An Announcement

Steph Johnson says there's a perception problem when it comes to homelessness.

The local jazz musician founded Voices of Our City Choir in 2016. In the beginning, Johnson simply wanted to provide an artistic outlet for people sleeping on the streets. She found a rehearsal space and invited homeless people to sing with her once a week.

The project, though, has since morphed into an advocacy group that works to humanize homelessness, build empathy for people experiencing it and advocate for change.

In a new episode of Culturecast, Voice of San Diego’s podcast covering arts and culture in the region, I talk to Johnson and three choir members about how the chorus has become a powerful voice for homelessness in San Diego.

Steph Johnson says there's a perception problem when it comes to homelessness. The local jazz musician founded <a href="https://www.voicesofourcity.org" target="_blank" rel="noopener">Voices of Our City Choir</a> in 2016. In the beginning, Johnson simply wanted to <a href="http://www.kpbs.org/news/2016/nov/23/homeless-choir-finds-healing-through-music/" target="_blank" rel="noopener">provide an artistic outlet</a> for people sleeping on the streets. She found a rehearsal space and invited homeless people to sing with her once a week. The project, though, has since morphed into an advocacy group that works to humanize homelessness, build empathy for people experiencing it and advocate for change. In a new episode of Culturecast, Voice of San Diego’s podcast covering arts and culture in the region, I talk to Johnson and three choir members about how the chorus has become a powerful voice for homelessness in San Diego.

Steph Johnson says there's a perception problem when it comes to homelessness. The local jazz musician founded  in 2016. In the beginning, Johnson simply wanted to  for people sleeping on the streets. She found a rehearsal space and...

Homeless Choir Sings for Change

A Comic-Con center is starting to take shape in Balboa Park. In a Q-and-A, Adam Smith, the organization's new director, and David Glanzer, a long-time Comic-Con staffer, talk about what we can expect from the new home of popular arts.

A Comic-Con center is starting to take shape in Balboa Park. In a Q-and-A, Adam Smith, the organization's new director, and David Glanzer, a long-time Comic-Con staffer, talk about what we can expect from the new home of popular arts.

Comic-Con's New Balboa Park Digs

In this week’s Culturecast: Border art.

Though Trump’s aggressive border policies provoked an international conversation that lasted throughout 2017, for many of those involved, the border remains just a faraway political concept.

For the Californians and Mexicans who live near it, though, the border is a very real place.

That was driven home throughout the year as local and foreign artists used the border as a canvas on which they expressed opinions about Trump’s policies.

2017 has been a busy year for artist making work at or about the international border fence.

I asked three local artists and curators to join me to talk about border art in a roundtable discussion.

Alessandra Moctezuma, an artist who runs the gallery at San Diego Mesa College and who recently curated the “unDocumenta” border show currently on view at the Oceanside Museum of Art.

Jill Holslin, and artist, border activist and teacher at San Diego State University who recently took part in a big border art intervention.

And Perry Vasquez, a professor at Southwestern College in Chula Vista, the director of the art gallery there, and an artist who’s made iconic border art and curated shows by border artists.

In this week’s Culturecast: Border art. Though Trump’s aggressive border policies provoked an international conversation that lasted throughout 2017, for many of those involved, the border remains just a faraway political concept. For the Californians and Mexicans who live near it, though, the border is a very real place. That was driven home throughout the year as local and foreign artists used the border as a canvas on which they expressed opinions about Trump’s policies. 2017 has been a busy year for artist making work at or about the international border fence. I asked three local artists and curators to join me to talk about border art in a roundtable discussion. Alessandra Moctezuma, an artist who runs the gallery at San Diego Mesa College and who recently curated the “unDocumenta” border show currently on view at the Oceanside Museum of Art. Jill Holslin, and artist, border activist and teacher at San Diego State University who recently took part in a big border art intervention. And Perry Vasquez, a professor at Southwestern College in Chula Vista, the director of the art gallery there, and an artist who’s made iconic border art and curated shows by border artists.

In this week’s Culturecast: Border art. Though Trump’s aggressive border policies provoked an international conversation that lasted throughout 2017, for many of those involved, the border remains just a faraway political concept. For the...

In 2017, the Border Was a Concept Nationally and a Canvas Locally

Melissa Walter had a job at NASA. She did graphic design, illustration and social media, mostly for NASA’s Chandra X-ray Observatory. She loved the job, but she also started obsessing over the fine art she was making at home in her spare time.

At the end of 2015, she decided to take the leap: She quit her full-time job so she could become a full-time artist.

"I was sort of having more confidence in what I was doing, and more excitement, and that's all I could think about," Walter said. "I realized, OK, this is it. This is what I should be spending my time on."

In a new episode of Culturecast, Voice of San Diego's podcast about arts and culture, I talk to Walter about her transition to full-time artist, and the science-based art that's been fueling her success.

Many artists who quit their day jobs flounder, at least in the beginning. But Walter has quickly flourished, scoring group and solo shows, plus residencies that have allowed her to explore large-scale installation work. She's also the subject of a new documentary by The Artist Odyssey, a San Diego production company that produces short films about artists for its subscribers.

 The interest in Walter's art stems, in part, from her perfectionism. She's a bit obsessive-compulsive, which means she's able to intensely focus on her work and use time-consuming processes – like using thousands of tiny dots to create a shading effect – that result in attractive, detailed geometric images.

People also appreciate her exploration of astrophysics and astronomical objects. Because of Walter's background in science-based illustrations and graphic design, she's got a knack for turning complicated ideas into intriguing and meticulous minimalist drawings, sculptures and installations.

But even those who glaze over the dark matter, gravitational waves and other complicated concepts at the center of her art can still enjoy the clean images she creates.

"You don't have to know any of this to look at my work or appreciate it," she said. "I like the idea that people can connect to my work visually, and then if they take the time to learn about it more in depth, then maybe they'll be more curious or inspired."

Melissa Walter had a job at NASA. She did graphic design, illustration and social media, mostly for NASA’s Chandra X-ray Observatory. She loved the job, but she also started obsessing over the fine art she was making at home in her spare time. At the end of 2015, she decided to take the leap: She quit her full-time job so she could become a full-time artist. "I was sort of having more confidence in what I was doing, and more excitement, and that's all I could think about," Walter said. "I realized, OK, this is it. This is what I should be spending my time on." In a new episode of Culturecast, Voice of San Diego's podcast about arts and culture, I talk to Walter about her transition to full-time artist, and the science-based art that's been fueling her success. Many artists who quit their day jobs flounder, at least in the beginning. But Walter has quickly flourished, scoring group and solo shows, plus residencies that have allowed her to explore large-scale installation work. She's also the subject of a new documentary by The Artist Odyssey, a San Diego production company that produces short films about artists for its subscribers. The interest in Walter's art stems, in part, from her perfectionism. She's a bit obsessive-compulsive, which means she's able to intensely focus on her work and use time-consuming processes – like using thousands of tiny dots to create a shading effect – that result in attractive, detailed geometric images. People also appreciate her exploration of astrophysics and astronomical objects. Because of Walter's background in science-based illustrations and graphic design, she's got a knack for turning complicated ideas into intriguing and meticulous minimalist drawings, sculptures and installations. But even those who glaze over the dark matter, gravitational waves and other complicated concepts at the center of her art can still enjoy the clean images she creates. "You don't have to know any of this to look at my work or appreciate it," she said. "I like the idea that people can connect to my work visually, and then if they take the time to learn about it more in depth, then maybe they'll be more curious or inspired."

Melissa Walter had a job at NASA. She did graphic design, illustration and social media, mostly for NASA’s Chandra X-ray Observatory. She loved the job, but she also started obsessing over the fine art she was making at home in her spare time. At...

NASA Designer Makes One Giant Leap to Full-Time Artist

Host Kinsee Morlan explains the silence, plays a trailer for Voice of San Diego's new "I Made it in San Diego" podcast and runs an episode from the Keep the Channel Open podcast in which she's interviewed by San Diego writer and photographer Mike Sakasegawa.

Host Kinsee Morlan explains the silence, plays a trailer for Voice of San Diego's new "I Made it in San Diego" podcast and runs an episode from the <a href="http://www.keepthechannelopen.com/new-page/">Keep the Channel Open</a> podcast in which she's interviewed by San Diego writer and photographer <a href="http://www.sakeriver.com/" target="_blank">Mike Sakasegawa</a>.

Host Kinsee Morlan explains the silence, plays a trailer for Voice of San Diego's new "I Made it in San Diego" podcast and runs an episode from the  podcast in which she's interviewed by San Diego writer and photographer .

An Update, a Teaser and a Conversation with Keep the Channel Open

On a recent Friday night, a few dozen people gathered at Marston Point, a parking lot and lookout perched at the southwestern end of Balboa Park.

It was a particularly cold night, so some folks huddled around a portable fire pit gripping hot cider, others jumped in and out of about 15 parked cars spread across the lot. Inside each car, audio stories played on repeat. Each was a memory of Balboa Park's gay cruising culture.

Things have calmed down considerably in recent years, but Marston Point and the road leading to it were once an epicenter of gay culture in San Diego. Especially in the '50s and '60s, gay people pushed underground by the reigning mores of the time used the secluded area as a meeting place. Some folks, gay men mostly, used the dark pocket of the park to meet for anonymous sex. A few still do.

The area eventually earned itself a nickname: The Fruit Loop. And especially after the sun went down, the illicit activity cranked up. Things got so wild, city officials permanently closed the nearby public bathroom, and the two-way street leading to the Marston Point parking lot was made one-way to cut down on opportunities for drive-by eye contact.

The stories playing in the cars that cold Friday night were collected by artist Kate Clark and Lambda Archives, a nonprofit that collects and preserves the history of the local LGBT community. The event was part of the offbeat programming Clark produces through her public art series called Parkeology.

Clark embeds in urban parks and unearths long-buried stories, forgotten sites and other stuff kept out of public view. For the last two years, she’s been entrenched in Balboa Park.

In this episode of Culturecast, Voice of San Diego's podcast covering local arts and culture, I crawl in and out of the cars parked at Marston Point and take listeners along for a ride through the diverse stories Clark collected about The Fruit Loop and the gay culture that flourished in Balboa Park.

"You could think of that era of cruising as a negative but the fact of the matter is, people were coming here because it was a time when being gay was illegal," Clark said. "I think this history is actually really important because it speaks a lot about an era and the way people socialized and connected."

On a recent Friday night, a few dozen people gathered at Marston Point, a parking lot and lookout perched at the southwestern end of Balboa Park. It was a particularly cold night, so some folks huddled around a portable fire pit gripping hot cider, others jumped in and out of about 15 parked cars spread across the lot. Inside each car, audio stories played on repeat. Each was a memory of Balboa Park's gay cruising culture. Things have calmed down considerably in recent years, but Marston Point and the road leading to it were once an epicenter of gay culture in San Diego. Especially in the '50s and '60s, gay people pushed underground by the reigning mores of the time used the secluded area as a meeting place. Some folks, gay men mostly, used the dark pocket of the park to meet for anonymous sex. A few still do. The area eventually earned itself a nickname: The Fruit Loop. And especially after the sun went down, the illicit activity cranked up. Things got so wild, city officials permanently closed the nearby public bathroom, and the two-way street leading to the Marston Point parking lot was made one-way to cut down on opportunities for drive-by eye contact. The stories playing in the cars that cold Friday night were collected by artist <a href="http://www.kateclarkprojects.com/" target="_blank">Kate Clark</a> and Lambda Archives, a nonprofit that collects and preserves the history of the local LGBT community. The event was part of the offbeat programming Clark produces through her <a href="http://parkeology.org/" target="_blank">public art series called Parkeology</a>. Clark embeds in urban parks and unearths long-buried stories, forgotten sites and other stuff kept out of public view. For the last two years, she’s been entrenched in Balboa Park. In this episode of Culturecast, Voice of San Diego's podcast covering local arts and culture, I crawl in and out of the cars parked at Marston Point and take listeners along for a ride through the diverse stories Clark collected about The Fruit Loop and the gay culture that flourished in Balboa Park. "You could think of that era of cruising as a negative but the fact of the matter is, people were coming here because it was a time when being gay was illegal," Clark said. "I think this history is actually really important because it speaks a lot about an era and the way people socialized and connected."

On a recent Friday night, a few dozen people gathered at Marston Point, a parking lot and lookout perched at the southwestern end of Balboa Park. It was a particularly cold night, so some folks huddled around a portable fire pit gripping hot...

Revisiting Balboa Park's 'Fruit Loop'

In this episode of Culturecast, Voice of San Diego's podcast covering arts and culture in the region, I talk to buskers who think city policies need to change so San Diego's street culture can thrive.

In this episode of Culturecast, Voice of San Diego's podcast covering arts and culture in the region, I talk to buskers who think city policies need to change so San Diego's street culture can thrive.

Street Performers Fight for Their Rights

A special Culturecast episode focused on the recent Women's March in San Diego.

A special Culturecast episode focused on the recent Women's March in San Diego.

The Art of the Women's March

Chelsea Allen, the manager of community engagement at the San Diego Symphony, said she thinks San Diego's art and culture crowd is ready for new, exciting things.

"It seems from what we're learning that it's very brave," she said. "And it's willing to accept some new sounds or looks, so we're happy to be doing that here."

The symphony is shaking things up with its new Our American Music festival, a month-long concert series that includes shows by hip-hop legend Talib Kweli and folk singer/songwriter Rosanne Cash alongside chamber and classical music performances.

The festival also includes temporary public art installations – sound booths and a community quilt – that invite audiences to interact and create some art and music of their own.

For the first episode of Season 2 of Culturecast, Voice of San Diego's podcast covering arts and culture in region, I stepped inside a sound booth and talk to Allen and Brandon Steppe, the founder and director of the David’s Harp Foundation, a nonprofit that works with at-risk and homeless youth by providing free music education. The kids in Steppe's program collaborated with the symphony and helped produce the music for the booths.

All of the music and sounds you hear in this episode, by the way, are by David’s Harp students. The track I let play for a few seconds at the very end is called "Parade of History" by Nathaniel Randle.

Chelsea Allen, the manager of community engagement at the San Diego Symphony, said she thinks San Diego's art and culture crowd is ready for new, exciting things. "It seems from what we're learning that it's very brave," she said. "And it's willing to accept some new sounds or looks, so we're happy to be doing that here." The symphony is shaking things up with its new <a href="http://www.sandiegosymphony.org/ouramericanmusic/" target="_blank">Our American Music</a> festival, a month-long concert series that includes shows by hip-hop legend Talib Kweli and folk singer/songwriter Rosanne Cash alongside chamber and classical music performances. The festival also includes temporary public art installations – sound booths and a community quilt – that invite audiences to interact and <a href="http://www.voiceofsandiego.org/topics/arts/culture-report-turning-music-listeners-music-makers/" target="_blank">create some art and music of their own</a>. For the first episode of Season 2 of <a href="https://itunes.apple.com/us/podcast/san-diego-culturecast-by-voice/id1108044024?mt=2" target="_blank">Culturecast</a>, Voice of San Diego's podcast covering arts and culture in region, I stepped inside a sound booth and talk to Allen and Brandon Steppe, the founder and director of the David’s Harp Foundation, a nonprofit that works with at-risk and homeless youth by providing free music education. The kids in Steppe's program collaborated with the symphony and helped produce the music for the booths. All of the music and sounds you hear in this episode, by the way, are by <a href="http://davidsharpfoundation.org/" target="_blank">David’s Harp</a> students. The track I let play for a few seconds at the very end is called "Parade of History" by Nathaniel Randle.

Chelsea Allen, the manager of community engagement at the San Diego Symphony, said she thinks San Diego's art and culture crowd is ready for new, exciting things. "It seems from what we're learning that it's very brave," she said. "And it's...

Inside a San Diego Sound Booth

Culturecast is Voice of San Diego's podcast about arts and culture in the San Diego region. In the first season, host Kinsee Morlan will zero in on Barrio Logan and the tension between the locally driven DIY arts renaissance and the new wave of outside developers setting up shop in the neighborhood.

A local arts and culture podcast from Voice of San Diego

San Diego Culturecast

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