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The true story of a World War II lieutenant’s incredible journey home
The Crew of the Little One—Rear: Charles Cartmille, ball turret gunner; Merle Weik, top turret gunner; John Lewis, tail turret gunner; Guy Howard, radio operator; Robert Marcum, nose turret gunner; Bob Garin, flight engineer. Front: Lt. Joseph Lidiak, navigator; Lt. John Rucigay, copilot, 1 Lt. Tom MacDonald, pilot; 2 Lt. Robert Denison, bombardier.
Robert Denison was serving as the bombardier aboard a B-24 when he was forced to bail out, separated from his crew, and survived for 40 days in Nazi-occupied Yugoslavia. In commemoration of Veterans Day, our copy chief put together this story, of his grandfather’s last mission in World War II. What follows is a composite, assembled from spoken and written accounts he gave over the years.
Between May and July of 1944, I flew 17 missions over Europe in the B-24 Liberator Little One. Most of the 10 men in our crew were fresh out of high school. I was just 19 years old, and the pilot was the “old man”—at 23.
Our plane was built right here in San Diego. As part of the 15th Air Force, we were sent to Pantanella Airfield in Southern Italy, to replace a crew who had just been lost. Over the previous year, the 15th alone had lost 186 planes.
We flew missions to Northern Italy, Bulgaria, Romania, Slovakia, and occupied France without major incident. Then on July 19, we embarked on our final mission—the one where we flew out and walked back.
When the curtains went up in the briefing room, they revealed our target: the BMW Aircraft Engine Factory in Allach, Munich—the third-most-defended city in the Reich, and we all knew what that meant. It was our first mission over Germany, and the chaplain announced that any Jewish soldiers among us could ask to be excused from it without fault.
The entire 15th Air Force took part in the raid—nearly 3,000 planes in formation at once. We took off like an assembly line, in 20-second intervals.
It was very cold in the plane. I had to wear two sets of work clothes, my flight suit, my winter flying jacket, and even a second pair of fleece-lined boots over my GI boots. You could rest your beers on the bomb bay doors and they’d stay ice cold.
Things started going wrong before we were halfway to the target. First our new navigation unit caught fire; then Engine 1 quit on us. With just three engines, we had to drop out of formation and fell to a lower altitude.
“I painted our plane’s nose art myself, out on the tarmac in the rain. ‘Little One’ was the pilot’s nickname for his wife.”
The sky over Munich filled with bursts of antiaircraft fire; it got so close I could hear the shrapnel tinkling on the hull. Since we’d broken formation, we had to pick out a different “target of opportunity” to hit; then we banked to head for home. Only then did someone notice the holes shot through the wings. It was shortly after noon.
When Engine 2 went out as well, all the aircraft’s power was coming from one side, creating a constant midair skid. The flak also shorted out our electrical system, which meant no power for the turrets, the radio, most of the instrumentation—or even the flight controls. Now the only force keeping the plane level was the pilots’ own physical strength, same as losing power steering in a car. They stood up and put all their weight on the rudder pedals to keep us from entering an uncontrollable tailspin. I relieved the engineer on the waist guns so he could go up and help the pilots. Unfortunately, this meant I could no longer keep track of our position.
We flew south for another hour until we passed over a well-defended city and the sky filled with flak again. Then, who should appear but two red-tailed P-51 Mustangs—those brave Black pilots of the Tuskeegee Airmen.
They could see we were in trouble. One flew closer to the city to draw the enemy fire, and the other came up alongside and escorted us awhile. We communicated with him out the window by sign language, since our radio was out. He smiled, and wiggled his wings. Eventually he had to return to his own mission.
Soon after that, Engine 3 failed. After three hours of fighting to stay airborne, we were down to 11,000 feet and falling. There was no way to make it home with a single engine.
The pilot gave the order to bail out.
The Little One releases its payload while flying with other B-24s of the 464th Bomb Group, 15th Air Force.
I relayed the order to the four airmen in the waist gun section. They all just stared at me and shook their heads. “No sir,” they said. “After you.”
No time to argue. I opened the rear hatch and told the men to head southeast once they hit the ground, so they’d reach the Allied front line. We were turning back over land from the ocean, and I assumed we’d made it to the main “boot” of Italy, south of Venice. I was wrong.
I was first to tumble out. I caught a glimpse of everyone else opening their parachutes right away, high above me, but I knew what easy targets that would make us to ground fire, so I waited to pull my ripcord until I was just 300 feet up. We were trained to roll as we landed, to distribute the impact evenly—but in the confusion of the moment I tucked my knees and smacked hard heels-first, spraining my ankles.
This photo shows Denison’s actual plane.
I was in a cornfield, and a three-gun antiaircraft battery was close enough that I could hear the soldiers’ voices. They also had two German shepherds—who were both looking right at me and barking.
I lay on my back, my ankles throbbing in pain, trying to gather my thoughts and expecting to be taken prisoner at any moment. I rolled up my parachute and took off my jacket, which was covered with identifying insignia. Now I saw that the dogs were wagging their tails. To my astonishment, no one came.
So finally I crawled away into a dry irrigation ditch at the edge of the field, where I hid my jacket and parachute. A little more safely out of sight, I decided to rest and give my ankles some time to recover. I kept looking around for my crew but never saw them. Having opened their chutes much earlier, they could have drifted miles away before landing.
Before I knew it I’d fallen asleep. I was awakened in the middle of the night when the gun battery opened fire—the sound shook me to pieces. British bombers were flying overhead, heading southwest.
Veterans Day / Little One’s Flight Path Map
The next morning I ate some raw corn and took inventory of my escape kit: bouillon cubes, matches, needle and thread, a compass, waterproof silk maps of Europe, and 42 US dollars. Too late I realized I’d left my .45 pistol behind in the bombardier’s position when I went to relieve the engineer. My only personal item was the wristwatch my parents had given me at my high school graduation two year ago.
As soon as I could bear putting weight on my ankles, I set out, slowly and limping. The countryside looked just like California. I knew the Allies were gaining ground every day, so we were bound to run into them if we just kept heading southeast.
I picked up more corn and some tomatoes to eat as I passed through the fields. To my surprise, by late afternoon I reached the ocean. I’d had no water all day and was feeling awful, so I drank some seawater. Of course, following the coastline south, the next thing I came upon was a rock quarry where fresh water had collected in the bottom levels. I drank up all I could.
It was dark by the time I came to a small cove with an unattended boat. I swam out, untied it, and quietly rowed to sea. I was already exhausted, but I knew night would be the safest time to travel, so I followed the shore for hours and hours.
Based on how long we’d been flying since Munich, I expected to be just northwest of San Marino—but the coast was turning southwest, which didn’t resemble anything in that part of the map. So where was I?
The moon was just a tiny sliver. In the darkness, the water at the stern glowed softly green—phosphorescent algae, churned up by the oars. By the time dawn approached, I couldn’t row any longer. I returned to shore, found the nearest shelter from the wind, and fell right to sleep.
I walked along the coast for days, eating what I could from the fields I passed through. Eventually it became clear that I wasn’t going to just stumble upon friendly troops—I’d have to risk turning west, toward the village centers, and asking someone for help.
On the sixth day after bailing out, I spotted a well behind a farmhouse. I was so excited by the thought of fresh water I went straight for it—and didn’t notice the farmer and his dog coming out to meet me there.
We got to the well at the same time. His wife and daughter were standing in the doorway, watching us. I gestured asking for water, and the farmer asked, “Parla italiano?”
I shook my head no.
Then he said, “Sprechen Sie Deutsch?”
I knew I had to fake it somehow. The puppy was tugging on my pant leg, so I knelt down, started playing with him, and sang the only thing I could remember from the German class I’d taken in junior college: “Die Lorelei,” a poem that, incidentally, is about a siren leading a pilot to shipwreck.
When I looked up, the farmer was smiling. He probably thought I was some harmless nut. The family brought out some bread, and when they drew up the bucket from the well, it was full of beer!
A half mile down the road I stopped and turned back. They were all still watching me. They waved, and I waved. I spent that night in a haystack.
Clockwise from top left: Notes Denison took while in Pula; women of the Yugoslavian Partisans; the Istrian countryside; an Italian cruiser docked in Pula Harbor; a clipping from Denison’s hometown newspaper; Pula Amphitheatre. Center: A letter Denison’s father received while he was missing.
I set off at sunrise the next day. It was now July 24, and right away I saw a church steeple in the distance. I’d arrived at a major city. The street signs were in Italian, which clued me in a little—but the Italian Empire had also extended deep into Yugoslavia for years. I needed more concrete information.
Wearing a nondescript gray sweatshirt and khaki pants, I must have blended in somewhat with the Italian workforce—lucky for me, since there were so many German soldiers on the sidewalks, I had to walk in the middle of the street.
I went toward the center of town. It had seen a lot of damage, and recently. Radar installations and fuel depots lay in ruins; the aftermath of those British bombers that had awakened me the first night.
I came to the city seaport, where about a dozen torpedo boats were docked one right after the other, flying swastika flags. Painted on the conning tower of each one were red silhouettes of American ships—their kills.
My spirits fell. That really got to me. Those were my people.
I left the seaport in a daze, and there looming overhead, I could’ve sworn, was the Roman Colosseum. I thought, There’s no way I’m in Rome—am I?
I sat on a park bench and watched the German troops marching past those ancient arches. They were all such young men, and for over an hour there was no end to them. Yet performances were still happening in that amphitheater; posters all around it advertised the evening opera.
Finally I shook myself back to my senses. I had to get out of here.
On my way out of the city, I saw a girl about my age lean her bicycle against her house as she went in. It was a quieter neighborhood, and I thought, A bicycle would be much faster, and easier on my ankles.
I looked around, saw no one else, and right as I was reaching for the bike, the girl came back outside. My hands were already outstretched, so I had to do something—I mimed asking for food and water.
She gave me a suspicious look, but after a minute she nodded and opened the door. Two other women were inside—her mother and grandmother, I assumed—speaking Italian and preparing lunch. They invited me to join them.
Then the mother asked me, “Chi sei, ragazzo?”
I must’ve felt safer there because they were women. So I answered in English, “I’m an American flyer.”
The mother’s face turned white. She quickly stood up and closed the front door. Hanging on the inside of the door was a fascist uniform.
I was the enemy. But I was also their guest. I could barely breathe; I had no idea what was coming next.
Then the girl asked me in English, “How long until the war is over?”
I said, “I don’t know. ’46, maybe.”
Her family waited for her to translate, and when she did, none of them were happy about it.
“Please, can you help me?” I asked. “I don’t know where I am.”
The girl got up and came back with an atlas. She pointed to Pula, the largest city on the Istrian Peninsula.
I was shocked. The entire Adriatic Sea lay between me and friendly territory. But then I remembered our briefings on the political situation there. Istria was close to the borders of Croatia and Slovenia. All of this land was still occupied by the Germans, but it had just been reclaimed as united Yugoslavia the previous November by the Communist National Liberation Army, better known as the Partisans. If we landed anywhere in Yugoslavia, we were supposed to seek them out for help.
I asked the girl how I could contact the Partisans. She glanced at her family, then traced a line northeast out of the city. “Follow this road and they will find you.”
Then she closed the atlas and said, “My father will be home soon.”
Veterans Day / Bob’s Hike Map
The only way out of Pula was through a gated checkpoint. By the time I saw the German guards, the pedestrian crowd had drawn down to single file, and turning back would only look more suspicious.
My turn. A Wehrmacht officer pointed his finger at me and I stopped. We sized each other up at the same time. I glanced over his immaculate green uniform, his jackboots, jodhpurs, his black-visor cap with the Nazi eagle dead center. He seemed disgusted by my seven-day unwashed clothes—and he squinted at my boots.
Then it hit me. Even the dirt couldn’t hide that my boots were brand-new leather. And the dead giveaway: stamped in large font right across the soles were the initials “U.S.”
The moment stretched on forever. But then he waved me through.
My knees went weak and as soon as I was out of sight I sat down at the side of the road. I didn’t know how I was still alive and walking free.
I followed the road northeast like the girl had told me, and made much faster progress than in the fields. Toward evening I came across a woman chopping wood near a small group of cabins. I greeted her with gestures as I had the others, but she backed away, gripping the ax tighter.
Without thinking, I said, “It’s okay! Me Americano!”
She nodded as if to say, So what? And when I kept advancing, she turned and ran.
The path led up a steep hill and I started up it as quickly as I could. Someone shouted—a crowd of people had come out of the cabins, and three armed soldiers were coming up the road toward me.
I started running, and they started running. If I could just make it over the top of the hill first, they would lose sight of me and I could hide. But I was exhausted, hungry, my ankles in agony; before I knew it they’d all caught up.
There was no way out.
I turned to face the soldiers. One approached me and said, “Tu americano?”
I nodded.
Then he grabbed my shoulders—and kissed both my cheeks. The other two did the same.
At the bottom of the hill, everyone who’d been watching the chase started cheering.
The Partisans had found me.
The Partisans on a long march through the mountains.
When I told my story to the person back at the cabins who spoke the most English, he said his comrades had picked up some Americans a few days ago and taken them north, to one of their secret headquarters in the mountains. He offered to take me there.
We set out at dusk and hiked all night long, until finally we arrived at a farmhouse just before dawn. The inside was filled with people hard at work on typewriters, decoding messages by lamplight. My guide checked in with them, and then showed me out back to a tall barn.
Sleeping in the hayloft, above the cows, were all nine of my crewmates safe and sound.
It was a joyous reunion. I couldn’t believe their story, and they couldn’t believe mine. A Partisan happened to be in the field where the copilot and top turret gunner landed, so they were rescued immediately. Six more joined them at their camp by evening, so except for the pilot, who caught up to them the next day, everyone except me had been reunited within four hours of bailing out!
That first night, while I’d been hiding in a ditch next to a German cannon, my crew was drinking wine, eating lettuce and black bread with strawberry jam, and dancing with the locals in Krnica, the very first village I would pass the next morning.
My spirits were soaring at seeing their faces again after an entire week alone. But our journey home was just beginning. The Partisans were taking us north, on a sort of “underground railroad” to the closest friendly airstrip—350 miles across the southeastern Alps, in Slovenia.
Copilot John Rucigay reunites with one of their rescuers, Marija Benčina, in 1971.
We had one day to rest. The next evening, the Partisans served beef stew with plum brandy and Charms lollipops. Turns out, they’d tracked down the Little One’s crash site and scavenged everything they could from the wreckage—they were serving us dessert from the survival kits of our own airplane.
From then on it was 11 miles a day at least; the ten of us, plus half as many Partisans who joined or left at certain points to pursue their own missions. Usually that number included a couple civilian women, who carried big flasks of milk from village to village.
We marched, single file, over the mountains every night for almost three weeks, sleeping by day, until we finally entered Slovenia, which was still mostly under German control.
We arrived in a lush valley that the Partisans had recently liberated; they’d driven the Germans back to the head of the valley, just a few miles north. A makeshift landing strip there proved a crucial staging point, and the Partisans suffered heavy losses to maintain control of it.
In the tiny village of Nadlesk, a woman named Marija Benčina let us stay in the hayloft of her barn. Her husband had joined a Slovene anti-communist force, and giving us shelter was her way of subverting his cause. She had two little children, and before we left we gave her all the money we had to support their education.
Other downed Allied troops came into the valley every day, until about 500 of us were all waiting for a spot on the next plane out. A cargo resupply plane came and went on August 19, and another one week later; but so many wounded deserved first priority, we had to wait our turn.
Finally, on August 27, all ten crewmembers of the Little One boarded a British C-47 en route to Southern Italy. We were infested with lice and underweight—I’d lost over 35 pounds—but for the first time in 40 days, we felt safe. Our adventure had come to an end.
John Rucigay, our copilot, was a second-generation Slovene immigrant, so he’d been able to communicate with our rescuers somewhat. He ended up returning decades later to find the village where his parents grew up, and reconnect with the people who saved our lives. Marija Benčina was still living there at her farm. Her children were both well, but her husband never returned from the war.
The story of my service in Europe is filled with unbelievable coincidences, but the greatest of them came years later.
In 1965 I was on R&R in Yokohama, Japan, during the Vietnam War. On our air base there, I met a woman employed in the US Civil Service and invited her to dinner.
I asked her about her German accent. She was about my age, and though she was now an American citizen, she had lived in Munich during the war.
“I bombed Munich during the war,” I admitted.
She didn’t seem surprised. “And I was defending Munich during the war.”
She explained that she’d been a marksman in the German Army; she and two other women were stationed on an anti-aircraft battery. A strange idea popped into my head. “Were you on the guns on July 19, 1944?”
She gave me a funny look. “Yes I was. I remember because we got credit for a possible kill that day.”
“I’ll be god damned.” I burst out laughing. “I think you might’ve shot me down.”
She took another drink. “I bet I did.”
“Aren’t you sorry?” I asked.
“Are you sorry for dropping bombs on my city?”
Well, neither of us would apologize. We were both doing our duty to our country. And now here the two of us were, 21 years later, laughing over drinks and having a great time.
From left: Denison in the 2007 San Diego Veterans Day Parade, and Denison at bombardier school in 1943.
For our final mission, everyone on my crew was awarded the Distinguished Flying Cross—even though we missed our target, destroyed our plane, and had to be rescued by the Partisans. I have always found that ironic. In fact, practically everyone who came to our aid were either Communist soldiers or women (sometimes both) or Black men. Those women helped us at great risk to themselves, because the men in their family had joined the other side.
I think about my experience every single day of the year. The problems we had were amazing, and I can’t help but wonder how we did it. We were all just a bunch of kids. They said go, and we went.
Bob Denison retired from the Air Force in 1970 as a lieutenant colonel and lived in San Diego for the rest of his life. When he passed away in 2017, he was the last surviving crewmember of the Little One.
Dan Letchworth is the copy chief of San Diego Magazine. His print column Dansplaining explores San Diego trivia, and his theater review blog Everyone’s a Critic was a finalist for best online column in the 2019 National City & Regional Magazine Awards.
Jonathon Glus on the Art + Design District, investing in the creative economy, keeping artists in the city, and what we can learn from places like London and Chicago
Jonathon Glus is the Prebys Foundation senior fellow leading the development of the Art + Design District at the Downtown San Diego Partnership. He has been asked what an arts and design district is many times. In our conversation, I asked him instead to describe what it isn’t. His answer opened up a broader discussion about what San Diego has and hasn’t invested in, what it has the capacity to become, and what other cities have done that we haven’t. Glus speaks about global art fairs and architecture biennials in Chicago and long tables at dinner parties all with the same fluency. He also discusses who gets to live in the neighborhoods where creative work happens, and what it means when they can’t afford to stay.
Jonathon Glus: It is not a place designed intentionally and specifically for tourists. Of course there will be opportunities for tourists to come, but the district is really focused on creatives, on creative education, and on the creative workforce—as well as our major performing arts organizations. That is the emphasis.
[It needs to] develop greater connectivity between the anchor institutions—the symphony, Broadway San Diego, the opera, all the wonderful things happening in Balboa [Park]—and the creative workforce that will be living and working in that neighborhood 24/7.
We have not been intentionally investing in the contemporary art product that other major cities have been building. A contemporary art fair. A biennial that reflects the ethos of this region. Chicago developed an architecture biennial about eight years ago. London has a design biennial. Desert X, right here in Southern California, invests in and elevates contemporary artists inside a city. We have not really been playing in the global art market in a way that we have the capacity to.
We have a wonderful foundation. Two theater companies that produce work that goes to Broadway more than many regional theaters in the country, major museums, artists teaching at UC San Diego and University of San Diego. What a city does when it wants to take itself to the next level is intentionally create the product. Miami went after the Art Basel fair; they did not passively receive it. You have to have the intention and the will, and you have to go after it. We haven’t done that in the way that other cities have.
Look at what we did with the tech sector; we’re now a major tech center. That was intentional. Leadership organized around it. We have to do the same thing around the arts. We have a lot of contemporary art collectors here. We have a lot of galleries. But the ecosystem of the business of contemporary art is not as organized or as visible as it should be.
It’s bits and pieces of different cities. Dubai has invested very quickly and very intentionally in contemporary art—art fairs, design fairs, higher education, artist residencies from all over the world. London has centered artists and creatives in the contemporary zeitgeist in a way that was not true 40 years ago. They built biennials. They ensured British artists had affordable housing and workspace. They made sure the media paid attention to what they were doing.
If you don’t have an artist at your dinner table, it’s not a dinner party. That sounds elitist, but it’s true. It shows the value that artists have in a community. Our relationship culturally with Tijuana is really significant here because artists in Baja seem to be at the table.
They aren’t. When super creative people are in a community doing extraordinary work, that draws other super creative people doing extraordinary work. That’s why other arts and design districts around the world end up populated with some of the most interesting restaurants and young fashion designers. Creatives want to be around other creatives.
Our creative economy already employs about 170,000 people and generates more than $11 billion in economic activity. It’s large and robust. But we must center all of this in accessibility and affordability. Williamsburg used to be affordable. Artists can’t afford to live there anymore. Wicker Park and Bucktown in Chicago—artist central, now unaffordable. If we’re going to invest in this district, we have to be really intentional about housing and workspace, so creatives have a place in the future of this district.
I think the lesson is that nothing changes. What do people love? Long tables. Why? Because you’re with a lot of people—some you may have known your entire life, but most you don’t. And if it’s driven by a creative process, all the better. We know one of the best ways to do that is around food, but also music.
For the Art + Design District, part of why we’re leaning into the process is because, culturally, we’re bringing down the barriers between film, fashion, multimedia, tech, and architecture. It’s an experiential mashup in the best possible way.
And it’s not just about art and design, but community writ large. Creative expression is something we all desire. Whether it’s at a long table, at the opera, or in your studio, we gravitate toward creative expression as a way of building community and communicating with the people around us.
I hope you are writing about this in seven years when the district is fully mature. But this is just the beginning for all of this. I think that’s what’s most exciting to me. We don’t know what this is going to be like, but we know it’s going to be creatively centered, and that’s super exciting to me.
A conversation with Sebastián Morúa on art, community, and why the club’s future heroes should include the creatives helping build it
Sebastián Morúa is the Senior Vice President of Brand & Innovation for San Diego FC. He oversees Playmakers, the program through which the club has, over the past three years, engaged with over 80 working artists—not as marketing partners, but as co-creative directors.
Morúa didn’t build Playmakers as a community-outreach program bolted onto a Major League Soccer franchise. He built it as the identity of the franchise. When we sat down, he talked about the World Cup, San Diego’s creative workforce, his challenge to other sports franchises in the city, and the mural of heroes he hopes people will see one day when they close their eyes and picture San Diego FC.
Sebastián Morúa: I want to answer that in two parts. Philosophically first—because I think what you’re really asking is why should any sports team do this when most don’t.
Sport is a platform for transformation. It has proven that over and over. We saw it this summer with countries participating in the World Cup for the first time and what that did in their home countries—the sense of self-identification, pride, possibility. That is the power of sport.
When you take a sports team that’s fueled by that principle and understands what it could mean for other stakeholders in a community, you start to think about what you can accomplish in collaboration with them. One of those stakeholders, very early on, was the creative community. If we were going to build a team that represents this place and its people, we needed to go to the source. Artists are uniquely positioned to translate the essence and the soul of a community. When you zoom out and look at the multitude of artists in a place, you start to see the fabric of that local culture. That’s where the sense of pride and possibility gets unlocked.
Our mission is to create opportunities for talent to flourish and make San Diego shine. That means the club is a platform. When we started doing the early research for the brand, we brought artists into our focus groups. The response was immediate. There was a clear need. In 2024, we ran the first full year of what became Playmakers, working with more than 20 artists to help us tell the story of how San Diego FC could weave 18 distinct communities together.
We’re in the business of developing communities through sport. We’re not in the business of fútbol to entertain communities. That is an outcome—but not the purpose.
No. I wasn’t thinking about where this was going or how much it would cost. It instinctively felt aligned with our organizational purpose, and we made a decision to go for it. Now it’s become what it’s become.
If a fan closed their eyes 20 years from now and tried to paint a mural of the heroes that make up the club, they would see a big percentage of Playmakers artists on that mural. Ask any fan about the team they’ve supported for decades, and they’ll tell you about players, maybe a coach, maybe an owner. We’re expanding that. In our mural, there’ll be artists, entrepreneurs, community leaders, youth coaches. The community will be present.
Three to five years from now, Playmakers is an established community of creatives who have co-directed the identity of the club and the evolving identity of San Diego. If we keep the pace we’ve kept, we should have collaborated with 150 to 200 artists whose stories we’ve told and whose next steps we’ve helped support.
There’s a huge benefit for us as a club and as a brand. This is symbiotic. The artists have a need, we can support that need, and in return the community cares more about our club because of the investment we’re doing in the community. That’s what I would tell another organization.
San Diego is waking up to how much it has to offer the global conversation around culture. There’s a purity to life here—partly because of the weather, which allows us to spend so much time outside, in nature—and that exists alongside this incredible richness in food, music, art, and now sports.
I have a sense that San Diego is ready to unlock its full potential. You see it in the artists and creatives here. They’re ready. There’s very little hesitation. It’s more like: “Hell yeah, of course I want to do this. I know I’m talented. I’ve been waiting for something like this.”
That energy, combined with the unique lifestyle and character of this place, creates a really exciting sense of what San Diego can become in the years ahead.
I would ask: What would you say to the other big players in San Diego who are—or could be—shaping the cultural fabric of our community? Do they understand the symbiotic benefit? Are they supporting it?
Because Playmakers, in the end, is a cultural compass. It’s making sure that San Diego still feels—and will always feel—represented in the creative process of building San Diego FC and what that means for San Diego.
The pitch is a canvas. Athletes are painting collectively during every game. There is a story in every game. That’s the link between sport and art. At the core, it’s the same creative process.
Artists and advocates are building a more sustainable creative future through public funding, political organization, and cross-border collaboration
This is part of a three-part series. This is Act III. See Act I and Act II here.
We’ve been here before.
In 2012, city funding for the arts and culture in San Diego had eroded. As a corrective, the city council unanimously approved “Penny for the Arts”—a promise to dedicate roughly one penny of every dollar spent on hotel rooms (the Transient Occupancy Tax, or TOT).
The logic was fair and sound: Cultural institutions and events help attract visitors. Those visitors pay hotel taxes. So, the people agreed, some of that hotel-tax revenue should go back into maintaining the cultural ecosystem that helps bring those visitors and that money.
Projected as a five-year plan, the measure was supposed to increase funding to $17.9 million by 2017.
It never did. The penny was never guaranteed, so each year the city used part of it for other priorities. By 2023, the money going to arts and culture was up to about a half a penny. Even as TOT revenue has gone up significantly.
In 2019, TOT revenue was $245 million.
In 2025: $325 million.
One fix would be to guarantee the penny. Not simple, given San Diego’s financial woes. But the alternative—eroding the culture that makes San Diego San Diego, give it its identity—also doesn’t feel wise. Plus, even a locked percentage still rises and falls with tourism, which is why culture advocates want a guaranteed floor on top of it.
Another solution would be to give the arts commission actual authority.
“It’s an advisory body,” says arts commissioner Kamaal Martin. “You’d be hard-pressed to find anybody who takes our advice.”

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

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

“I do think it was a wake-up call for the community,” de Poyen says of the budget fight. “People understand that our funding is vulnerable. It was a lesson in how much power people have when they coalesce. But wow, is it painful.”
Glus says he’s genuinely optimistic. “The players have all changed seats, but the work is moving forward.”
“I believe optimism is a moral duty,” says Martin, who’s both power-fist and polite.
In eight months, there will be another budget fight. Everyone I talked to expects it will be worse. But something happened this spring that can’t be undone.
“I hope this rupture has brought us together in a moment of self-realization,” says Leticia Gomez Franco of the Balboa Art Conservation Center. “I hope we stop being so transactional; we begin to see ourselves and each other as partners in this work.”
That’s the whole ask, really. And it’s on all of us.
This is part of a three-part series. This is Act III. See Act I and Act II here.
Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.
At Vi at La Jolla Village, residents don't have to choose between security and adventure, connection and independence. They get all of it.
Today’s seniors are more connected than ever, with a renewed focus on retirement as a time of discovery and enriching experiences. The ultimate reward for a retirement well-earned is the wisdom to appreciate it all, and what better place to enjoy that unique perspective than Vi at La Jolla Village, in the heart of San Diego.
All-access pass to good living.
As a Continuing Care Retirement Community (CCRC), Vi provides access to a connected and fulfilling community while making it easy to plan for future care, should the need ever arise. With a care plan in place, residents enjoy greater financial predictability and long-term value, freeing them to focus on making the most out of retirement.
Resort-style amenities at the epicenter of a cultural hub like San Diego offer a retirement experience unlike any other. Paired with exceptional dining, spacious accommodations and dedicated staff, the best of maintenance-free living is all around. And with the introduction of Vista 360 Well-Being, Vi’s panoramic approach to wellness, there are more ways than ever for residents to access it all.
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The key to longevity is striking the right balance in maintaining an active lifestyle with an active mind in a fulfilling community. With newly renovated community spaces and restaurants, Vista brings a variety of opportunities for residents to elevate their well-being through Vi-exclusive “Signature Experiences.”
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Vista Discover invites residents into stimulating educational experiences, from chef-led cooking demos and guided wine tastings to lectures at local universities and intimate lectures following cultural outings.
While Vista Enrich focuses on brain health and Vista Discover engages residents intellectually, Vista Explore cultivates a sense of adventure through curated travel and local excursions. But broadening one’s horizons doesn’t always require a plane ticket. One recent event brought a taste of the world right to the community: an onsite “jazz cruise” featuring live music and global cuisine served at a series of themed “ports” all within the community’s own ballroom.
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One of the biggest perks of life at Vi at La Jolla Village is its proximity to just about everything. With easy access to transportation and local attractions just steps away, residents can explore and engage with their community at their own pace.
“There are trolley and bus stops within a 5-minute walk that will get you to the beach, UCSD Campus, medical appointments, downtown La Jolla or San Diego, et cetera. We rarely use our car,” said resident Tom Yager.
With the best of San Diego just steps away, residents don’t just live in the city, they live within reach of everything that makes it special.
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The history, communities, and creative movements behind a cultural scene that extends far beyond the city’s postcard image
This is part of a three-part series. This is Act II. See Act I and Act III here.
Without concrete, wildflowers are just weeds. Any honest history of San Diego art and culture is tension and its reckonings. It begins before the name existed, with the Kumeyaay. It must pass through the Panama-California Exposition, one hell of a county fair that conjured Balboa Park as our grand cultural stage. It pays tribute to the lights of La Jolla, where the donor pool helped realize unrealizable things. It should mention names like Marston, Scripps, Ochoa, DeWitt, Lopez, Klauber, Baldessari, Torres… so many.
In short spaces like this, long histories like that become roll calls. So this is more of a walk through pressure points, notes on recurring forces and regional oddities.
Border life is key to understanding the here of here. Art without dialogue is just decoration. At its best, that dialogue should be a tad muddy, emotionally gassed. In other words, it should be in need of art—to widen perspective, parse meaning, see the unseen.
San Diego’s central dialogue—the magic and the stressor—is being flatmates with Mexico’s second-largest city by population. That makes San Diego a swing-gate of shared and vastly different perspectives, both its own place and something larger. And in no other major city in the US do the fresh flow of ideas from two countries—different governments, laws, mores, expressions, arts, cultures, traditions, economies, loves, and resentments—mingle at such a constant daily rate (due respect to El Paso).
That binational steam created Chicano Park, one of the most uniquely San Diegan contributions to national and international culture. When construction of the I-5 and Coronado Bridge divided Logan Heights, neighbors protested by transmuting prejudicial concrete into redwoods of Chicano art. Turning a civic wound into a beautiful and enduring landmark that expressed and preserved a core identity—like East Side Gallery in Berlin or Constitution Hill in Johannesburg—is damn near the core of what art is supposed to do.
Like any city, the underground-overground friction is crucial in San Diego. Our culture is headlined by institutions that lift creative work onto national and international stages: MCASD, The Nat, SDMA, Centro Cultural de la Raza, the Symphony, WorldBeat Center, The Old Globe, La Jolla Playhouse, Mingei, Museum of Us, Stuart Collection, Timken, ICA, Comic-Con, etc. The next mutations grow in the seams: street murals, music dives, tattoo shops, wheatpasted walls, graffiti, lowriders, surf and skate art (though in San Diego, this is mainstream), pop-up shows, backyard shows, beach raves, any place with room for people and a loose relationship with regulations.

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

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

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