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Everything SD DECEMBER 24, 2014

The Other Darrell Issa

Darrell Issa is no longer running the Committee on Oversight and Government Reform. But is it too late for Issa, the richest member of Congress and a champion of open government, to learn to get out of his own way?

To anyone paying only casual attention to Congress, Representative Darrell Issa, Republican from Vista, has been a Congressional terrier to the Obama Administration’s postal courier, dogging the President from the moment Issa became chairman of the U.S. House Committee on Oversight and Government Reform in 2010. Issa has spent four years holding hearings on everything from an IRS training fiesta at Disneyland to an attack at the U.S. compound in Benghazi, Libya, in which four Americans died. But while his committee could have delivered the kind of partisan red meat the Republican base craved, he developed a reputation for brash behavior and dramatic remarks that overshadowed his own hearings, blunting the impact of the revelations he was delivering. His term as chairman ended in December, and, by some reports, Congressional leadership was happy to see him go.

But when he isn’t chastising the executive branch and making headlines, another Issa emerges, a forceful advocate for government transparency, capable of working with Democrats and negotiating with the administration to pass open government legislation and whistleblower protections. In May, President Barack Obama signed the Digital Accountability and Transparency Act, a law that will expose federal spending in an online database, allowing Americans to know, for the first time, exactly how the federal government spends its money. Amid one of the least legislatively active Congresses of the last 60 years, Issa has advanced bills that will improve protections for whistleblowers, expand the Freedom of Information Act, and increase access for inspectors general. For a man who characterizes himself as ideologically close to the libertarian Cato Institute, and who said, “Congress has passed enough laws,” Issa is an impressive legislator.

An entire wall of Issa’s Capitol Hill office is dedicated to framed certificates of patents he has received, a legacy of his past in the electronics business. He is the richest member of Congress, having made his fortune selling car alarms to major automakers. Outside of politics, he may be best known as the recorded voice of Viper car alarms that orders would-be car thieves to “Please step away from the car.”

He launched himself into politics in 1998 when he ran in the Republican primary for California Senator. That bid was torpedoed by allegations of a shadowy past including an arrest, an indictment, and insinuations that he burned down one of his businesses for the insurance money. In 1999 he helped fund the recall of Governor Gray Davis. In 2000, he easily won election to Congress representing parts of San Diego, Orange, and Riverside counties. He has served seven terms in Congress and has never won by less than a double-digit spread.

When he arrived, he expected to serve on committees related to his business, like Energy and Commerce. “It never occurred to me to get on Government Oversight,” Issa says.

In 2003, retired Rep. Tom Davis, R-Va., the chairman at the time, recruited Issa to the committee. That year, Republicans held both the House of Representatives and the White House. The wars in Iraq and Afghanistan were already under way, and President George W. Bush’s popularity was surging. Issa believes the committee did some good oversight, but he also conceded there were plenty of stones left unturned in deference to a same-party president.

“There’s legitimate criticism, because in the two years Henry Waxman [D-Calif.] was chairman during the Bush administration [2007–09], time and time again he came up with areas we hadn’t pushed on that had merit,” Issa says. “The ground was pretty fertile. You had six years in which it wasn’t as aggressive as it could have been, and I think we all have to learn from that.”

In 2009, Obama took office and Edolphus Towns, D-N.Y., now retired, took over chairmanship.

“He didn’t have an aggressive bone in his body,” Issa says. “And we didn’t do anything.”

He planned to change all that.

“The Oversight Committee exists to secure two fundamental principles,” Issa intones from the dais at the start of every hearing. “First, Americans have a right to know that the money Washington takes from them is well spent. And second, Americans deserve an efficient, effective government that works for them. Our duty on the Oversight and Government Reform Committee is to protect these rights.”

The Other Darrell Issa

The Other Darrell Issa

Rep. Issa opens a new Orange County office in Dana Point, September 3, 2013 | © All rights reserved by Congressman Darrell Issa

Rep. Issa opens a new Orange County office in Dana Point, September 3, 2013 | © All rights reserved by Congressman Darrell Issa

Issa began reciting this Law & Order-esque litany when he took over the chairmanship after the Republican wave election of 2010 as a way to give the committee direction. While other Congressional committees have oversight and budgetary authority over particular executive branch agencies, the Oversight Committee can issue subpoenas and launch investigations into nearly any subject, restricted only by the energy of its chairman and a willingness to fight turf battles with other committees. This broad mandate usually means that when different parties control the House and the presidency, the committee chairman is expected by his party leadership to score points on the administration.

In his time as chairman, Issa held 128 hearings (though he held more in the lame-duck session that started after Election Day). Of those, he dedicated 30 to government waste, while 14 were dedicated to the Affordable Care Act; 13 to the EPA; seven to the Fast & Furious scandal, in which the Justice Department allowed criminals to buy guns in the hopes of tracking them; 11 to the IRS; four to Benghazi; and three to Solyndra, a failed solar company backed by federal loan guarantees. Issa does not lack for aggressive bones.

Issa’s staff members point out the successes: Hearings on a sweetheart loan program for important personages led to an ethics investigation into loans received by four members of the House (three Republicans, one Democrat); the hearings on Fast & Furious led to a (largely partisan) House vote censuring Attorney General Eric Holder, the first censure against a sitting member of the cabinet. Revelations of partying by the IRS revealed no fraud, but motivated the IRS to cut spending on training by 80 percent, an inspector general report said. And hearings on whether the IRS office in Cincinnati targeted Tea Party groups for further scrutiny led to the resignation of Lois Lerner, an IRS official responsible for exempt organizations.

Yet for all the sound and fury, a common critique of Issa from the D.C. political class is that he hasn’t wounded the President in a significant way, or that he has taken the focus off the issues and turned it to himself.

“Issa tends to get in the way of issues that could really energize the base,” says Norman Ornstein, a resident scholar at the conservative American Enterprise Institute.

In February 2012, as Obama labored toward re-election amidst a struggling economy and weak poll numbers, Issa seized an opportunity to galvanize the Republican base with a hearing on whether Obamacare mandates related to birth control infringed on religious liberty. Of 11 witnesses called by the committee, nine were men, including the first panel heard. The move helped the Democrats paint Republicans as anti-woman.

“I’m sure he’d like to have that one back. That was bad optics,” says Davis, the former committee chairman.

In March, Issa became the center of attention when he abruptly adjourned a hearing on the IRS targeting scandal. Lois Lerner, the IRS official, opted to take the Fifth Amendment in the midst of questioning by Rep. Elijah Cummings of Maryland, the ranking Democrat on the committee. Issa abruptly rose and adjourned the hearing, ordering staff to turn off the audio. The visual impression of a tall white man silencing an older black man was not lost on the Congressional Black Caucus. It demanded that House Speaker John Boehner, R-Ohio, strip Issa of his chairmanship and require Issa to publicly apologize.

“Mr. Issa is a disgrace and should not be allowed to continue in a leadership role,” Rep. Marcia Fudge, D-Ohio, chair of the caucus, wrote in a letter to Boehner.

Issa did apologize to Cummings, and the House never took up the censure. Cummings would later offer his own retort in the form of a minority report accusing Issa of using the same tactics as those used by Sen. Joseph McCarthy.

When asked to describe his present relationship with Issa, Cummings, who had once had a productive legislative relationship with Issa, issued a statement more notable for what it didn’t say: “The Oversight Committee has tremendous potential to improve the everyday lives of Americans, and I sincerely hope that whoever holds the chairman’s gavel—Republican or Democrat—will work on a bipartisan basis to develop constructive reforms.”

The mistakes and distractions have led some observers to think Republican leadership was growing frustrated with Issa. Last spring and summer, stories from Politico, Roll Call, and Breitbart.com all reported friction between Issa and House leadership, though none contained direct quotes offering an outright criticism.

“I’ve spoken to leadership staff; they’re frustrated with him,” Ornstein says.

In May, Speaker Boehner announced there would be a special committee to investigate the deaths of Americans at Benghazi on September 11, 2012, adding fuel to the idea that Issa had lost the confidence of top Republican leaders. On November 21, the House Select Committee on Intelligence produced a report saying, in essence, there was no “there there.” It cleared CIA officers working in Libya of any wrongdoing and said their “actions saved lives.” A spokesman for the Select Committee on Benghazi said the committee would review the report.

A common critique of Issa is that he has taken the focus off the issues and turned it to himself.

Issa says he has a solid relationship with House leadership, calling Majority Leader Kevin McCarthy, R-Calif., a dear friend. He said the move on Benghazi was simply the resolution of a turf battle between himself and other committee chairmen who wanted control of the hearings. He cast the move as a victory for his view that Benghazi had been an administrative failure.

“The select committee ultimately is a huge win for a determination that there really is a there there,” Issa says.

In November, as Congress prepared to go back into session after five weeks spent running for office, Issa managed to get back in the headlines twice just days before he ran one of his last Oversight hearings as chairman of the committee.

At a November 6 book party for former reporter Sharyl Attkisson, Issa said his committee relied on driven journalists to get word of the committee’s investigations out to the larger public. Without them, his committee “is a desert island.”

“When an administration says ‘no,’ it’s no different than when Andrew Jackson marched Indians down the Trail of Tears, to their death,” Issa says, according to reports in Politico and Bloomberg Politics. “The fact is, the government will obey the administration’s orders, if there isn’t somebody to say ‘Hold it, stop!’”

The titters and outrage from that gaffe had hardly diminished before Issa again became the center of attention, thanks to a social media stunt gone awry. Issa, or whichever staffer runs his Twitter account, offered to retweet pictures of family members who served in the military in honor of Veterans Day, according to the Daily Dot. The bait proved too sweet for trolls to resist, and Issa’s account soon retweeted images of Heinrich Himmler, described as “my late grandfather,” and Lee Harvey Oswald, described as “Uncle Lee,” among other

villains of history.

Issa’s then-upcoming hearing on abuse of telework by officials at the U.S. Patent and Trademark Office had become an afterthought.

Hudson Hollister, now the executive director of the nonprofit Data Transparency Coalition, had just resigned his job at the Securities and Exchange Commission on the day in 2009 that he marched into Issa’s office, resume in hand, to ask for a new gig. At the SEC, he’d been laboring to persuade his superiors to standardize and digitize their data collection activities to improve transparency, but to little avail. He told Issa he thought the whole government should make its information available online. Issa hired him.

“We wanted to move the government from documents to data,” Hollister says.

While switched-off microphones and accusations of sexism and government fraud make for the kind of melodrama that attracts attention from the press and the public, they are also the kind of white noise that tends to fade over the long history of Presidential–Congressional relations. Issa’s most lasting legacy will likely be shepherding through Congress laws intended to improve government oversight.

Hollister knew Issa had a technical background that might make him receptive to a digitization pitch. Issa knew computers. He said he learned to program both COBOL and FORTRAN, and in an interview he tossed off a programming joke about “Do Loops.” He realized the potential of digitizing government spending data after witnessing the success of Recovery.gov, a website that tracked spending from the stimulus appropriated under the American Recovery and Reinvestment Act.

The Other Darrell Issa

The Other Darrell Issa

Haircut in the Senate Barber Shop on April 24, 2013 | © All rights reserved by Congressman Darrell Issa

After taking over the Oversight Committee, Issa had a platform from which to push the issue. In consultation with now-ousted Majority Leader Eric Cantor, R-Va. (“A dear friend, I miss him”), Issa proposed a bill that would standardize and digitize all government documents. But with Democrats in control of both the Senate and the presidency, he would need collaborators to get it done.

To help the bill in the Senate, he linked up with Virginia Democratic Senator Mark Warner, a fellow former businessman and the wealthiest man in the upper chamber, and he later pulled in Republican Rob Portman from Ohio. The heaviest opposition, though, came from the White House Office of Management and Budget, which until this bill, was one of the few organizations that actually possessed spending data.

“There was a lot of palace intrigue within the Administration in the years-long fight over the DATA Act—not ideological, not Republican versus Democrat—but deeply entrenched figures in the White House’s Office of Management and Budget and other places that had been there before the Obama Administration and will be there after they leave,” Issa says.

Moving the bill would require numerous modifications, including lowering its sights from all government documents to just its spending, but in May President Obama signed the DATA Act into law.

The DATA Act does not stand alone among Issa’s legislative achievements. Issa views whistleblowers, people deep in the operations of a business or federal bureaucracy who spot wrongdoing, as an essential element of transparency. He guided through Congress the Whistleblower Protection Enhancement Act of 2012, a bill that expanded protections for federal talebearers, particularly those in the national security or intelligence communities.

In 2013, Issa attached an amendment to a House operations appropriation bill that would require the chamber to publish bulk data on the legislative process in an easily accessible format, a long-held desire of open government groups. He later withdrew the amendment, but House leadership changed operations and began publishing the data.

“My view is that to eliminate the big problems in government in the way of waste and fraud and abuse of power is to give the most federal transparency to the entire world,” Issa says.

Hollister would later leave Issa’s employ to start his own nonprofit explicitly to provide outside pressure for the DATA Act’s passage and implementation. While many congressional staffers leave government for high-paying private sector jobs, Hollister and two others of Issa’s recent staff have founded nonprofits dedicated to government transparency.

Republicans limit their members to six years as senior representative on any given committee. Issa spent two years as the Ranking Member of the Oversight Committee, and then four years as its chairman. He expects to hold a senior role on the Judiciary committee, but it’s not clear what the future is for his Congressional career. When Cantor lost his primary election earlier this year, Issa was not part of the conversation for the newly freed-up leadership roles.

Now that his time running the committee has ended, Issa is less focused on what he did or did not accomplish than he is on finishing the work he started: Implementation of the DATA Act and getting the Senate to pass a reform to government information technology spending and improvements to the Freedom of Information Act, among others.

His passion for opening up government remains.

“Every generation has to have people who do the job that I’ve been honored to do,” he says. “The moment government can sweep things under the rug, the first thing they sweep under the rug is a waste of your money; eventually what they’re sweeping under the rug is an NSA project that’s controlling everything, including elections.”

He adds later: “Since our founding, unnecessary secrets have caused the American people to be cheated by their government, out of their liberty and out of their money. That is the transparency that is most important to me.”

The Other Darrell Issa

Darrell Issa, October 9, 2013, Washington, D.C. | © All rights reserved by Congressman Darrell Issa

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Everything SD AUGUST 13, 2026

A Rare Look Inside Callaway Golf’s San Diego Test Center

The Ely Callaway Performance Center is where tour-level fittings, cutting-edge technology, and golf equipment you can’t buy yet all come together

A Rare Look Inside Callaway Golf’s San Diego Test Center
Courtesy of Ely Callaway Performance Center

“Come test something.”

Those are quite possibly my three favorite words in the English language—all due respect to “I love you” or the highly underrated “you were right.”

I’ve been a PGA Golf Professional since 1994, and yes, full bias disclosure, a Callaway Golf Ambassador for 18 years. One of the bonuses that comes with that combo is access to the Ely Callaway Performance Center—a place so exclusive it gives “velvet rope” vibes.

Originally opened in 2006 as a highly functional (yet not exactly breathtaking) test facility, the ECPC got a serious glow-up in 2018 when Gil Hanse (along with partner Geoff Shackelford) turned it into what can only be described as a fully engineered golf playground. Hanse is no stranger to golf course renovations. In 2024, he completed an extensive redesign of the Omni La Costa North Course in Carlsbad, so it could host the NCAA Division 1 Golf Championships. He also worked on acclaimed courses like Winged Foot, Merion Golf Club, and Oakmont Country Club.

In just two months, it went from a standard test center and R&D lab to a fully dialed-in golf playground.

Courtesy of Ely Callaway Performance Center

What was once purely practical is now intentionally designed to be both precise and inspiring. The targets are staggered with purpose—forcing creative shot-making while also calling you out on your actual distances (no more “that’s my 150-yard club … ish”).

Add a massive hitting area, bunkers and greens that mimic real on-course conditions, a “Himalayas” putting green (named for its roller-coaster undulations), an upgraded indoor putting lab, and a 120-decibel sound system blasting a very golf-appropriate playlist, and suddenly it’s a rare blend of high-performance testing facility and “don’t mind if I stay here all day” energy. Since this isn’t exactly open to the public, SDM asked me to take you behind the curtain.

As the iron gates part, it feels less like arriving at a practice facility and more like being granted backstage access at a rock concert—if the bandmembers were made entirely of launch monitors and perfectly manicured turf.

There are no mats. No guessing. No “I think that one felt good?” Just conditions that mirror exactly what tour players see in competition. Because when you’re testing equipment at this level, accuracy isn’t a bonus—it’s the whole point.

Even the sand matters. Different textures. Different densities. Because bunkers have personalities, too, and they are often unfriendly. And the golf balls? Brand. New. Not the usual “these have seen some things” range balls. New balls mean consistent spin, truer trajectory, and no surprises. The older a golf ball gets—and the more it’s been baked in the sun, scuffed, or generally lived a full and complicated life—the less reliable it becomes. Think of it like this: fresh ball, predictable performance; old range ball, slight chaos with a side of mystery.

I’m escorted to my personal hitting bay—basically a pop-up shaded oasis stocked with enough equipment to make a gear junkie weak in the knees. Shafts in every weight and profile imaginable. Heads lined up like they’re waiting to be drafted by their favorite team.

Courtesy of Ely Callaway Performance Center

Toptracer technology was patiently waiting to track every one of my swings, each shot instantly delivering ball speed, launch, spin, carry distance, and dispersion (a polite way of saying consistency, or lack thereof), so there’s no guessing—just data telling the truth, whether I like it or not.

We start with irons. Different heads, different feels, different results. When I miss a shot, the ball tends to leak right, so we check lie angle. A quick adjustment—2 degrees upright—and suddenly the clubface is consistently square at impact like it remembered its job. Effort level: down. Ball flight: improved. Confidence: creeping back.

Next we look at the different shaft options—because nothing says “fun afternoon” like realizing a higher kick point can change your entire golf identity. Shaft flex (how much the shaft bends during your swing) helps determine whether you get more height and distance or more control, while kick point (where the shaft bends the most) influences your ball flight—lower kick point for higher launch, higher kick point for a flatter, more penetrating shot. In other words, one small tweak and suddenly you’re hitting shots you’d normally only describe later, slightly exaggerated, over a glass of wine.

Then we move through the bag: hybrids, fairway woods, drivers, wedges. It’s a full rotation of “try this,” “now try this,” and “okay wait … THAT one.”

And yes—the new Quantum driver and fairway woods made an appearance. Without getting too deep in the weeds, they’re faster, more forgiving, and smarter (thanks to AI face mapping) than previous models. Translation: Even your mishits are now slightly less embarrassing. And they were not the only things getting tested. My patience was under attack because the driver and woods would not be available to the public for a good three months.

Courtesy of Ely Callaway Performance Center

Watching the fitting team work is like watching a Formula 1 pit crew. Clubs are swapped in seconds. Shafts tightened, adjusted, replaced. One minute you’re swinging something that seems “fine,” and the next, you’re holding a club that feels like it is a part of your DNA.

Then there’s the putter fitting. Drivers are physics. Putters are therapy. Inside the putting lab, sensors track everything—tempo, face angle, path—things you didn’t even know could be measured. Within minutes, my data politely informs me that my putter face is slightly closed at impact. Not shocking, but also not ideal.

A few quick adjustments—different head (with a bit more weight at the toe to discourage the face swinging closed at impact), shorter shaft (so I feel more over the ball, which helps my eyeline)—and suddenly the ball starts rolling exactly where I’m aimed.

Same stroke. Same golfer. Completely different outcome. If only the rest of life worked like that.

And then there’s the part that feels slightly classified. The ECPC isn’t “just” a performance center—it’s also where future equipment lives before the public even knows it exists. I’ve been there when certain clubs were basically under surveillance. Not “don’t touch,” but more “please keep phones in your pocket.”

It’s golf’s version of Area 51. Except instead of aliens, it’s drivers that won’t hit shelves for another year—and like I mentioned, waiting is not my strong suit.

Getting to test the newest equipment isn’t just a perk—it’s part of the job. It’s what allows me to stand in front of students and say, “I’ve tried it. I know what works and what doesn’t. And more importantly, I know why.” And if I happen to sprint to my car every time the phone rings and someone says, “Come test something” … well, that’s just professional courtesy.

Other Fitting Spots in SD

Callaway isn’t the only place to get your swing analyzed and clubs fitted. You can stroll into big retail spots like The Golf Mart or Golf Galaxy, book a next-level session at a dedicated studio like Club Champion or True Spec Golf, test brand-specific gear at various manufacturing companies (many located in Carlsbad), or even combine a lesson and a fitting at GOLFTEC. And let’s not forget your local golf course, where fittings happen on actual turf, on a driving range you have some history with—many times with the golf professional who is familiar with your swing so they can give you valuable input. With this many options, there’s really no excuse, other than pride, to keep blaming your clubs.

Everything SD AUGUST 12, 2026

San Diego’s Skateboarding Scene Rolls Into a New Era

The county that helped push skating into the mainstream is now nurturing the competitors, communities, and culture shaping its future

San Diego’s Skateboarding Scene Rolls Into a New Era
Photo Credit: Taylor Ballard

It was the summer of 1999. MTV, The Matrix, and first-generation PlayStation glowed on tube TV sets all over America. What a time to be alive. Smartphones weren’t yet stealing people from the moment. Cultural was a shared reality. During the last few minutes of the monoculture, Tony Hawk executed the first-ever 900 at X Games V in San Francisco. That’s two and a half aerial rotations with a side of the dizzies.

The time had run out on the Vert Best Trick competition long before the 11th attempt when he pulled off the fateful feat. Nobody cared. Not the judges, not the competition, and certainly not the crowd. “Let that bird fly,” they said. Once the trick was landed, they partied like it was 1999 … because it was.

That was the tipping point when the skateboarding world exploded, going from counterculture to a national phenomenon. Shortly after that, “Tony Hawk’s Pro Skater” video game came out, introducing millions of kids to what skate culture looked like. Oh, the game had a killer punk soundtrack, too.

Linda Vista skatepark in San Diego featuring skaters on the side of a half-pipe

We can all thank Hawk for the globalization of skateboarding. But we can also recognize his local influence and how San Diego County continues to be a hub for skateboarders young and old, for competitors and street skaters. To see it all, go to Park De La Cruz in City Heights—or, heck, any other skatepark in the county—which, at 19,000 square feet, is about twice the size of the average skatepark and has signature features like an M-shaped transition ramp. The amount of talent that continues to evolve in this county is a testament to deep-rooted skate culture and world-class athletes supporting the next generation.

Photo Credit: Casiel Sanchez

The Skatepark

I’m a little early for a skate lesson with pro skater Mike Owen when I get to Linda Vista Skatepark. In the 2010s, Owen ranked as one of the world’s top bowl riders. He’s the founder of San Diego Skateboarding and has “helped thousands of kids, teens, and adults learn to skate safely, confidently, and with style,” the company’s site says. And now it’s my turn. We start the lesson on the nearby tennis courts, getting my basic foot mechanics down. Safety before style.

In terms of street plaza features, the massive Linda Vista Skatepark is loaded with rails, stairs, manuals, and ledges. There are more bowls than you can get from Cava: a flow bowl, backyard-style pool, and vert bowl. The main feature is a full pipe for advanced line riders. It’s a hell of a park, even if somebody just wants to watch the action from the 100-foot-long pedestrian skybridge overhead.

Right now, San Diego has over 50 public skateparks scattered throughout the county. “There are now more [skateparks], more resources for them, and more terrain,” Owen tells me. “Now, they’re offering different competitive style skateparks that help for competitions. The best parks have a variety of different terrain where you have things for beginners and bigger transitions. Not every town has that.”

San Diego, luckily, does. But despite the bounty, Owen believes there should still be more—public skateparks are safe spaces for all to learn and develop on-board skills. Without them, a huge portion of San Diego’s culture withers. Encinitas could be the next city to add a skatepark to the county’s roster: In early July, the Encinitas City Council appointed 12 local skaters and community members for the newly established Skate Feature Committee. In partnership with two councilmembers, the committee’s purpose is to design a working skatepark or feature for the city.

But like any big project, Owen says, it’s a long process to add another skatepark to the community.

“I wish it were easier,” he says. “When there are different contractors for different things, [there’s only] a certain amount of time to build. It gets tricky.”

Then there’s the matter of funding the actual construction and development of the skatepark. That usually comes from grants, fundraisers, and donations. For reference, Linda Vista Skatepark was built on a $4.46 million grant from the California Department of Housing and Community Development in 2014. With an additional $40,000 donated by the Tony Hawk Foundation, the park opened in 2018 and is the largest in San Diego’s Parks and Recreation system. The best way to get a skatepark in your neighborhood, Owen says, is to start a petition and reach out to your city.

Photo Credit: Blair Alley

The Street Skaters

Jordan Thrower’s first street skate sesh at San Diego City College in 2003 ended with a police chase. The campus was swarming with skaters riding rails, jumping stairs, and grinding tricks on benches, curbs, and ledges. When the cops got on their loudspeaker telling them not to run, everyone obviously ran. Back then, cops would give tickets and confiscate boards. The vibe has loosened since. “Now, the police don’t really care,” Thrower says. “They just make you leave. It’s not anything crazy.”

Street skating is when riders use real-world urban obstacles, rather than pristinely designed bowls or ramps—such as in college campuses, downtown areas, corporate buildings, and malls. Abandoned mini-golf courses and construction sites do the trick, too.

Thrower says the street skating hub here isn’t as huge as it once was. Thanks to modern technology and social media, skaters aren’t tied to any certain place to create skate videos. You know, those videos that could have been taken this year but have the low-fi vibe of 2004, where skaters carve down stairwells into parking lots, over mailboxes, or across park benches. The silver lining: Even though there are fewer street skaters than there once was, those who stayed in San Diego are still tight.

“Everyone skates with each other and knows each other here,” Thrower says. “In LA, it’s not really like that. It’s small there, but not everybody knows each other, and they don’t really skate with each other too much. They just have a lot of little crews.”

Back in 2015, Thrower started his own street team and brand that sells boards and shirts called Tantrum. The Tantrum team is split between San Diego and San Francisco. It doesn’t take much to be a part of a skate team. You just have to be a good hang.

“The way I pick people [for the team] is if I can get along with them,” he says. “It doesn’t even really matter if they’re that good. If you’re likable and funny, you can pretty much be on the team.”

Photo Credit: Marc Wierenega

The Future

Running it up to North County, a Vista-based nonprofit organization called Exposure Skate has been shaping up the youth since 2012. Its mission is to give more opportunities to otherwise underrepresented women, girls, and non-binary individuals by offering classes and camps. This, to build up confidence and community. We could all use a little bit of that, eh?

Thanks to Exposure Skate, 13-year-old Joey Yarbrough has found herself competing in the LA Olympic trials. (Her first time on a skateboard came at just 18 months old at an Exposure Skate Rising event.)

While competing for Team USA in Rome in June of this year, she finished 13th at the first Olympic qualifier for LA28. Currently ranked 21st in the world and 5th among American women, the young prodigy is blooming. And she’s in good company and mentorship from her biggest influence, Bryce Wettstein.

“She taught me at the first Exposure Skate Rising when I was little,” Yarbrough recalls. “I compete and skate with her all the time now, and it’s super fun. [At Exposure,] it feels so good to have someone there to help me whenever I need it. They’re like my family, always encouraging me and always there for me.”

Yarbrough will be just 15 years old when the Olympics go down in LA. She’s following the Olympic torch carried by other locals such as Wettstein, Ruby Lilley, Jordyn Barratt, and Exposure Skate’s Amelia Brodka.

“I’m working my hardest to get there,” she says. “I’ll also work my hardest to go higher in the Olympics, maybe on podium. That’s just my dream. So, hopefully it’ll come true.”

Jake Peterson is a San Diego-based journalist and culture writer. His work explores the city’s music scene, sports, local characters, and the offbeat corners of San Diego’s subcultures.

Arts & Culture AUGUST 11, 2026

The Photos San Diego’s Young People Want You to See

Outside the Lens puts cameras in the hands of local youth, giving them the tools to capture their communities from the inside

The Photos San Diego’s Young People Want You to See
Photo Credit: Danny I.

Big feelings hit us all. Younger populations—or those who haven’t yet developed their own language of expression—outsource angst through external means. That’s where homemade haircuts, studded belts, and musicians like The Cure, Elliott Smith, or Phoebe Bridgers come around. In San Diego, though, there’s a nonprofit that gives youth a way to feel not only heard, but also understood, through photography and digital storytelling.

Outside The Lens’ mission is to amplify the voices of systemically marginalized young people and help them develop the confidence (and artistry) to tell their stories and shape their communities. OTL just celebrated its 25th anniversary earlier this year with dual exhibitions of student work at San Diego Central Library and Museum of Contemporary of Art San Diego. Since 2001, more than 30,000 students have completed programs at OTL, getting their hands on industry-respected DSLR cameras (no shade to iPhone photographers), editing files and images with Adobe Creative Suite, and recording podcasts. Participants explore their worlds through the lens and on the mic.

“Our biggest opportunity, and what’s really needed, is to bridge the understanding between the youth and their communities and how people are seeing what youth are going through right now,” says OTL Executive Director Sarah Beckman.

OTL’s participants, Beckman explains, are young people navigating systems that never gave them access to the tools and mentorship that inspire creative expression, financial mobility, and civic engagement. The nonprofit offers support—in the form of meals, transportation, and healing-centered educators—and a creative outlet for exploring and coping with those challenges.

San Diego skater fashion featuring a skateboarder jumping into a bowl at Robb Field Skate Park, Ocean Beach

OTL’s in-school programs meet California core standards for arts and partners with at least 37 schools and community sites throughout San Diego, including the Monarch School in Barrio Logan, East County Community School in El Cajon, and Creative Performing and Media Arts School in Clairemont Mesa. The nonprofit doesn’t just work within the school system. Its Media Makers program invites young adults with intellectual and developmental disabilities to express their place and purpose in the world through film, photography, animation, design, and entrepreneurship.

“We’re always asking the question, and we’re engaging youth in our civic discussions [of], ‘How can we make this city somewhere youth want to be?’” Beckman says. “‘How can we make San Diego somewhere for young people to build a future?’”

This year OTL’s annual Voice Out celebration event spotlighted student work that hung on gallery walls beside “Giants,” the Dean Collection at MCASD. The Voice Out contest is open to all San Diego youth ages 8 to 25; all submissions are published in a catalogue and displayed in a public exhibition. These are some of the students’ works, and their words, from the past three years of Voice Out.

Lines and Light Within Structure

“I wonder how the architect decided to connect the beams [at Del Norte High School] by creating repetition. Without color [in the photo], the structure becomes the focus of the image.” –Monroe S., 15

The Quiet In Between

“Every day, time slips forward, whether we notice it or not, and life can feel overwhelming in its constant motion. In this long-exposure photograph, the blurred train rushes past, symbolizing the speed of life, while the still subject remains grounded and aware. It’s easy to become tangled in society’s expectations: what to wear, what grades to earn, what future to chase. In that rush, we forget to pause. The stillness in this image becomes a breath, a moment of reflection. Through it, I hope to show that wonder lives in slowing down, in watching the world blur while choosing, even briefly, to stand still.” –Leo N., 15

Enough

“Teenagers constantly wonder if they will ever be enough. I wrote words on the mirror that might represent what a teenager thinks about when it comes to being ‘enough’ for the people around them. They might wonder if they are pretty, smart, or good enough. I wanted to bring attention to what thoughts teenagers struggle with in everyday life.” –Illiana I., 16

Go Skate Day

“I took this picture during Go Skate Day in 2023 or 2024 I think … but who cares? It’s sick! Keep riding!” –Danny I., 18

Never Let Go

“This was taken at an all-women’s retreat in the mountains to heal inner trauma, at the end of the trip where we all hugged each other and healed. My mother is the one being hugged and one of her friends is embracing her. Place is somewhere you belong, somewhere you feel comfortable in, and somewhere you can be yourself. I believe womanhood and friendship is not only a place but home.” –Michelle G., 16

Leorah Gavidor won her first essay contest at age 5. She writes features, news, and non-fiction in San Diego.

Studio S AUGUST 10, 2026

The Secret to a Home That Feels Just Right

Behind every beautiful space is a thoughtful process, and ASID San Diego is helping homeowners understand the value of professional design.

The Secret to a Home That Feels Just Right
Courtesy of ASID

A perfectly designed home rarely happens by accident. Those kitchens that feel effortless and rooms that seem to tell a story the second you walk in? They’re usually the work of someone who knows exactly what they’re doing.

It’s knowing which ideas will actually work, which materials will hold up over time, and how to turn a collection of choices into a space that feels intentional. That’s where a professional interior designer comes in.

For the American Society of Interior Designers (ASID) California San Diego Chapter, the goal is to help people see interior design as more than just the finished look. Behind every well-designed space is a process built on technical expertise. Designers are educated in everything from professional software and construction details to building codes, space planning, materials, and functionality.

Courtesy of ASID

“People don’t always realize how much goes on behind the scenes,” Kirsten Recce , current president of the ASID California San Diego Chapter, says. “Our designers are not just doing furniture placement and color selection and picking out new fluffy pillows. That’s not what they’re trained for.”

ASID members bring formal education, continued learning, and industry knowledge to their projects, helping create spaces that are not only beautiful, but designed to work. A paint color that changes completely depending on the lighting. A material that looks beautiful in a showroom but doesn’t make sense for everyday life. A layout that photographs well but doesn’t function for the people living there. These are the details where professional guidance can make all the difference.

Still, one of the biggest misconceptions about hiring an interior designer is that it’s reserved for massive renovations, luxury homes, or people who already know exactly what they want. The process can feel intimidating. Where do you begin? Is a designer worth the investment? What if you only need help with one room?

ASID’s answer: start with one hour.

ASID’s Spruce Up events break down one of the biggest barriers between homeowners and professional design: knowing where to begin. Held twice a year, the community program gives homeowners the chance to work directly with an ASID designer through a one-hour, $125 consultation in their own home. Whether you’re looking for advice on furniture placement, window treatments, kitchen and bath updates, remodeling ideas, vacation rentals, color selections or something else entirely, the upcoming September 2026 event offers an approachable way to get expert guidance before committing to a full project. Signups are open through Sept. 7, with consultations taking place Sept. 21 through Oct. 31. Proceeds benefit ASID San Diego’s educational and community programs. Register here!

Courtesy of ASID

“It’s a great opportunity for people who are in that exploratory phase,” Recce says. “Maybe they’re not sure they want to hire an interior designer yet, or they think it sounds daunting or expensive. This gives them a chance to discover what working with a designer is actually like.”

Design is personal. A good designer isn’t just creating a beautiful room; they’re helping create a space that fits the way someone lives.

“We’re a resource to all of San Diego County,” Recce says. “It doesn’t cost anything to pick up the phone and call and ask. We’ll answer.”

Follow ASID San Diego on Instagram, LinkedIn, and Facebook for updates on upcoming events, or connect with the chapter directly at [email protected] or 619-548-8847.

Partner Content
Everything SD AUGUST 10, 2026

San Diego’s Zine Scene Has No Rules

No gatekeepers, no creative rules, no perfect definition—the city’s DIY publishing scene makes room for anyone with something to say.

San Diego’s Zine Scene Has No Rules
Courtesy of Duophobia

If magazines are like the adultier eldest daughters who know exactly how much anarchy they can get away with, zines are the far less predictable younger siblings going on whim and instinct. Those who draw on the walls around the house, DIY their own piercings, and experiment with different emo/straight-edge/back to emo phases (or not-phases). Boundaries and routines are what zines were created to rail against.

Walk into Verbatim Books’ zine corner, and this rebellion is immediately clear. Zines have no singular form, no clean category or definition. Vintage magazine scraps are collaged into new meaning alongside mini fandom zines. Single sheets of plain white printer paper are covered in nothing but black ballpoint pen. Repurposed hardback book covers are folded into something entirely new. Some are duct-taped together, others stapled. Some glossy, others matte. There are guides to anything and everything, comic panels, photography, hand-drawn cartoons, poetry, recipes, diaries, and ramblings that only make sense to the person who made them—and that’s on purpose.

Zines are creative magic. And with no rules, they’re incredibly accessible. Anyone can zine and have a voice, regardless of artistic training or work life experience.

You are your own Anna Wintour, Graydon Carter, Ruth Whitney.

San Diego–based zine creator Lyssette Williams specializes in mini zines—often limited to eight pages, they’re meditations in abbreviation. Outlining, thumbnailing, and revision all move quickly from idea to page. Larger projects, including Williams’ long-form graphic novel thesis, move at a slower pace. For those, she often returns to pen and ink, a choice that resists the over-editability of digital work.

Raised by a single mother and navigating mixed-race identity in a predominantly white town, she finds a home for processing it all in zines. Her work deals in identity, belonging, self-definition, and punk-rock childhood. But it isn’t always heavy; Williams creates a mini duck-themed zine called Backyard Duck Propaganda that’s hard not to love. “When I create, I think about what would have helped me find the words back then, what my younger self would’ve needed,” Williams says. “[Zines] put the tools in your hands and democratize art. They’re translations of memories and identities.”

Courtesy of Lyssette Williams

For Williams, a big reason she keeps creating is being surrounded by other creatives—a scene that extends across the border. She points to Verbatim and Comicbook Artists of San Diego, plus events like Zine Fest (October 17–18 this year at Woo in Barrio Logan) and Black Comix Day at the WorldBeat Cultural Center.

Zines have always been a road for subcultures. During the Harlem Renaissance, Black creatives like Langston Hughes and Zora Neale Hurston self-published one issue of Fire!!, which inspired other Black authors. In the 1930s, zines (then called fanzines) were hubs for sci-fi nerds to write fanfiction, address the fandom, and create new characters. Superman actually made his public debut in a fanzine called Science Fiction (he was originally cast as a villain with a fully receded hairline). A couple decades later, zines about feminism and riot grrrl became subculture de rigueur.

The internet nearly killed zines, of course. But now, people tired of the algorithm’s firehose are finding comfort and renewed inspiration in analog. Zines, a salve for digital fatigue.

Courtesy of Duophobia

A giant figure in San Diego zine culture is Burn All Books. Founded by Amanda and Nick Bernal, BAB started as a risograph (digital screen printing) studio and turned into one of those places that keeps expanding the whole scene around it, even forming its own archive group, SCANNNERS. Since opening in January 2023, it has published over 35 works and collaborated with more than 100 artists, writers, and zinesters.

For Duophobia, the pseudonym for local twin sisters Alora and Kiani Dotson (affectionately known as the “possum twins”), zines make room for experimentation and play that doesn’t fit anywhere else. Room for eclectic cartoons and dirty jokes. For sticker-covered sketchbooks.

It’s that same brand of nostalgia you might feel when, say, you walk past the carcass of an abandoned mall and see a faded cartoon mural. Their work lives somewhere between childhood and adulthood, where being unserious is taken very, very seriously.

“We’re born and raised in San Diego, and the community of artists here is a main reason we started publishing,” Kiani Dotson says. “There are people here like Trixxie Land who run open art gatherings. Show up, and you’re part of it.”

Land, a zinester herself (she made 250 single-page zines during 2020’s lockdown), is all about storytelling over hierarchy. Art shouldn’t be about gatekeeping or intimidation, she says. So she holds open-invite arts shows at Subterranean Coffee.

Courtesy of Lyssette Williams

Duophobia regularly share their work at local galleries like Subterranean, filling that lowbrow space with pieces that answer: “What would’ve made us laugh as kids?” Children are often the first to pick up their zines, unfolding them in every direction while parents briefly panic at the impulsive destruction. The twins always step in. “No, no, it’s okay,” they say, before showing how one sheet of paper folds into an entire little book. “It’s like magic.” More often than not, the kids leave with a tiny zine tucked under a tiny arm, future San Diego zinesters in the making.

When asked what a zine really is, Alora Dotson’s response was simple: “It’s anything. Literally anything. The more genuine you are, the more people are going to hear what you have to say. Your voice matters, even if it’s just a silly joke or story. People want to hear about it.”

Not a perfect definition? Exactly. Zines inherently resist categories. Want to turn a single playing card into a storybook? Do it. What about your favorite graffiti artist’s signature tag at Prince Memorial Skatepark? Turn it into a zine.

Everything’s a zine.

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.

Arts & Culture AUGUST 5, 2026

The Best of San Diego 2026: Readers’ Picks

From tacos to tailors and trainers to travel, these are the businesses, people, and places that earned San Diego readers' votes

The Best of San Diego 2026: Readers’ Picks
Photo Credit: Narrative Images

Beauty + Cosmetic

Brow Studio

Elicia Marie Beauty

Hair Removal Business (Non-Laser)

Brazilia Skin Care

Laser Hair Removal

San Diego Aesthetics and Med Spa

Lash + Brow Technician

Elicia Soltesz, Elicia Marie Beauty

Lash Studio

Cupid Complexion

Makeup Artist

Ashley Fierro, Ashley Fierro Makeup

Microblading Artist

Sunny Olais, Sunny Bee Brows

Microneedling

Michelle Langston, MSN, APRN, FNP-BC, HNB-BC, Starlite Aesthetics

Spa for Skin Care (Non–Med Spa)

Honest Skin

Spray Tan Artist

Alysa Espiritu, Afterglo Beauty Lounge

Spray Tan Studio

Afterglo Beauty Lounge

Waxer

Tracy McMaster, The Wax Lady

Cosmetic or Beauty Product: San Diego–Based

KOA+ROY

Barber

Ronnie Page, Gold Comb Barbershop North Park

Barbershop

Hillside Barber

Courtesy of The Blow Dry Lounge

Blow Dry Bar

The Blow Dry Lounge

Colorist (Balayage)

Mariela Urbina, Rinse Salon

Colorist (Highlights)

Ryleigh Hunter, Headbang Salon

Colorist (Single-Process)

Mariela Urbina, Rinse Salon

Hair Extensions

The Hair Extension Bar

Hair Salon

Pixiedot Salon

Hair Stylist

Ann Teresa Degischer, Maen the Salon

Keratin or Smoothing Treatment Specialist

Lindsay Axelrod, Pixiedot Salon

Scalp Treatment Specialist

Cheng Tan, Koda Salon

Manicurist

Moni, Clawed Up by Moni

Nail Salon

Lulu Nails

Pedicurist

Zoe Walter, Pure Nailz

Piercing Studio

Enigma

Tattoo Artist

Lauren Skinker, Lucky Cat Tattoo

Tattoo Studio

Lucky Cat Tattoo

Courtesy of SUVA Fitness

Fitness

5K Run

Father Joe’s Villages Turkey Trot

Aerial Fitness Studio

Aerial Revolution

Barre Studio

barre3

Best New Class/Program, Opened 2025

SUVA Fitness

Best New Fitness Studio, Opened 2025

Sculpted. A Lagree Studio

Body Sculpting Studio

Move Madly

Boutique Gym

MK Fitness

Boxing Studio

City Boxing

Climbing Gym (Indoor Rock Climbing)

Mesa Rim Climbing

CrossFit Studio

Invictus Fitness

Dance Studio

Madhouse Dance

Fitness Bootcamp

The Camp Transformation Center, West Chula Vista

Fun Run

San Diego Santa Run

Golf Clinic

Singing Hills Golf Club at Sycuan

Half Marathon

Carlsbad Half Marathon

HIIT Studio

Orangetheory Fitness

Kickboxing Studio

9Round Kickboxing Fitness

Lagree Studio

Rise Lagree Studio

Courtesy of Rock ‘n’ Roll San Diego

Marathon

Rock ‘n’ Roll San Diego

Martial Arts Studio (Including Jiu-Jitsu, Judo, Karate, Krav Maga, and MMA)

Legacy San Diego

Personal Trainer

Camila Casanueva, The Yard Gym

Pickleball Courts

Barnes Tennis Center

Pickleball Lessons

The Hub Pickleball Club

Pilates Studio

SaltVault

Pole Fitness Studio

The Dollhouse Fitness

Spin Studio

Activate House

Surf Lessons

Little Groms Surf Camp

Tennis Club

Balboa Tennis Club

Tennis Courts

La Jolla Beach & Tennis Club

Tennis Lessons

Mission Hills Tennis

Traditional Gym/Fitness Center

Fit Athletic Club

Triathlon

San Diego Triathlon Series

Yoga Studio

Yoga Box

Photo Credit: James Tran

Food + Drink

Açaí Bowl

everbowl

Bagel

Big City Bagels

Bakery

Valerio’s Bakeshop

Bar

Happy Medium

Bartender

Austin Harrington, Captain’s Quarters

Best Local Alt-Drink, Alcoholic

Bivouac Ciderworks, Savoy Dry Apple Cider

Best New Bar Opened 2025

Kiku Room

Best New Brewery Opened 2025

Good Pressure Brewing Company

Birria

Birria El Rey

Bloody Mary

Waterfront Grill

Bread

Izola

Brewery

Harland Brewing Company

Burrito

The Taco Stand

Canned Cocktails

Cutwater

Caterer

Snake Oil Cocktail Company

Cheese Shop

Venissimo Cheese

Chips & Salsa

La Puerta

Chocolate Shop

San Diego Chocolate Co.

Coffee Beans/Roaster

Bird Rock Coffee Roasters

Craft Cocktails

Happy Medium

Distillery

Cutwater

Dive Bar

Aero Club

Donuts

Nomad Donuts

Farmers Market

Little Italy Mercato

Farmers Market Food Vendor

Flavors of East Africa

Fish Market

Tunaville Market and Grocery

Fish Taco

Oscars Mexican Seafood

Food Truck

Shawarma Guys

Fries

The Crack Shack

Gourmet Grocery Store

Lazy Acres

Happy Hour

La Puerta

Ice Cream/Gelato

Stella Jean’s

Juice Bar

Señor Mangos

Kombucha

Juneshine

Liquor Store

Old Town Liquor

Local Agave Spirits (Tequila/Mezcal)

Bebemos

Local Beer

Pure Project

Courtesy of Seven Caves Distillery

Local Gin

Seven Caves Distillery

Local Vodka

619 Spirits North Park

Local Whiskey

Skrewball Whiskey

Local Wine

Bernardo Winery

Margarita

Cantina Mayahuel

Martini

Turf Supper Club

Mocktails

Juniper and Ivy

Negroni

Sonny’s Pizza

Old Fashioned

Cowboy Star

Pasta

Pazza Market & Cucina

Phở

Phở Ca Dao

Pizza

Tribute Pizza

Pop Up

Mon Chourie

Produce Market

Specialty Produce

Romantic Bar

Starlite

Rooftop Bar

Communion

Sandwich

Big Jim’s Roast Beef

Smoothies

Señor Mangos

Sommelier

Missi Burns, Et Voila

Speakeasy

Raised by Wolves

Specialty Food Store

The Wise Ox

Sports Bar

Fairplay

Taco

Tacos El Gordo

Taproom/Tasting Room

Pure Project

Tequila/Mezcal Bar

Cantina Mayahuel

Whiskey Bar

Seven Grand

Wine Bar

Finca

Wine Store

Vino Carta

Winery

Gianni Buonomo Vintners

Wings

OB Noodle House

Courtesy of Four Moons Spa

Health + Wellness

Aesthetics + Med Spas: Aesthetician for Facials/Peels/Non-Medical Skincare

Cara Paymaster, CARA Studios

Aesthetics + Med Spas: CoolSculpting/Body Contouring Clinic

Cosmetic Laser Dermatology

Aesthetics + Med Spas: Hormone Therapy/Anti-Aging Clinic

Prospera Internal Medicine and Aesthetics

Aesthetics + Med Spas: IV Therapy/Hydration Lounge

San Diego Aesthetics and Med Spa

Partner Content AUGUST 17, 2026

New Beginnings

A new program guides new moms through high-risk pregnancy and into the “fourth trimester”

New Beginnings
Courtesy of Scripps Health

Mai Vue was just 34 weeks pregnant when she delivered her baby. Her pregnancy had been complicated, and she’d had a recent second trimester pregnancy loss, which led to her receiving specialized care from Sean Daneshmand, MD, a Scripps Clinic perinatologist who oversees high-risk pregnancies. Dr. Daneshmand and his team took care of Mai during her pregnancy, through the birth of her healthy baby girl and beyond. Mai was part of a program Scripps launched to provide support to new moms in the weeks and months after delivery. The postpartum program, known as Scripps Health’s Fourth Trimester Continuum of Care, provides care for women with high-risk pregnancies to optimize their health after childbirth and reduce the risk of complications in future pregnancies. Click here to learn more. 

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