The Best Things I Ate This Month: June 2014

Not all monsters have to be scary. In fact, entrepreneur Pinyada “Ada” Primpray’s is delightful.  Sea Monster, a small cafe that will serve poke bowls, fresh spring rolls, and matcha, will open in Mission Valley by the end of the year. 

“The concept is a Hawaiian- and Japanese-style cafe,” Primpray  explains. She calls it Sea Monster in homage to her friend’s popular restaurant Big Monster Sushi & Thai in Hawaii, but “the idea really started to take shape after I came back from a solo trip to Italy,” she says. The experience inspired her to start her own concept that mixed her culture, experience, and passion for food.

Sea Monster will be her first restaurant as an owner, but Primpray has worked in restaurants for 15 years in places like Kauai, Chicago, New York, and San Diego. She realized a similar health-conscious, seafood-forward, quick-service restaurant could work here, especially in that corner of Mission Valley where pizza and burgers reign. Plus, she points to the massive development plans for the area—between Riverwalk bringing thousands of new homes to the area and even more coming from San Diego State University, there are lots of new locals looming on the horizon.

She brought on Head Chef Wasu Gibb Palipote from Sushisamba in Los Angeles to develop the menu and signature sauces, like ink wasabi and a larb sauce. “Every couple of months, we plan to introduce a new signature sauce created exclusively for Sea Monster by [Chef Palipote],” she says. All the sauces will be homemade, including a basil creamy sauce and sesame vinegar.

Sea Monster’s menu centers around fresh poke bowls—mostly locally-caught bluefin tuna and hamachi as well as salmon, served California-style rather than Hawaiian-style (the sauces are added to order rather than marinating on the fish, which can overpower its flavor). Toppings will range from the usual, like edamame and green onion, to upscale, like uni (sea urchin). She’ll also serve fresh salad rolls, a popular light snack in Vietnam and her native Thailand, with vegetables and seafood like salmon, shrimp, and imitation crab. Everything will be served to-go, although there will be very limited seating for people who want to dive in right away. 

The matcha program will start small, with six iterations planned for opening and potentially more in the future. “I really want to have mango sticky rice,” she adds. Beyond adding items to the menu, Primpray says she hopes Sea Monster will be more than a restaurant. “I want it to grow into a lifestyle brand with its own little world,” she says, pointing to the restaurant’s mascot, Smoo. A monster with aspirations of growing bigger and bigger until it takes over? Yeah, sounds about right. 

Sea Monster will open daily for lunch and dinner in late 2026 at 6110 Friars Road in Mission Valley.

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San Diego Restaurant News & Food Events

Beth’s Bites

• Oktoberfest season is closing in fast, and one of the first dirndl-laced events of the year kicks off at AleSmith Brewing Company this weekend. AleSchmidt Oktoberfest runs every Saturday from September 12 through 26, and the family-friendly event is chock-a-block with German food vendors, live oom-pah bands, stein holding, and a whole lot more. The free event starts at 11 a.m. each Saturday, and from personal experience, I recommend posting up on the early side to snag a seat.
• Japanese fine dining restaurant Shio soft opened in August, bringing elegant plates and sunset views to La Jolla. (The area was hardly hurting for either, but I think we could always use some more sushi in our lives.) Has anyone checked it out yet? Let me know what I should order by dropping me a line at [email protected].
• Restaurateur brothers Danny and Dante Romero have been on a tear the past few years, consulting at places like Una Mas and taking over The Lion’s Share last summer. It’s understandable to see they recently decided to pause their recurring pop-up concept Two Ducks to recalibrate and figure out its future in a permanent location, but it’s still a bit bittersweet. If it’s “see you later” and not “goodbye,” I can live with that (for now).

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Have breaking news, exciting scoops, or great stories about new San Diego restaurants or the city’s food scene? Send your pitches to [email protected].

“A sharp knife is a safe knife,” says Joshua “Jhun” de Andres, owner of Kuya Sharpens. It only takes a light touch to guide a properly-sharpened knife, while dull knives require much more force to cut through an object, increasing the likelihood and severity of an injury. “If you slip, that’s a lot of force that is now going into your finger, your hand, and that’s where it becomes extremely dangerous.” 

De Andres started sharpening knives as a meditative practice during a time of personal grief, a way to zone in on a task with a useful and satisfying outcome. “[It was a] reminder to myself that you can fix something that’s broken and give it purpose again.” Once he ran through his own collection of knives, he started asking friends and family if he could sharpen theirs. When he’d sharpened everyone’s knives he could think of, he started posting videos on TikTok, where his first professional chef customer found him: Chef Tanner Stanich, chef de cuisine at Michelin-recognized Bib Gourmand Mabel’s Gone Fishing.

“That’s when things really started to take off,” he laughs. He uses whetstones rather than motorized belt sanders to sharpen, which gives him the ability to make microadjustments during the process for a more customized and controlled result. Whetstones also preserve steel more efficiently than other mechanical processes, which are faster, but take off more of the knife’s edge in exchange, reducing the lifespan of the knife. 

Learning how to master whetstones takes a lot of time and practice, and while de Andres specializes in sharpening Japanese knives, he’ll sharpen a knife from anywhere. “Every knife deserves to be sharp,” he says. 

Japanese kitchen knives are designed for extremely specific purposes: there’s a knife to break down a fish (deba), cut through boneless raw fish for sushi and sashimi (yanagiba), slice vegetables (nakiri), carve meat (sujihiki), debone poultry (honesuki), and even knives only the executive chef can use (kiritsuke). Few other culinary cultures utilize such ultra-specialized tools, and Japanese steel is prized for its extreme hardness and ability to maintain a razor-thin edge for decades when properly cared for. 

De Andres is still figuring out different ways to expand his business: hosting workshops at Home Ec on Adams Avenue, creating knife restoration tutorials, and launching private lessons, all while continuing to sharpen knives people bring to him or even send from across the country. And he knows that for both home cooks and professional chefs, sharpening a knife that may have cost hundreds of dollars on a whetstone can feel overwhelming. Will I ruin it? Will I break it?

“You’re most likely not going to break it,” he promises. “But you are going to make it yours, and you have to kind of be okay with that.” Knives age and change just like humans do. Sharpening is an essential part of maintenance, and shaving away the dull edges to restore a shine takes care. And de Andres cares a lot.

“It’s just been really life-giving to me,” he says. “I know it seems really silly that taking a knife and putting it on a whetstone can change your perspective on how you view the world, but for me, it came to me at a time when I needed it most.”

San Diego Restaurant News & Food Events

Beth’s Bites

• Mesa Agricola, a tiny taqueria in Escondido, made this year’s New York Times 50 best restaurants in the US list. If you’ve had the privilege of eating the guisado delicacies from chef Juan González and Megan Strom, you’ll understand why. Congrats on the recognition—and happy first birthday!
• Kids Free San Diego is about to kick off, and if you haven’t already taken a look at all the month-long deals on food, activities, and hotels, you have two more weeks to make a game plan. Between kids eating free at places like Crab Hut and the Waffle Spot, staycation deals at places like San Diego Mission Bay Resort, Belmont Park discounts, free fishing, whale watching, and more, I know that my dance card for the month is pretty much full. 
• Ranchito Milkyway, a farmstand in Bonita, also has plenty of events to pencil into your calendar, starting with an Indian cuisine-inspired farm-to-table dinner on September 19 with chef Kanta from Sattvik to an Italian cooking class on October 17 with chef Elisa from Balsamico Italian Kitchen. If you’re chock-full of things to do over the next few weeks, there’s always the option to snag one of their CSA boxes for an abundance of winter greens, vegetables, and herbs for home cooking.

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Listen Now: The Latest in San Diego’s Food and Drink Scene

Have breaking news, exciting scoops, or great stories about new San Diego restaurants or the city’s food scene? Send your pitches to [email protected].

Tickets to the Del Mar Wine & Food Festival get you in the door. The real fun is figuring out who you’ll run into once you’re there. This year’s weeklong schedule of exclusive events, running September 30–October 4, includes dinners, tastings, and loosely-supervised chaos where celebrity chefs and local icons finally let their hair down.

The festival has a track record of the unexpected: Bryan Cranston and Aaron Paul once toasted their mezcal brand Dos Hombres with an intimate dinner at the Lodge at Torrey Pines (and then, evidently unsatisfied, kept drinking it on the cliffs above Blacks Beach with a rotating cast of San Diego and Food Network chefs. Alex Morgan showed up for a dinner under the lights honoring the country’s most badass women chefs). Drew Brees ran a celebrity pickleball tournament where the guy from It’s Always Sunny in Philadelphia got absolutely humbled by locals.

If you scored a ticket to last year’s Grand Tasting, you might’ve caught Guy Fieri doing exactly what Guy Fieri does: strolling the grass, signing t-shirts and foreheads, and hanging off the DJ surf van like it was built for him. Meanwhile, local chef Ethan Yang of Glass Box walked off with the Chef Competition surfboard.

So whether your plan for 2026 is to corner legendary San Diego chefs like Victor Jimenez of Cowboy Star and Jon Sloan of Juniper & Ivy in person, or just aim for a spontaneous golf cart ride with a Food Network star—here’s your cheat sheet for where to run into a celebrity chef, TV personality, award-winning winemaker, or pro athlete at this year’s Del Mar Wine & Food Festival.

Troy Johnson, Karen Krasne

Signature San Diego Opening Night Party

September 30 | 6 – 9 p.m. | Monarch Ocean Pub 

Consider this your soft landing into festival week—the walk-around tasting that eases you in before things get chaotic later on. Monarch Ocean Pub hands its patio over to the flavors that define San Diego eating: Baja seafood done right, coastal bites, Mexican flavors with some heat behind them, all the staples locals will fight you over. 

The celebrity sightings here lean more “bump into” than “spot from across the room.” Troy Johnson—Food Network judge, San Diego Magazine chief content officer and co-owner, Emmy-winning host, a man who has eaten his way across the entire country professionally—is the type to materialize at whichever station has the longest line, because he already knows it’s worth the wait. Ask him what he’s had so far. He’ll have opinions.

Then there’s celebrity pastry chef Karen Krasne, owner and executive pastry chef of Extraordinary Desserts, James Beard House alum, and a woman Forbes once ranked among the top 10 pastry chefs in the country—which tracks, because you might find her holding court next to a tray of her roasted pecan shortbread dipped in white chocolate, explaining exactly why this is the flavor combination. You will listen to every word, too, because you’ll want to try that cookie.

This is an opening night party where the person next to you in line might just be the one who baked the thing you’re about to eat.

Bryn McArthur, Mawa McQueen

Chateau Montelena’s 50th Anniversary Celebration

October 1 | 6 – 9 p.m. | Fairmont Grand Del Mar

Fifty years ago, a Napa Chardonnay beat France at its own game and rewrote what the world thought it knew about wine. This dinner is that legacy, poured by the family who built it, course by course.

Under the arches at Fairmont Grand Del Mar, Ernie Hahn and the Hahn family, who partnered with the Barretts to revive Chateau Montelena into the Napa powerhouse it is today, host an evening built entirely around the winery’s most iconic pours. Every course gets its own pairing straight from the Montelena portfolio, so you’re not just hearing about the Judgment of Paris, you’re tasting the wine that started it.

Chef Mawa McQueen, a former James Beard Best of the West winner out of Aspen, brings globally inspired cuisine and serious technique to the table. Alongside her, Fairmont Grand Del Mar’s executive chef Bryn McArthur leans into farm-to-table sensibility shaped by a career of global kitchens. Together they’re building a menu meant to hold its own against wine that already changed history once.

This is the rare dinner where the wine isn’t just accompanying the meal, it’s the reason the meal exists. Fifty years after Paris, the rematch is happening right here in Del Mar.

Karen Krasne, Martin Munguia

Rioja Uncorked

October 1 | 6 – 9 p.m. | Rancho Valencia 

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.

Claire Johnson: You have been asked what an arts and design district is many times. Can you tell me what it isn’t?

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.

What does the district need to do in the next five years for you to consider it a success?

[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.

What does San Diego not have that you wish it did?

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.

What capacity do we have?

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.

Which city is your North Star?

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.

We’ve talked before about how food, fashion, design, and art aren’t siloed anymore.

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.

Which leads to the economic argument…

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 see all these new supper clubs and creative collectives popping up. What is the lesson there for San Diego in terms of the commercialization of cultural and creative groups?

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.

Is there a question I should have asked you but haven’t?

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.

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.

Claire Johnson: Why does an MLS team invest in arts and culture?

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.

But you’re also San Diego FC specifically. That matters.

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.

When you started, were you thinking about the profitability of this type of program?

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.

What does Playmakers look like in 10 or 20 years?

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.

What would you tell another organization considering this kind of investment?

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.

What excites you most about how San Diego is changing?

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.

Is there a question I should have asked you that I haven’t?

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.