San Diego, CA
Patti McGee, pioneering pro skateboarder with a San Diego youth, dies at 79
Stand at the top of the Loring Street hill in Pacific Beach — one of the steepest in San Diego — and let yourself be transported back to the early 1960s, when children and teenagers flew down the precipitous grade on makeshift skateboards, the ocean sprawled in the distance ahead.
These were some of skateboarding’s first takers, the kids who helped pave the way for future generations of a sport that for decades was widely seen as a societal menace and a fringe subculture.
Among these skaters was Patti McGee. For the Point Loma teen, skateboarding down Loring Street was just another way to kill time when the surf blew out in the afternoon and she wasn’t ready to go home to do homework.
Loring Street “was a challenge. That was like surfing a big wave, if you could make it,” McGee told the skateboarding magazine Juice in 2017.
Seeking a challenge and staying active were part of what drew her to skateboarding. But McGee — who died Oct. 16 at her home in Brea at 79 following a recent stroke — was also a natural.
Considered the world’s first professional female skateboarder, McGee carved a name for herself in the sport when it was even more dominated by men than it is today.
Her career kicked off in 1964 when she took first place at the inaugural national skateboarding championships in Santa Monica, clinching the win with her signature trick, a handstand on the skateboard.
That move was later cemented into the culture’s history when she graced the cover of LIFE magazine in May 1965, feet high in the air, board rolling beneath her.
After the win in Santa Monica, McGee received a brand deal with skateboard manufacturer Hobie and traveled the country promoting its boards.
She was inducted into the Skateboarding Hall of Fame in 2010. That year, San Diego’s then-Councilmember Kevin Faulconer gave her a special commendation honoring her achievements.
But becoming a trailblazer for women in skateboarding wasn’t exactly the goal for McGee; the San Diego Evening Tribune reported in 1965 that she wanted to pursue acting or be a “movie stunt girl.”
“She was a sweet angel, but she was also a wild woman,” her daughter Hailey Villa, 46, told the Union-Tribune last week. McGee is also survived by her son, Forest Villa, 45, as well as two grandchildren and her brother, Jack.
“She did a lot of different things in her life,” Villa said, pointing to her mother’s time working in turquoise mining and leather goods and even at a casino. “Skateboarding was just kind of a little blip.”
McGee was born on August 23, 1945, at Fort Lewis in Washington state, and her family moved to San Diego when she was about 5 years old. Her parents split when she was young, and she was mostly raised by her mother, who worked at Montgomery Junior High School.
McGee’s youth was in many ways a quintessential San Diego one.
Like many skaters of the 1960s, she had begun as a surfer — first surfing in 1958 and hitting spots such as Newport Street, North Beach and Ocean Beach and in La Jolla, at the shores and Windansea.
When she was 16, she ventured up the coast for more — to Tamarack, Oceanside, Doheny and County Line, she told Skateboarder magazine in 1965, when she was on its cover.
The president of an all-girls surf team in 1963, McGee described herself as a “rowdy surfer” — unafraid to be aggressive as one of the few girls in the water, when “guys would just push you out of the way or kick out into your ankles, like, ‘My wave,’” she told Juice.
McGee first found her way to a skateboard in 1962 through a DIY project: Her brother, Jack, stole the wheels off her roller skates and attached them to a wooden board he’d made in shop class.
Later, she rode a Bun Buster, equipped with those same wheels from her roller skates.
She and her friends cruised the streets of San Diego, even the parking garage of downtown San Diego’s Concourse — their Mount Everest, as she described it.
They were unruly, and they always got in trouble.
“Thank you for helping to pave the way for all of us when skateboarding was simply considered a ‘menace’ in the 1960’s,” Tony Hawk wrote in a recent Instagram post in her memory.
McGee was also a member of the Pump House Gang, a group of teen surfers who gathered around a sewage pump house at Windansea Beach in the 1960s. The writer Tom Wolfe later wrote an essay about the group and named his 1968 collection of essays after it.
But her 1964 championship win in Santa Monica inexorably changed her life.
Her one-year, $250-a-month brand deal with skateboard maker Hobie took her around the country, where she demonstrated skateboarding in department stores and shopping malls, largely for audiences of children.
Landing the cover of LIFE propelled McGee to yet another level of recognition. Soon after the iconic shoot, she booked appearances on the game show “What’s My Line?” and the “Mike Douglas Show” and taught Johnny Carson to skate on “The Tonight Show.”
At the time, mainstream culture was still deciding how it felt about skateboarding. Initially seen as a fun new fad for kids and often dubbed “sidewalk surfing,” by the late 1960s and 70s it was more widely considered a nuisance, something for kids up to no good.
McGee and her generation saw that shift firsthand and are part of the reason that skateboarding became closely associated with punk, said Haley Watson, a filmmaker who was working on a documentary about McGee before she passed away.
“There’s no way that skateboarding as we know it would take the shape that it has without Patti,” Watson said.
McGee returned to San Diego after her national tour in the mid-’60s, but she didn’t stay long.
She soon moved to Lake Tahoe with her first husband, Glen Villa, where they mined turquoise and made leather goods. Later she moved to Cave Creek, Ariz., where she raised two children, gave tours to tourists panning for gold. There, she met her second husband, William Chace, who died in 2015.
But there was little concrete in their rural town, and few places to skate, Villa remembers — her mom would take her and her brother to a nearby elementary school to skateboard.
And when she was in third grade, her mother brought a skateboard team to her school to give a demonstration. Among its members was Tony Hawk.
“I think that was the day I understood my mom was more special in the skateboarding realm,” Villa recalls.
Villa became a skater herself, and she and McGee founded the Original Betty Skateboard Company, which spawned its own all-girls skate team, sponsoring young skaters, some of whom went on to compete in the Olympics.
The family bond was clear to Watson.
“It was very evident to me that she really loved her family and that she had a very special connection with her daughter,” the filmmaker said. “They had so much of their own language.”
McGee’s story was brought to a younger, wider audience in 2021, when Orange County author and school librarian Tootie Nienow published the children’s book “There Goes Patti McGee! The Story of the First Women’s National Skateboard Champion,” illustrated by Erika Medina.
Nienow became close with McGee as she wrote the book.
McGee could make a person feel like they were the only one in the room, Nienow said — a sentiment echoed by McGee’s friend and skatemate Di Dootson Rose, who was also inducted into the Skateboarding Hall of Fame earlier this year.
She was “magnetic,” Rose said, recalling how McGee would connect with people, sometimes placing her hands on their faces and really looking them in the eyes. “People would let her in.”
The skateboarder’s charm and talent captivated her friends and family — and the world.
Rose points to McGee’s LIFE cover in 1965 — a far cry, she said, from some of the magazine’s more serious covers of that time.
“Then one day they come out with this sky blue cover of a blonde, upside down (doing a) handstand — white capris and a red sweater,” Rose said. “If that isn’t a breath of fresh air, then I don’t know what is.”
The nonprofit Exposure Skate will hold a ceremony for McGee at its annual skate event for women and nonbinary skaters in Encinitas this Saturday at 5 p.m.
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SAN DIEGO (CNS) — Attendance at Balboa Park’s museums are down 34% on average since paid parking went into effect inside San Diego’s urban park, according to data released Tuesday by the Balboa Park Cultural Partnership.
In the analysis released Tuesday, the partnership found that between January and March of this year, attendance is down by that average of 34% compared to the previous year, with some institutions dropping by 60% over the same period.
“We’ve appreciated the city’s recent willingness to listen and take initial steps in response to community concerns,” Balboa Park Cultural Partnership Executive Director Peter Comiskey said. “However, the latest data make clear that those changes are not reversing the decline in visitation, and the impacts on our institutions are becoming more serious. We are urging additional action by our regional leaders before potentially irreversible damages take hold, and jobs and beloved programs or even organizations are lost.”
The report comes out as Mayor Todd Gloria’s draft budget for fiscal year 2027 proposes slashing arts funding by more than $11 million as a way to grapple with a structural deficit of more than $118 million.
Some of the park’s larger institutions predict more than $10 million lost in revenue from the lowered attendance alone, and jobs and program losses are a real threat, Comiskey said.
Visitors to Balboa Park were asked to pay to park their vehicles in city lots starting in January, breaking a tradition of more than 100 years of the city’s crown jewel being free for those in private vehicles.
San Diego residents are now able to purchase a monthly, quarterly or annual parking pass at a discounted rate by visiting sandiego.thepermitportal.com/. Residents can pay $30 for a monthly parking pass, $60 for a quarterly pass or $150 for an annual one. Non-residents can pay $40, $120 or $300 for the same levels.
The fiscal year 2026 budget passed last summer anticipated $15.5 million in parking revenue from Balboa Park. That number assumed $12.5 million in fee parking in Balboa Park and at least $3 million from zoo parking.
A revised figure presented to the City Council in November instead found the non-zoo parking might bring in just $2.9 million, or a decrease of $9.6 million from initial estimates.
The city originally planned to begin charging for parking in October, but delays prevented that and three months of revenue from happening. Expected parking rates have dropped as well.
The parking passes come under three pricing tiers, Levels 1, 2, and 3, based on demand and proximity:
— Level 1 lots, located in the core of the Central Mesa area, would be subject to the highest rate — $16 per day and $10 for up to four hours for nonresidents and $8 per day and $5 for up to four hours for city residents. These include Space Theater, Casa de Balboa, Alcazar, Organ Pavilion, Bea Evenson, Palisades and South Carousel;
— Level 2 lots would be priced at $10 per day for nonresidents and $5 per day for residents. These include Pepper Grove, Federal, Upper Inspiration Point and Marston Point;
— Level 3 lots would also be priced at $10 per day with the first three hours free, with a resident rate of $5 per day with the first three hours free. This includes the lower Inspiration Point lot.
The Office of the Independent Budget Analyst estimated revenues in this fiscal year from the non-zoo parking would be close to $4 million, still well short of plans.
The zoo, which operates on an independent lease from the city, will allow members to continue to park for free. For non-members and non-residents, general parking is $16 per vehicle, per day, $44 daily for oversized vehicles per day. City of San Diego resident rates are half that.
Revenues from the parking fees paid within the park must be spent on Balboa Park. The funds can support ongoing maintenance, infrastructure, and visitor amenities and may include road repaving, lighting upgrades, sign improvements and landscaping.
Gloria backed off some of the parking fees in February, citing overwhelming negative feedback.
City residents who have verified their address will again be able to park for free in the Pepper Grove, Federal, Upper Inspiration Point, Lower Inspiration Point, Marston Point, Palisades and Bea Evenson lots.
“Good governing also means listening. I’ve heard from residents and from members of the City Council about how this program is affecting San Diegans who love Balboa Park as much as I do,” Gloria said.
“That feedback matters, and it’s why I am eliminating parking fees for city residents in select lots in the park. This change will reduce revenue, and I have received a commitment from the City Council president as well as other council members to identify other service-level reductions in order to keep the budget balanced.”
Verified San Diego residents will still be charged to park in premium lots such as the Space Theater, Casa de Balboa, Alcazar, Organ Pavilion and South Carousel lots. The cost is $5 for up to four hours or $8 for a full day. Enforcement will now end at 6 p.m., instead of 8 p.m.
More than 3,000 San Diegans have registered to be verified for the resident free parking program, and the city has collected nearly $700,000 for operations and maintenance in Balboa Park.
Despite these changes, Comiskey and the cultural partnership said more must be done before summer, busy season for the park and the museums and cultural institutions within.
“The data show we are at a critical moment,” Comiskey said. “As we approach the summer tourism season, we need a clear, region-wide recovery solution that restores accessibility, rebuilds public trust, and sends a strong `welcome back’ message to residents and visitors alike.”
Copyright 2026, City News Service, Inc.
San Diego County opened its eighth crisis stabilization unit in El Cajon on Monday, providing the same short-term resource for East County residents that has helped relieve pressure on hospital emergency departments in communities to the north and south.
The newest facility replaces a former county assessor’s satellite office at South Magnolia and West Douglas avenues, near the city’s community center and library.
The El Cajon $28 million crisis unit has 12 recliners and a freshly renovated space for private consultation, accommodating residents in need of immediate mental health services for up to 24 hours.
Pioneered in a handful of local hospitals, the county began opening stand-alone crisis units in Vista and Oceanside in 2021 and 2022. The pair of locations were a direct response to Tri-City Medical Center closing its behavioral health unit and crisis center in 2018, citing the need for prohibitively expensive repairs and difficulties with staffing.
Another unit attached in Chula Vista, attached to Bayview Hospital, a behavioral health facility, opened in 2023 with an additional unit attached to the emergency department at Sharp Chula Vista Medical Center in March.
Nadia Privara-Brahms, the county’s behavioral health director, said during a ribbon-cutting ceremony Monday morning that the heavy investment in crisis centers has drastically reduced mental health care visits to local emergency departments. County data for the 2024-25 budget year estimates that 11,000 adults treated at crisis stabilization units were diverted from inpatient care and 14%, approximately 1,800, were connected to inpatient care.
“Countywide, we have seen that this model of care is working,” Privara-Brahms said. “Across the CSUs locally, we saw 85% of admissions diverted from inpatient care.”
County Supervisor Joel Anderson, whose district includes most of East County, kept the pressure on for a center to the east capable of delivering the same kind of results.
“Right now, many of these folks end up in our emergency rooms, and they’re getting great service at the highest cost,” Anderson said.
Emergency departments, he added, can only do so much to focus on providing mental health care when they must also treat the full range of other medical needs from heart attacks and strokes to broken bones and chronic disease.
“Here, we’re laser-focused on that mental health, and we’ll be able to turn people around, stabilize them, and send them home,” Anderson said.
A key innovation with stand-alone crisis units has been the ability of law enforcement officers and crisis response team members to deliver residents picked up on 5150 holds for evaluation, skipping emergency departments when a patient needs mental health care, but not other services. A 5150 hold occurs when a first responder suspects that a person may be a danger to themselves or others or gravely disabled.
Because all emergency departments must operate on a triage basis, continuously moving the most-critical cases to the front of the line regardless of how long those with less-immediate medical problems have been waiting, 5150 holds are notorious for their ability to take first responders off their beats for hours per incident.
The county’s data tracking system indicates that drop-offs at crisis units take 20 to 25 minutes, contributing significantly to getting law enforcement officers and crisis team members back in service much more quickly than was previously the case.
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