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Troy Johnson pulls up a seat for dinner with San Diego's iconic Italian family, the Busalacchis
Joe Busalacchi would like to invite you to his birthday party. All of you. He didn’t, technically. But I feel confident. That’s what Joe does. He invites yous.
On the outdoor grill at his gated Mission Hills home—with a three-point view of downtown, the airport runway, and, most critically, of Little Italy—lies a whole grouper, scored and slathered with salmoriglio sauce (anchovy, capers, garlic, shallots, oregano, parsley, lemon juice, fresh-squeezed orange, olive oil). He’d like to give you the cheeks, a delicacy for people who truly know and love fish. Since you’re not here, he gives it to me. That’s what Joe does. Joe gives the best parts to strangers. Has been for 42 years.
For example: Within 15 minutes of my being in his home for the very first time, he invites me for Christmas. Not a restaurant opening, or something that would benefit his business by having a writer publicize it. With unrestrained earnestness, Joe announces to his entire family that this stranger is invited to the holiday where they all wear pajamas. And no one bats an eye. Yes, they agree, the stranger should come to Christmas in his pajamas.
The Big Family in Little Italy
“The most important thing that you don’t get in a lot of restaurants now is the ‘Hi, how you doin,’ lemme buy you a glass of wine,’” says 61-year-old Joe, as he surveys the dozens of dishes assembled in his kitchen, wearing an apron emblazoned with a Picasso print. “You gotta make people feel like a million dollars. Restaurateurs now are doing so many covers and don’t have time. You should make a friend, then make a customer.”
I feel like a friend. Should I show up on Christmas morning, I have no doubt Joe would answer the door and insist I was late.
About a dozen Busalacchi specialties are being prepared for this family meal tonight, overseen by no fewer than six family members. Joe’s son Michael helps Cousin Nino monitor the squash blossoms, vibrating in hot oil like a Van Gogh painting of flowers. On another burner, Nonna’s Bolognese sauce lightly simmers (always for at least three hours). Joe’s other sons, PJ and Joey Jr., handle the hospitality, making sure cups are filled, introductions are made, and embarrassing stories are given properly mortifying light.
The Big Family in Little Italy
Everyone has brought a plate of food. A typical Busalacchi family meal consists of dishes made by between 20 and 25 Busalacchis. There is someone poking and prodding the spiedini, a Sicilian specialty of ground pork stuffed with bread crumbs, currants, prosciutto, and cheese (“We were the first in San Diego to serve these,” beams Joe’s nephew, Nino, who’s now the chef of their newest Little Italy restaurant, Barbusa). Pendant kitchen lights glint off the fresh orange juice squeezed on razor-thin slices of fennel for the finocchio salad. Sicilian meatballs the size of toddler fists bask in crushed tomatoes flecked with herbs.
An aunt produces a warm basket of her bread topped with sesame seeds, toasted brown as desert dusk. There are layers of zucchini upon layers of eggplant—”blanched first, so they don’t get so oily,” explains Joe. Sfingi, a gossamer Italian donut is made, tonight and always, by Joe’s sister, Anna. And, of course, there’s cannoli. In Italian, a night without cannoli is called a mistake.
As the dishes are finalized, men gather in the TV room to see a football team that used to play in San Diego and then left the city without ceremony, and are therefore watched with a mix of obligation, habit, and derision. In the corner, a door leads to a modest wine room filled with immodest and sentimental reds. Most of the women converse around a large table outside by the pool. It’s there that my girlfriend asks how they’ll know what time is proper and polite to move inside to eat. “Oh, you’ll know,” a woman laughs. Two minutes later, Nino opens the sliding glass door and yells, “LET’S EAT!” The table must be 30 feet long, an Uber-able distance from end to end. Actually, it’s two tables. When you’re a Busalacchi, you own two tables, just in case family happens. And family always happens. Gold crosses glint from almost every open shirt collar. Each seat is elaborately set with wine glasses, each with a specific purpose (an aperitif glass, a dinner-wine glass, a digestif glass). Italians, much like the French and Russians, have an extensive tool set for dinner. I’m sitting in the center. The room is full of Busalacchis. Nearly 20, for sure. There’s Joe’s three sons, PJ, Joey Jr., and Michael. Joe’s brother Frank, his sons. Then nephews and girlfriends and boyfriends. If you ever need to borrow an aunt or uncle for any aunting or uncling scenario, they’ve got extra. They’re all laughing and spilling family secrets and moaning over the fiori di zucca (those fried squash blossoms, stuffed with four cheeses and topped with apricot jam, one of the standouts at Barbusa).
The Big Family in Little Italy
Our family meal begins when Nonna—Joe’s 87-year-old mother, Christina—serves us the pasta course, as she always does. It’s her celebrated Bolognese, which is on the menu at their other Little Italy restaurant—appropriately named Nonna. Forks twirl and voices climb as a flood of family stories come. The table takes on the roar of the stock exchange floor, with less panic and more bonhomie.
After the pasta course, we take our plates, go to the kitchen, and load up. It’s impossible not to be obscene about this, with a tonnage of food that befits Thanksgivings and last meals. Impossible for everyone except Joey Jr., whose plate is virtually empty. “Oh yeah, that,” he says, a little sheepish. “I don’t really eat. I eat fried food and meat and cheeses, but that’s about it. I don’t think I’ve ever had a vegetable. My dad used to get so mad. He once held up a piece of arugula and said, ‘I swear to God if you eat this right now I’ll buy you a car!’ I didn’t eat it.” Before coming to dinner, I called a handful of restaurant people to ask about Joe. They all said the same thing—good restaurateur, and one funny guy. Real funny. People always mentioned the funny.
“C’mon, dad, show him the video!” begs Joey Jr., plate still empty.
The Big Family in Little Italy
Joe does not want to show the video. But soon the cajoling gets him. He stares down to the head of the table, his shoulders sulk, his face flushes. For the first time that night, he doesn’t look like a self-made restaurateur who helped build both Hillcrest and Little Italy into culinary destinations. He looks like a child with a Bic lighter and a bad idea.
“She’s gonna be so mad,” he says, trying to contain the laughter.
“She” is Nonna, dressed tonight in a proper blue sweater with a significant necklace and earrings.
Joey Jr. produces the infamous family video on his iPhone. His father turns his back to Nonna and reluctantly narrates. They’d finally gotten her a flip phone, he explains. She wanted to program it like a smartphone: press one for Joe, two for brother Frank, and so on. Joe, divining rod of funny, convinced her that these newfangled phones can only be programmed by loudly speaking the person’s name and then banging on a cooking pot with a wooden spoon. Joe had helpfully arranged the necessary materials for her on a kitchen table. The video shows this sweet woman almost screaming the names of her beloveds into the phone and banging with shocking authority on the pot. Like a gong.
The Big Family in Little Italy
When pot banging didn’t work, he convinced her—oh yeah oh yeah sorry Ma I forgot—she has to do it lying down. So the next video is her wearing a conservatively elegant nightgown in bed, loudly proclaiming the names of her grown children into the phone. The poor woman; the good sport. Her fault, though, for raising a Joe.
At this point, Nonna has caught wind that she’s the inspiration for the laughter. She casts a narrow side-eye that is loving and deadly. She quietly mutters something in Sicilian.
No one can hush a roomful of Sicilians like Nonna. With a look or a whisper. Throughout the night, the Busalacchi home is not merely loud, it is a leading cause of tinnitus. Men and women talk over each other, a constant rising and falling of voices. People yell to fill our wine glasses (Joe makes his own wine, called Due Matti). They yell to be heard. In a jumbo-sized family with jumbo-sized personalities, if you don’t yell you might as well be carpet. But when Nonna opens her mouth, the assembled generations zip it. The Busalacchi Earth stops spinning and will return to its regularly scheduled decibels after these important messages.
The Big Family in Little Italy
Someone—an uncle or a cousin or a brother or some stranger who walked in off the street and was welcomed—translates for me: “She said ‘Why you gotta talk about me?” Nonna shakes her head with the kind of annoyed permission parents give when their pride for their children outweighs the crime.
She should be proud. Joe had help from his brother, his ex-wife Lisa (who raised their sons so that Joe could raise the business, often feeding the three young’uns in the restaurants before opening hours), his cousins, aunts, uncles, and eventually his grown sons. But it was mostly Joe who built a restaurant empire that provided for a few generations. And he did it by learning to cook at Nonna’s side when he was knee high.
Nonna and her husband brought the family to San Diego from Sicily when Joe was eight years old. “When I’m telling you they had nothing,” explains PJ, “I mean nothing.”
The Big Family in Little Italy
At age 19, Joe was hired as the chef for one of San Diego’s tuna boats. At the time, the city’s tuna boats were the equivalent of floating Google campuses—more or less economic juggernauts. Usually, boat cooks were ad hoc parents who cleaned, did dishes, mopped, and grunted through the necessary and unwanted work. Joe was so good, his brother explains, the crew didn’t make him do any of that.
“I used to take about 50–60 cookbooks out fishing and read all day,” Joe explains. “All I had to do was make a call and they’d deliver me fish to our house. And they let me have access to the wine locker.”
He opened his first restaurant 35 years ago in La Mesa at Grossmont Center, Casanova’s Pizza. That same year, with his fishing contacts, he opened Busalacchi’s Fish Company. Two years later, in a converted Craftsman home in Hillcrest, he christened the restaurant that would make his name—Busalacchi’s on Fifth. The dishes, largely based on Nonna’s recipes and tweaked with Joe’s expanding talent, were a revelation. But it was bittersweet, because San Diego diners at the time weren’t adventurous. “I used to get so sick of people saying, ‘You make the best fucking lasagna in the world,’” Joe grouses. “I didn’t want to make the best fucking lasagna in the world.” He wanted to serve them Sicilian specialties like calamari, or octopus with lemon (which, at family dinners, is always served as a late-night snack and always, always cut by Uncle Frank Z.). “I couldn’t get fettuccine alfredo off the menu,” he grumbles.
The Big Family in Little Italy
Busalacchi’s on Fifth—which moved one block away and was renamed Busalacchi’s A Modo Mio in 2011—lasted as an icon for 24 years. When the lease was up and the landlord’s new terms were too steep, Joe opted to close it. This became a recurring theme. When faced with a spike in rent, many owners often just pay it, because that particular patch of earth is the birthplace of so many emotions. Joe crunches the numbers. If those numbers don’t pencil out, he cuts bait and opens somewhere they do. He had already made inroads in Little Italy, opening Trattoria Fantastica and a bakery called Cafe Zucchero in 1994 and 1995, respectively. (Joe’s brother Frank went to Sicily, studied Italian pastry, and returned to help open Zucchero). At that time, the price per square foot in Little Italy was 99 cents. Now it’s eight dollars.
“Tell them about the bullet holes, Dad,” urges Joey Jr. as we sit outside after dinner, cigars aflame.
“It was a ghetto,” Joe admits. “Seven thirty, eight o’clock it was dead. I’d love to say I saw what Little Italy would become, but I had no idea. It was just so affordable.”
“We used to have to put things underneath the patio tables because the sidewalks slanted down toward the street,” Joey Jr. remembers.
“You could lay in the middle of India Street and never get hit by a car,” adds Nino. “The lease was a single piece of paper.”
The Big Family in Little Italy
Joe was one of the independent business owners who changed that, by taking a chance on Little Italy. Landlords wanted a Busalacchi joint. Joe’s food and jokes de vivre made people come, which made landlords’ buildings more valuable. They offered him rent for proverbial pennies. At one point he had six concepts in the neighborhood, from Grape Street to Cedar.
“I couldn’t say no,” he says.
Then Little Italy exploded. Craft & Commerce, Prepkitchen, Bencotto, Underbelly, Café Gratitude, Born & Raised, Ironside—all the hip restaurants arrived. Rent went up, way up. Between 2015 and 2017, he sold or reconcepted seven restaurants, five in Little Italy alone. From an outsider’s perspective, the Busalacchi starshine seemed a little dusty.
“It wasn’t that we lost it,” explains Joe. “We were done with the leases. I sold one of them to one of the managers who worked with me. I wanted to give him an opportunity. And so we concentrated on coming back, all hands on the one idea.”
The Big Family in Little Italy
That idea was Barbusa. The lease for his steakhouse restaurant, Po Pazzo, was up. He wanted out. His sons wouldn’t let him, at least not without a fight. PJ and Joey Jr. wanted to take Dad and Cousin Nino’s food and put it in a more modern setting. Ditch the white tablecloths, the formal service, the classic—and possibly outdated—earmarks of restaurant culture Joe made his name on.
“We fought with him over every little thing—decor, music, the food,” says PJ.
“I was coming from the old school with the linens and tiles or carpet,” says Joe in his defense. “They had all these big changes, of concrete floors and no linens, different-style chairs, mix-matched spoons. I was like, ‘Wow, what’s goin’ on here? You guys are crazy.’ But apparently they were right and I was wrong.”
It worked. Barbusa, which opened in 2016, is a hit, arguably Busalacchi’s biggest in a decade. PJ and Joey Jr. run the front of the house, trying their best to make strangers feel the same way I, a stranger, feel in their home tonight. Father Joe oversees it all. There are plans to open more Barbusas outside of Little Italy, maybe even in other cities.
The Big Family in Little Italy
“I’m still at the restaurants at six in the morning,” says Joe. “I still check the sauces and prep some. But I’m all over the place. I’m consulting with my kids, keeping them on their toes, changing menus, and handling the business end of it. You might see us at the edge of a table, fighting.”
It’s 42 years in the making, this Busalacchi thing. And the boy who worked on a tuna boat at age 19, who opened a pizza joint with a few bucks and a dream, is watching the second wave carry the name.
Near the end of the night, I look down at Nonna in her spot at the head of the table. She hasn’t moved. That is her place. The cook who started it all.
San Diego’s first family of Italian food shares three hallmark recipes passed down through the generations, including Nonna’s famous Bolognese. Mangia!
The Big Family in Little Italy
“Squash blossoms are an ingredient that intimidates many people but, in reality, are very easy to work with,” says Barbusa Executive Chef Nino Zizzo. They are a great example of a fresh dish that you can change up by experimenting with different stuffings according to your preference, and they will consistently impress your guests.”
Serves 6
Prep time: 10–15 minutes
Cook time: 2–4 minutes per blossom
Ingredients
Filling:
6 squash blossoms
¼ cup mascarpone cheese (can substitute cream cheese)
2 tablespoons Parmesan cheese
¼ cup mozzarella cheese
1 teaspoon chopped shallots
Pinch of salt
Pinch of pepper
Sauce:
¼cup apricot preserves
½teaspoon Calabrian chilies, minced
½teaspoon serrano chilies, minced
Batter (can substitute store-bought tempura batter):
1 cup flour
¼ cup corn starch
1 egg
Sparkling water to preference
Directions
Filling:
1. Combine all ingredients (except squash blossoms) in a large bowl.
2. Roll into small balls, then stuff each squash blossom to capacity (will depend on blossom size).
Batter:
Combine all ingredients in a bowl, using enough water to achieve preferred consistency.
Sauce:
Combine all ingredients in a bowl and plate under the blossoms.
Blossoms:
1. Once stuffed, pat the blossoms in flour, then dip in the batter.
2. Heat your skillet with oil or heat the fryer to 375ï° F.
3. Fry each blossom until golden brown, about 1–2 minutes on each side.
4. Plate the squash blossoms over the sauce.
The Big Family in Little Italy
“Spiedini are a traditional Italian dish historically reserved for holidays and special occasions,” Zizzo says. “Whether it’s Christmas, Easter, or a family member’s first communion or reconciliation, the whole family gets together and participates in the preparation.”
Serves 4
Prep time: 45 minutes–1 hour
Cook time: Varies according to preference
Ingredients
Stuffing:
½ sweet onion
2 bunches of green onions
½ cup olive oil
â pound salami
â pound prosciutto cotto (ham)
â pound pecorino Romano cheese
â pound mozzarella cheese
1 teaspoon black currants
1 teaspoon pine nuts
½cup tomato sauce
Panko breadcrumbs
1 sprig Italian parsley
Salt and pepper to taste
Meat:
2–2 ¼ pounds pork or veal, cut into 2 ounce medallions (4–5 medallions per skewer)
1 red onion, slivered
20 bay leaves
Extra virgin olive oil
Panko breadcrumbs
Directions
Stuffing:
1. Chop onion and green onion into slices the width of a quarter.
2. Sauté the onion and green onion in olive oil, then transfer to a bowl.
3. Chop the salami, prosciutto cotto, pecorino Romano, and mozzarella and add to mixture.
4. Add in black currants and pine nuts, then mix in tomato sauce.
5. Add Panko breadcrumbs until the mixture becomes doughy.
6. Add parsley and salt and pepper to taste.
Meat:
1. Place meat medallions on plastic wrap and pound until thin.
2. Take a generous dollop of stuffing, roll it up, and place on meat.
3. Using a three-tuck fold, roll the stuffing up in the meat.
4. After they are rolled, place 4 to 5 portions of meat on each skewer, inserting a sliver of red onion and 1 bay leaf between each portion
5. Dip both sides of the loaded skewer in extra virgin olive oil, and roll the skewer in Panko breadcrumbs.
6. Barbecue the skewers on the grill, cooking to preference and until cheese in the middle has melted.
The Big Family in Little Italy
“Our Bolognese aims to instantly bring back the memories of walking into Nonna’s kitchen for Sunday family dinner,” Zizzo says. “The recipe comes directly from our grandmother and serves as a reminder of simpler times with a great meal and family.”
Serves 4
Prep time: 30 minutes
Cook time: 1 hour
Ingredients
1 white onion
1 large carrot
2 stalks celery
¼ pound pancetta
3 garlic cloves
½ cup olive oil
1 ½ pounds ground beef
1 pound Italian pork sausage
2 tablespoons salt
1 teaspoon black pepper
1 cube beef bouillon
24 ounces tomato paste
½ cup whole milk
1 gallon water
2 cups green English peas (sweet peas)
Directions
1. Mince the onion, carrot, and celery in a food processor.
2. Add the pancetta and garlic, then transfer to a large pot and sauté in olive oil.
3. Add the ground beef and sausage, then add salt, pepper, and the beef bouillon.
4. Once the meat has browned, add in the tomato paste.
5. Mix well, then add in milk, water, and peas.
6. Cook on low heat for one hour.
7. Depending on desired consistency, add more water or cook for longer.
The Big Family in Little Italy
San Diego entrepreneur Kenji Blouin-Ito is turning a tiny Uptown Inn space into a destination for bentos, coffee, snacks, and more
Tokyo unquestionably holds the title as one of the best, if not the best, food cities of the world. But despite the plethora of Michelin-starred kaiseki restaurants and hole-in-the-wall ramen joints, you’d be remiss in walking past glowing signs beckoning you to enter one of the 56,000-plus konbini across the country.
Konbini cafes like Lawson’s, FamilyMart, and 7-Eleven may look like run-of-the-mill convenience stores, but convenience store culture is a completely different animal there. Absent are the sad, floppy hot dogs sizzling sweatily on a rotating wheel of misery. Instead, konbini are stocked with a bevy of hot and cold drinks in every imaginable flavor, meals like tamago sandos (Japanese egg salad sandwiches) and prepacked bento boxes, snacks like onigiri (handheld triangles of rice and seaweed, often filled with fish or pickled plum), and even limited-edition merchandise (not unlike Wawa’s line of merch).
Soon, Hillcrest will get a taste of konbibi culture. Hako Hako opens in front of Uptown Inn by Vantaggio, next to Ramen Ryoma, in early 2027.
Kenji Blouin-Ito, a half-Japanese, half-French San Diego native grew up eating Japanese food at home and during trips across the Pacific. “I remember looking forward to eating bentos on the train,” he says, grabbing quick items to munch on without sacrificing quality or succumbing to cost. When in France, he saw a rise of appreciation for casual Japanese cuisine, “long before it happened here.”

So he decided to bring it here. After AB 626 passed in 2018 to allow different jurisdictions to permit Microenterprise Home Kitchen Operations (MEHKOs), Blouin-Ito launched Foodnome, the first legal marketplace for homemade food in the US. Eventually, the national nonprofit The Cook Alliance took over the project, leaving him open to the next new idea but with the experience of running a food-based business.
“That experience changed how I think about food, not just what makes it good but what makes it work,” he explains. Bento boxes felt affordable in a time of inflation, convenient in a bustling world, and versatile to a variety of palates. When he got the chance to open a konbini himself, he went for it.
His family runs Uptown Inn, a mix of apartments and hotel rooms that’s seen increased food traffic over the past few years. “We had a small space in front of the building that wasn’t being used, and it just made sense,” he says. Hako means “box” in Japanese, a reference to both bentos and small space from where he’ll sling freshly made bentos, coffee, drinks, pastries, snacks, and a small retail selection.
Hako Hako will initially open for morning and afternoon hours, but you don’t have to wait until next year to get a taste of Japanese culture. Blouin-Ito’s concept is popping up at various coffee shops around San Diego, with a few coming up: Easy Does It on September 19 and Cafe Moto on October 17. Until then, practice the art of gaman: patience with grace.
Hako Hako opens at 819 University Avenue in Hillcrest in early 2027.
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Beth Demmon is an award-winning writer and podcaster whose work regularly appears in national outlets and San Diego Magazine. Her first book, The Beer Lover's Guide to Cider, is now available. Find out more on bethdemmon.com.
With Sosal Line, Heidi Greenwood and Juerie Masters are importing traceable seafood from small producers and building a global pantry business along the way
No matter your job, it’s helpful to find some sort of joy in it to avoid going completely insane. Some people savor the variety of personalities when dealing with customers. Others find comfort in the predictability of closing a bar after last call, counting tips and wiping counters. Perhaps achieving Inbox Zero really gets your blood pumping, or shipping a new product design sparks joy.
For Heidi Greenwood and Juerie Masters, work doesn’t get better than logistics and operations.
“[We] both love all the unsexy parts of supply chain and backend management,” laughs Greenwood. Tracking outbound orders? Ensuring compliance? Managing inbound freight? Stop me if this is getting too hot for you!
Not enough people think about the unsexy reality of running a business before launch, but effectively and consistently keeping an eye on operations separates successful companies from out-of-business ones. Both Masters and Greenwood already own their own businesses—Greenwood is behind the wine zine Campestre Mag and runs the online wine shop Esquina, and Masters co-owns Clos Wine Shop and Fintastic Provisions in University Heights with her husband Paul. Apparently, these gigs weren’t enough to satisfy their collective yearning for spreadsheets and inventory maintenance.
So, they decided to start another business together—Sosal Line, a San Diego-based import and distribution company specializing in global pantry items. The pair launched Sosal Line at the beginning of 2025 and currently only sell three brands of tinned fish, but Greenwood says they plan to expand their offerings as they discover other small or family-run businesses that share their values.
“We want to work with brands and with products that really have a sense of place and actually tell a story—not just the product, but the people behind it too,” she says.
Masters and Greenwood are both Korean-American and named this burgeoning business after Haenyeo, the legendary free-diving women of Jeju Island in South Korea. Traditional Haenyeo equipment and garb include oribal (swim fins), yeoncheol (lead belts to help them sink), and the company’s namesake sosal, a hand-held fishing spear (sometimes called jaksal).
The average person, if sitting completely still, can stay underwater for up to a minute and a half at most. Haenyeo can hold their breath for up to three minutes while actively foraging, harvesting, and swimming. Scientists say these diving women spend more time underwater than any other group of humans on earth. Not badass enough for you? The average age of Haenyeo is around 70.

“Fishing is a strong heritage for Koreans, and it’s the same here in San Diego with the Portuguese settlers,” Greenwood explains. (We aren’t the tuna capital of the US for no reason.)
Sosal Line carries 100 percent traceable, wild caught fish from Galicia in Northern Spain and the Pacific Northwest, all family-owned companies who don’t compromise on sustainable practices. Tinned fish has never been more popular—or more debated—but there’s more to it than cute labels designed for maximum Instagram reach. “I want to know who I’m purchasing from,” says Greenwood. One of their suppliers, Craft Fish Co., which is based in San Diego but fishes in the PNW, is run by JJ and Jessica Gerritsen. JJ catches, Jessica packages, and it’s a business relationship on a first-name basis. “You can’t find that when you’re working with some nameless brand.”
San Diegans can find Sosal Line products at local retailers like Clos/Fintastic (obviously), allmine in Oceanside, Always Hungry Grocery & Goods in Carlsbad, J. Brix Wines in San Marcos, Collins & Coupe/Tablespoon in North Park, and Green Acre in La Jolla. They’re also available in select retailers in Northern California, Oregon, Arizona, and strangely enough, South Carolina. Expanding its client base is, of course, a goal. But not at the expense of quality or joy of discovery.
“I would love to see people try food from different cultures and be excited about it,” says Greenwood. “Maybe make them want to travel to experience different areas of the world.”
Beth Demmon is an award-winning writer and podcaster whose work regularly appears in national outlets and San Diego Magazine. Her first book, The Beer Lover's Guide to Cider, is now available. Find out more on bethdemmon.com.
The folks behind Oddish Wine and Lost Cause Meadery are partnering with Bica to open an all-day cafe, coffee shop, wine bar, and restaurant near La Mesa Village
La Mesa: a bucolic, hill-dappled city long regarded as a somewhat frumpy, never quite trendy bridge between the urban cool of Mid-City and the rural sprawls of East County. La Mesa’s population clocks in at around 4 percent of the city of San Diego’s—fewer than Chula Vista, Oceanside, Escondido, Carlsbad, El Cajon, Vista, San Marcos, and Encinitas, in that order. It’s home to a killer Oktoberfest, one of the best charter high schools in the state, and a theatrical mayor who tools around town in a golf cart (and so far, hasn’t cut any arts funding or closed public bathrooms).
But any area that’s only 20 minutes from downtown San Diego and under 20 miles to Mission Bay will only stay under the radar for so long. Slowly but surely, bits and bobs from San Diego’s cultural tastemakers have been popping up all over town. Dark Horse Coffee and the boutique Small Batch both opened in La Mesa in 2018. Stella Jean’s and Pop Pie are coming later this year. Native Poppy is building its new headquarters and studio this fall. After a year in business, the new owners of JK’s Greek have established themselves as one of the best Greek restaurants in the county.
Next year, La Mesa will get one of its most ambitious projects yet. Billy and Suzanna Beltz, owners of Lost Cause Meadery and Oddish Wine, are pouring everything they have into renovating a 5,000-square-foot building between the Village and MacArthur Park to open a wine/beer bar, coffee shop, all-day cafe, and wine shop.
The concept doesn’t have a name (yet), and Bica in Normal Heights will come on as a partner to run the restaurant aspect and coffee program (which also won’t be called Bica. Still lots of naming decisions to be made). But the Beltz’s vision is to create something in La Mesa that doesn’t exist yet—a community gathering space open from morning until night that’s family-friendly, creatively designed, and well… cool.
The building has been around since the 1940s, first operating as a neighborhood market, then butcher shop, secondhand children’s store, electronics store, dry cleaners, and bike shop. The Beltzses say they plan to keep the “soul and character” of the space as much as possible, highlighting original details like a barrel-shaped wooden roof, brightening up the corner building by utilizing the large front windows, and eventually building an outdoor dining/drinking space and kid-friendly area—a must for the neighborhood’s plethora of young families. They tapped all locals for the design and build: Tecscape Design, design consultant Carly Miller-Chen (who owns Ayi boutique in South Park) to create the space, and local contractor CLTVT.

Starting in the morning, the space will offer coffee and light breakfast items before transitioning to lunch and dinner menus, plus a full bar that will feature Oddish and Lost Cause products as well as other local wines, beers, ciders, and other beverages alongside an aperitivo program and low-ABV cocktails and spritzes. Food-wise, they plan to install a wood-fired oven and rotisserie, but expect more menu details to be revealed closer to opening.
There will also be a small retail space focused on natural wines and ciders from places like Raging Cider & Mead in San Marcos and other San Diego and Baja California makers. But don’t expect run-of-the-mill options from the guy who makes weird wines and mead, the oldest alcoholic beverage in human history (hardly TikTok trend material). “We have a unique perspective… Hopefully we can expand some palates and minds in the process,” says Billy.
Community is the heart of the project, more than food, more than drinks. “We have a young family. [Bica owners] Manny [Da Luz] and Charlie [Knowles] have families,” says Billy. Suzanna adds: “People want a space that they know they’re going to get really amazing food, really fun drinks, but they can also feel like they can bring their kids during the weeknights.” It won’t be North Park 2.0, although many families now living in La Mesa came from various neighborhoods across Mid-City (like the Beltzes). It’s filling a void. It’s something they can build from the ground up. And just maybe, it’s something that will surprise people who have yet to discover La Mesa’s potential.
Oddish Wine/Lost Cause Meadery’s new concept is projected to open by the end of 2027 at 8495 La Mesa Blvd.

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Beth Demmon is an award-winning writer and podcaster whose work regularly appears in national outlets and San Diego Magazine. Her first book, The Beer Lover's Guide to Cider, is now available. Find out more on bethdemmon.com.
ArtsConnect brings those experiences into view, helping residents discover what they can see, hear and create at UC San Diego while experiencing the campus in a new way.
Ask most people what UC San Diego is known for, and the arts may not be the first answer. Yet this fall, San Diegans can watch Ghostbusters with a live orchestra, try their hand at glassmaking and wander among more than 20 works of public art woven throughout the university’s La Jolla campus.
ArtsConnect brings those experiences into view, helping residents discover what they can see, hear and create at UC San Diego while experiencing the campus in a new way.

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

ArtPower offers another easy entry point, bringing touring performers to venues including the outdoor Epstein Family Amphitheater and the intimate Loft. The nearly three dozen performances featured through its 2026-2027 season span music, dance, film, theater and conversation.
Among the fall highlights is Ghostbusters in Concert on Sept. 25, pairing the beloved 1984 film with a live performance of Elmer Bernstein’s score. Tickets start at $35, and the amphitheater is located next to the UC San Diego Blue Line trolley station.
“Every member of our community should have access to world-class art, so we work hard to remove the barriers that stand in the way,” says Colleen Kollar Smith, executive artistic director of the Campus Performances and Events Office. “That means affordable ticket prices, and performances, voices and experiences where people see themselves reflected on stage and know they belong.”
The arts at UC San Diego are not only something to watch. The Craft Center offers public classes and workshops in ceramics, jewelry, woodworking, culinary arts and even surfboard shaping. At the new Glass Center, beginners and experienced makers can explore glassmaking through classes, demonstrations and studio experiences.
Whether you want to attend a performance, make something yourself or spend an afternoon exploring public art, there is an easy way in. And the invitation extends well beyond students and alumni.
Kollar Smith says it best: “Visit, participate, spectate or create. You’re invited, and we hope you’ll connect with us soon.”
Explore upcoming experiences at ucsd.edu/artsconnect.
Artists and advocates are building a more sustainable creative future through public funding, political organization, and cross-border collaboration
This is part of a three-part series. This is Act III. See Act I and Act II here.
We’ve been here before.
In 2012, city funding for the arts and culture in San Diego had eroded. As a corrective, the city council unanimously approved “Penny for the Arts”—a promise to dedicate roughly one penny of every dollar spent on hotel rooms (the Transient Occupancy Tax, or TOT).
The logic was fair and sound: Cultural institutions and events help attract visitors. Those visitors pay hotel taxes. So, the people agreed, some of that hotel-tax revenue should go back into maintaining the cultural ecosystem that helps bring those visitors and that money.
Projected as a five-year plan, the measure was supposed to increase funding to $17.9 million by 2017.
It never did. The penny was never guaranteed, so each year the city used part of it for other priorities. By 2023, the money going to arts and culture was up to about a half a penny. Even as TOT revenue has gone up significantly.
In 2019, TOT revenue was $245 million.
In 2025: $325 million.
One fix would be to guarantee the penny. Not simple, given San Diego’s financial woes. But the alternative—eroding the culture that makes San Diego San Diego, give it its identity—also doesn’t feel wise. Plus, even a locked percentage still rises and falls with tourism, which is why culture advocates want a guaranteed floor on top of it.
Another solution would be to give the arts commission actual authority.
“It’s an advisory body,” says arts commissioner Kamaal Martin. “You’d be hard-pressed to find anybody who takes our advice.”

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

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

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

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

It’s like saying the only good food is made by gritty upstarts who crafted their own whisks from discarded shopping carts. Most of those plucky whisk-makers would love to eventually be paid properly, would love a stage, a grant, a building, a donor, a lighting rig, health insurance, maybe even one chair that doesn’t threaten the spine.
That’s what the major institutions do. Both stages—the duct-taped and the donored—serve vital roles and deserve commensurate support if we care about the entire lifespan of creative expression and not just its first exciting steps. Championing the starving artist exclusively just secures an enduring poverty for the creative class at large.
I’ve often theorized it’s harder to create great art and culture in cities like San Diego, where the climate is supernaturally pleasant. In colder/hotter/rainier/less beautiful cities, people are forced indoors to fabricate their own beauty (the grunge music of Seattle, the obscene creative output of Reykjavík). San Diego’s eternally mild sunshine tends to make the human body our art medium of choice. But scratch the surface of that surf poster (and I’ve only scratched a miniscule percent here), and this city’s far from the cultural shallows it gets accused of being.
Addendum: A Personal Agenda. In scouting the route of art and culture across San Diego county through history, two areas come up again and again: La Jolla and Barrio Logan. So I propose a collaboration between two icons of artful concrete—Chicano Park and Salk Institute (one of the world’s great examples of brutalism architecture). Let Barrio Logan’s muralists go nuts on that coastal science fortress, unite the realms for a moment in time.
This is part of a three-part series. This is Act II. See Act I and Act III here.
Troy Johnson is the magazine’s award-winning food writer and humorist, and a long-standing expert on Food Network. His work has been featured on NatGeo, Travel Channel, NPR, and in Food Matters, a textbook of the best American food writing.
Laika Nur, MD, takes her love of volleyball from the court to the clinic as team physician for the San Diego Mojo
Growing up, Laika Nur, MD, Scripps Clinic sports medicine specialist, loved watching beach volleyball when the Association of Volleyball Professionals tour came to her hometown of Chicago. A talented volleyball player herself, she remembers sitting in the stands all day, and once, even got a couple autographs. Years later, Dr. Nur was attending a professional event focused on women’s sports, and the discussion turned to a new professional women’s volleyball league. The general manager and coaching staff for San Diego’s team, the Mojo, happened to be in attendance, and Dr. Nur took the opportunity to ask them if they needed a team doctor. Flash forward to the Mojo’s inaugural 2024 season, when Dr. Nur officially became the team physician. Click here to read more about Dr. Nur and how she incorporates lessons she learned on the court into her practice.
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