talk about it. But those days are long gone. We need all the help we can get—the more attention, the better. Because this is a huge problem.”
It’s also been part of the deal for decades. “I started surfing IB in the ’60s, [and] we’ve always had to deal with pollution,” Knox adds. “Throughout my entire life, it’s never been as bad as the last 10 years. The last five have been absolutely terrible.”
Additionally, there’s the simple fact of convenience. While IB’s median rent cost of $3,000 is well under the staggering housing costs in other surf-adjacent ’hoods like Encinitas and Del Mar, locals still pay a pretty penny to live a few blocks from the beach. And they often pay a price for surfing there.
Photo Credit: Jeff Knox Imperial Beach is considered the most polluted beach in the United States, with dangerous levels of bacteria caused by millions of gallons of raw sewage regularly flowing directly into the sea.
Scientists have identified 175 toxic pollutants in IB’s waters. Surfers have contracted everything from diarrhea and bacterial infections like MRSA to neurological disorders and hepatitis A.
“As a lifeguard, I see all the data. I check the flows daily and monitor the testing just to see if I can go for a surf during my break or after work. There are plenty of people who don’t check anything—they just see waves and go out—but even they get spooked when they hit the water and everything feels and smells wrong,” Wraight says. “Our responsibilities are definitely different from other [lifeguard] stations and, unfortunately, so much of what we do revolves around the pollution. It can get pretty negative, and it takes a toll on morale and recruitment.”
The problem has driven some local diehards from the water completely. Ramon Chairez, an activist and educator with the nonprofit Un Mar de Colores, has lived in IB for decades, but in 2020, he “made a conscious decision to stop surfing IB,” he says. “I saw too many people around me getting sick. It wasn’t worth it. The last five to 10 years have really been pivotal in the consciousness of the population, especially the kids—they know it’s polluted and unsafe.”
As a junior lifeguard coordinator, Wraight once trained the next generation in IB. But, now, he and the local kids he works with must travel to other beaches in the county. YMCA’s Camp Surf, a program that attracts children and teens from all over the nation with the allure of learning to surf in San Diego, can no longer take participants into the area’s waters.
Photo Credit: Ariana Drehsler
They must head to other neighborhoods or stick to land-based activities. “The biggest tragedy is the youth,” Wraight says. “They’re growing up not being able to enjoy the ocean like we did—their whole life experience is affected by the pollution.”
Despite the toxic water, IB still feels like a classic beach town, a callback to a time before $8 lattes and luxury condos dominated the coast. It’s charming, quaint, and beautiful, with the open space of the Tijuana Estuary to the south, mountains in the distance, and the mighty Pacific to the west. It has one of the most unique coastal views of all of San Diego—and some of its best waves. If only you could safely surf them.
Chris Dodds has been falling in love with San Diego for the past 10 years. He's passionate about the protection and preservation of our natural areas, especially our coastline and waterways.
The bike shop sits on a popular commute route and is staffed by affable mechanics who have worked the Tour de France. Hardcore bicycle people don’t have the friendliest rep, but MJ’s is different. They’ve got the skill set to equip racers, but they don’t treat commuters or parents buying bikes like tourists in their world.
Way to Become the Pickleball
PB Tennis Club
One minute you’re casually playing a game of pickleball, the next thing you know, you’ve helped design Gearbox’s newest paddle. The brand is based in San Diego and PBTC is their local court, where they play with locals to gain insights on how to improve their rackets. This sounds like free lessons to us.
Boujee Boat Picnic
Picnic Voyage
When a relative was giving away their boat, local architect Vilchis saw an opportunity to design a 10/10 Instagrammable experience. Now you can class up your day date by recreating The Notebook—a pristinely refurbished tiny boat with padded seats, plant garlands, snacks and drinks, and even parasols. Ryan Gosling not included.
Beach Volleyball Where Everyone Knows Your Name
South Mission
Each weekend on the courts of South Mission Beach, the sand is taken over by 2v2 players—many of which are ESL speakers from various countries. They’ve made this plot of sand their sacred community, where the universal language is bump, set, and spike.
Running Shop That Doubles as Bumble BFF
Milestone Run Club
On any given Wednesday on Hamilton Ave., 100 to 200 runners gather to run the streets of North Park. It’s put on by Milestone Running, a shop created by locals Greg Lemon and Chad Crawford. Go a few times and you’re pretty much guaranteed at least ten new friends—might even get “Smirnoff Iced” during the post-run raffle. You win some, you lose some.
Reward-Based Running
Waterfront Social Run Club
Even avid runners can lose motivation. This year, Waterfront introduced a new tradition: beer stops. The three- mile loop starts at Eppig Brewing in Point Loma, then heads to Fathom Bistro for a beer before completing the next 1.5 miles. Finish up with a post-run brew at Eppig, obviously.
Mission Bay Basketball Court
Madeline Yang
Sailing Lessons by Jack Sparrow Himself
Harbor Sailboats
San Diego’s maritime history runs deep. America’s Cups have a permanent home here. Harbor Sailboats—seven-time winner of the “ASA School of the Year”—offers sailing courses taught by longtime sea dogs. You know, the type of no- nonsense skippers who know how the wind will change by the way the breeze hits their beard hair.
Hikes in Real Nature
Palomar Mountain
If you want sky-high firs, oak forests that shade your path, and mountain peaks that overlook actual foliage (read: no palm tree in sight), head to Palomar Mountain State Park. And, since the inaugural California State Parks Week took place this year, there’s no better time to dust off your hiking boots on one of the six hiking trails (five for running).
An Apparently Easy Climb That’s a Lie
Mission Gorge
A mellow 5.7 climb on paper, The Tower at Mission Gorge will have you clipping the first few bolts like you’ve been dirtbagging in Yosemite all your life. You’ll have to dig deep into your courage reserves to tackle the crux, but you’ll be walking down that mountain with your head held high when the sun starts to set.
Floor Exercise
Mission Bay Basketball Court
Hoops here have always had a magical effect—a full regulation court, smack dab on the beach. The ball smells like sunscreen. No fence; out of bounds is in the sand. And it just got an artful resurfacing in honor of local basketball legend, Bill Walton—who’s been a member of the South Mission Beach Sports Park & Rec for 25 years.
Best Surf Shop Nowhere Near Water
Happy Battle Surf Co.
Yep, in City Heights. Specializing in boards from local shapers, owner Mark Polintan (who grew up on a pineapple farm in the Philippines) has created an infectious gathering place for surfers to support their peers. Like chasing tubes in exotic locations, you never know what or who you’ll find here, but you’re guaranteed to leave stoked.
Best Way to Justify Surfing All Day to Your Family
100 Wave Challenge
Surfers are selfish. No matter how many waves we catch, we always want more. And while there’s no shot we’ll ever change, we can at least direct that impulse toward a good cause. At the annual 100 Wave Challenge, participants commit to riding 100 waves in one day to raise funds for the local nonprofit Boys to Men Mentoring.
Nicolle Monico is an award-winning writer and the director of creative projects, digital editor for San Diego Magazine with more than 19 years of experience in media including Outside Run, JustLuxe and The San Francisco Chronicle.
The Best Gym in San Diego Isn’t Really a Gym Anymore
Earlier this year, Fit quietly dropped "athletic" from its brand, from Fit Athletic Clubs to simply Fit, and started calling itself something new: a social wellness club.
There’s a version of San Diego that lives in two extremes. On one side, the 5 a.m. crowd: biohackers, marathoners, people who’ve already logged a cold plunge before your alarm goes off. On the other, the after-dark crowd, the ones chasing sunset happy hours and late dinners with friends. Everyone seems to be either optimizing or unwinding, and most of us feel like we’re failing at both.
Fit, San Diego’s reigning Best Gym for the third year running, has built its entire identity around erasing that divide.
Walk into one of Fit’s three San Diego locations on a Tuesday afternoon and the lines blur fast. Someone’s mid-set on the squat rack. Someone else has a laptop open at a café table a few feet away, half-working, half-people-watching. A group is trading plans for the weekend’s event by the recovery lounge. Nobody’s in a rush to leave.
“We’re not competing for the same people,” says Emily Waybright, Public Relations Manager at Fit, addressing the arrival of a national luxury gym chain in San Diego this year. “We don’t really feel like we’re in the gym category. It’s this unique thing.”
That unique thing has a name now. Earlier this year, Fit quietly dropped “athletic” from its brand, from Fit Athletic Clubs to simply Fit, and started calling itself something new: a social wellness club.
It’s a small wording change with a bigger idea behind it. Fit was never built around escaping the workday. It was built around the people who genuinely like what they do, and who want workouts, work, and friendships to happen in the same place instead of three separate ones. Because sometimes red light therapy with a stranger turns into weekend plans.
Fit’s philosophy traces back to its founder, who started the brand nearly two decades ago after failing to find a gym he actually wanted to belong to. He looked instead to the old-school country club, where people came for a shared interest and stayed for the community. His version was made for a younger generation, minus the golf, plus the loud music.
Which makes it a little ironic that the very award putting Fit back in the spotlight this year is Best Gym.
What does the best traditional gym look like when the definition of a gym is becoming less traditional? It’s a fair question, and Fit’s answer is that the fitness industry itself is shifting. The 45-minutes-in, 45-minutes-out model is giving way to something closer to a genuine third space, the kind of role the office and the bar used to play before remote work and changing nightlife habits rearranged how people spend their time
For Fit, community isn’t a marketing add-on to fitness. It’s the through-line. Members aren’t just paying for a treadmill; they’re paying for an entire day of social wellness that’s built on performance, recovery, connection, and a plan for the next event on the calendar. That’s a much harder membership to walk away from.
Ambition and ease aren’t opposites here, they exist side by side, where passion and play share the same morning. On September 12, Fit is hosting Sol, a full day wellness festival at Fit Social. The morning focuses on wellness classes and vendors and then the evening is a full party with multiple DJ sets and an open bar. Think of it as a kick-off to locals’ summer in San Diego.
Ready to see what a social wellness club actually looks like? Visit fitclubs.com, or follow along at @thefitclubs on Instagram.
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.”
Photo Credit: Katie Gardner & Matt Furman
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.”
Photo Credit: Katie Gardner & Matt Furman
What Other Cities Prove Is Possible
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.”
Photo Credit: Katie Gardner & Matt Furman
So What Happens From Here?
“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.
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.
Photo Credit: Katie Gardner & Matt Furman
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.
Photo Credit: Katie Gardner & Matt Furman
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.
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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