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There are love stories all around us, so this playwright wrote one based on the love she’s always seen at home

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There are love stories all around us, so this playwright wrote one based on the love she’s always seen at home


It’s probably fair to say that Coza Joy was a theater kid. She always signed up for theater classes in middle school and high school, she joined a documentary filmmaking program after high school, and was working as a stage manager for a local production during an arts festival last year when one of her cousins, who stopped by to support her, also had a question.

“During a night out with my cousin, he played me this voice message about how my auntie and uncle met, and how their love story happened in the Philippines. That just gave me more motivation to really start writing it and really dig deeper about my family and all of these generations of love and what it looked like in my family,” she says of her debut play, “How We Love,” a series of vignettes about Maria (played by Joy), a young Filipina-American woman documenting the love stories of her family and friends, across different generations, and learning about what love means through this process. “I started writing it at the beginning of last year, in January. Then, I was stage managing a local production called ‘Nighttime Julianne’ by Lani Gobaleza, which was a one-woman show featured at the (San Diego International) Fringe Festival. The cousin who played me the voice note about my auntie and uncle, came to support me at the show and he was like, ‘When’s your turn?’ So, I think that was kind of the motivation to start really looking into the writing of it.” “How We Love” is being performed at 7 p.m. March 27 and 28, and 2 p.m. March 29, at Partnership in Advancement of the New Americans (PANA) in City Heights.

Joy, 22, grew up in Paradise Hills and National City, and continues to work as a creator and community organizer. She currently works as an outreach and organizing intern at the nonprofit Youth Will, and has previously worked with Asian Solidarity Collective and was part of the 2022 cohort of Pacific Arts Movement’s Reel Voices documentary filmmaking program. She talks about her upcoming play and how all kinds of love has shown up for her throughout her life.

Q: What inspired “How We Love” and what did some of your creative process for this story look like?

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A: Being at family parties and really observing my family as they sang karaoke, as they told stories, especially my aunties and uncles telling their stories about being in the Philippines, and then their transition to coming here.

It was mostly just structural writing around May (of 2025); I had my first table read in August; and from there, it was originally six love stories, and now it’s down to three main ones. Starting in December, we had rehearsals. The creative process was definitely slowing a lot of things down, getting a lot of insight from other folks on how they interpreted the characters and the story, what kind of depth did they want. There were a lot of tests and trials because it is based on real people and real stories, so I was really trying to see what I could make digestible and what I could make universal.

A lot of the feedback I got was that people wished there was a bit of struggle or some conflicts. The first table read was very lighthearted and a lot of people just wished there was some conflict or depth to really pull them in for the whole ride. From there, I did include details. Like, the overall theme of a conflict in the actual voice note, and on stage, my grandma tells my auntie that she’s too young, she doesn’t know what love is, and stuff like that. So, that’s one of many forms of feedback that I got that has manifested into the script and into rehearsals.

What I love about National City…

I loved growing up in National City, there’s a lot of color here and I get to see its progress since I was a child. What I also love about National City is the heavy Filipino population. I mean, we have Seafood City (Supermarket), we have a lot of Filipino small businesses starting up. It’s a hot spot for great food, for sharing, for family gatherings. Growing up, we’d go to Golden Chopsticks, that is the go-to for family dinners. There’s a bakery, as well, that has fresh pandesal that my family grew up dipping in coffee or putting ice cream in. Growing up in National City, it was always the food, the community, and the family gatherings. 

Q: How would you describe the kind of love you saw around you, growing up? And, the kind of love you experienced?

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A: I’ve definitely seen love through a lot of community care. Showing up to community events was the biggest thing: a lot of people would turn out, and just being able to observe who knew each other, who didn’t know each other, and who was just meeting for the first time. I saw that love, the community love, for sure. Also, with the family parties and gatherings, it’s always shown through people just showing up as they are and really meeting them where they are, at both family parties and community events.

For me, love has always had different patterns, especially since I often switched from spending time with my dad’s side to my mom’s side growing up, and seeing love in different ways. On my mom’s side, it was shown through a lot of quality time and presence and just being there; on my dad’s side, they’re a little bit more expressive and they love singing, and singing love songs. That’s what influenced me a lot about love, as well as action, acts of service, and a lot of words of affirmation. So, on my dad’s side it’s very expressive, but on my mom’s side, it’s a little bit shy and reserved, but it’s also calm.

Q: You’ve mentioned wanting your play “to be about that loving and warm feeling from karaoke sessions at my family parties” and wanting to extend that feeling to your community and the audiences who watch “How We Love.” Can you talk about these family parties? What typically took place and whether they reflect any cultural significance, like with the karaoke sessions?

A: The family parties on my dad’s side were always at a chosen house. Maria, my character in the play, talks a bit about how that house came to be and how it’s flooded with greenery and plants and all of that. It all comes from the care of my auntie, so we always gather there, most of the time. That’s actually where I also had my last two table reads, to really give the cast and crew more of an understanding of that feeling, for sure.

At our family parties, we would have tons of karaoke sessions. They’ll always find a way to do it, whether that’s putting up a YouTube video of the karaoke version of a song, or even just playing the acoustic version. Sometimes, whenever there was a piano or a guitar, there would be a jam session where someone would start singing, and then it turned into a whole singalong. There is a bit of cultural significance in a part of traditional Filipino courtship, called harana. Back in the days in the Philippines, the way that a masculine person would court a feminine person would be to go to the feminine person’s window, with a live band behind them, and sing their declaration of love. And, we do see those elements in this project.

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Q: What are some of your favorite romantic songs, or other romantic works of art? Who were they created by and what do you love about them?

A: When I was writing “How We Love,” I played so much Thee Sacred Souls. I think they definitely hit on love, but it’s not only romantic love, but self-love. I just also love their vocals. I would also say Rayvn Lenae, she also sings a lot of romantic songs and it feels so whimsical and good. There’s a specific song in the play that everyone gets a chance to sing at the end, which is pretty exciting—it’s “How Deep is Your Love?” That was always the go-to song for us at the karaoke party, so that one just has such significance to me because we sing it a lot of the time. Sometimes it’ll pop up, especially when I’m going through something like an emotional time, and when I hear it, I’m like, ‘Oh, it’s most likely a sign from my past loved ones to remind me to keep going.’

Q: What is the best advice you’ve ever received?

A: There was a queer love aspect in the play, but the cast members for that story had to drop out, but I still wanted it to be about queer love and queer experiences of coming out. So, the actor who’s playing my dad, he and I re-enact the scene of me coming out to my dad in real life. The advice my dad told me was that I should love whoever I want as long as they respect me. And I think that’s the greatest advice I’ve probably received because now I’m surrounded by a lot of people who love me as a supporter and they really support my work, and that’s its own form of love and respect. My dad saying that has always been the greatest advice, that I should love whoever I want. That also goes into my motivation to motivate other people that they can do what they want and we can make it happen. On my dad’s side, we always say the sky’s the limit and the limit is infinite, so that’s also a piece of advice that’s carried me throughout a lot of my processes and both creative and advocacy.

Q: What is one thing people would be surprised to find out about you?

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A: I am really not afraid to speak out. I don’t think it’s surprising, considering I’m putting on this play, but I think that I really am all about action. With that also comes accountability; I really try and hold both myself accountable and also others accountable, but it’s all coming from a place of care because I care a lot for someone to not be ignorant or anything like that.

Q: Please describe your ideal San Diego weekend.

A: I definitely would take a walk at Mountain Hawk Park in Chula Vista, that’s a great place with a beautiful view. I would probably also go to one of my comfort food spots, which is Chiroy’s Cafe in National City. After that, I’d probably walk around Market on 8th, and then I’d probably head to whatever community event is around in southeast San Diego. I’d probably just galivant and people watch and look at different things.



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San Diego, CA

Opinion: More apartments eased rents. Townhomes could aid buyers.

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Opinion: More apartments eased rents. Townhomes could aid buyers.


San Diego’s most beloved neighborhoods, like North Park, Golden Hill and Sherman Heights, were built by people who needed a place to live and found one. But the bungalows, fourplexes and cottages that gave working San Diegans a foothold in those neighborhoods can hardly be built anywhere else in the city.

Rules written decades ago banned them. For 70 years, San Diego has been paying for that mistake in the form of a city its own workforce can no longer afford to live in.

Neighborhood Homes for All of Us is the city’s plan to fix that: family-sized townhomes, rowhouses and small duplexes built in the neighborhoods where San Diegans most want to live.

While San Diego rents are softening as new apartments are built, the cost of buying a home is not moving, and it won’t, because the rental and ownership markets run on entirely separate tracks. Renters benefit when more rentals are built, forcing landlords to compete for them.

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However, a family trying to buy a home benefits only if more homes are available for sale. San Diego home prices now exceed nine times the median household income, among the worst ratios in the nation, according to Harvard’s Joint Center for Housing Studies. Building rental housing is important, but it does not change the math for a buyer.

The homes that would change it — family-sized, on the ownership track, in the neighborhoods where people most want to raise children — have been illegal to build for decades. San Diego produced roughly 7,000 condos and townhomes a year in 2005. By 2022, that number had collapsed below 500. Part of that drop is because of litigation rules that drove up insurance costs for builders, caps on pre-sales that finance these projects and high fees. Another major reason is that we simply do not allow starter homes on smaller lots. So, instead, builders default to rentals because that’s what current rules allow them to build profitably.

London Moeder Advisors, a San Diego real estate economics firm, finds that eliminating the city’s large-lot-size mandates could produce new townhomes at 42% less cost than surrounding single-family homes without taxpayer subsidies. While this price point is still high for many, it’s more attainable for young families starting out. And importantly, the price could drop further if the state advances reforms to address litigation rules and pre-sale caps that drive up costs.

The city’s program is also focused on adding homes in San Diego’s neighborhoods with the best-performing schools and most accessible jobs. These are also the neighborhoods with the most restrictive regulations on smaller starter homes. A teacher whose classroom is in La Jolla cannot afford to live there. A firefighter stationed in Mission Hills commutes from Santee. The homes that would let them stay are currently illegal to build in much of these areas. Neighborhood Homes changes that.

While critics may say San Diego already has the tools for adding homes to neighborhoods, why add another program? Because each of those tools was for a different purpose. None were designed to add more for-sale housing.

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ADUs, the backyard homes now common across the city, typically top out at 750 square feet (because of fee cliffs) and entail intricacies when selling to own. Other tools, like Senate Bill 9, have been layered with requirements that make it far too complicated and expensive for many homeowners to split their lots to add homes. Laws like Senate Bill 79 are important for adding more housing near transit. But none of these tools focuses on family-sized, ownership-track townhomes in an established neighborhood.

The Neighborhood Homes initiative asks a simple question: Where do the families who can’t afford a million-dollar home but don’t want an apartment go? We can continue to say certain neighborhoods are off-limits to the teachers, trades workers and young families who want to live there, or San Diego can set its own terms for how they grow, with local standards in a form the city controls.

San Diego’s most beloved streets were not preserved into existence. They were built — a duplex here, a rowhouse there — by people who needed a place to live in the city they loved and found one. That is what Neighborhood Homes makes possible again.

Asad is a former board member of the YIMBY Democrats of San Diego County. He resides in Mid-City.

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Tom Krasovic: Justin Verlander’s announcement recalls Padres’ 2004 draft blunder

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Tom Krasovic: Justin Verlander’s announcement recalls Padres’ 2004 draft blunder


So Justin Verlander is calling it quits, effective at the season’s end.

There’s Padres-related history to explore with Verlander, 43.

With it comes many groans.

San Diego passed on Verlander as part of the infamous, franchise-rocking decision to draft Mission Bay High School’s Matt Bush with the first overall pick in 2004.

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Had the Padres chosen Verlander and tweaked the Old Dominion alum’s delivery, as the Tigers did soon after selecting him No. 2 overall, the best innings-eater of his generation could’ve headed San Diego’s rotation for many years.

As a National Leaguer, Verlander would’ve pitched against pitchers, rather than designated hitters. His annual ERA would’ve fallen by about a half run, per DH and no-DH data of that time.

The Padres would’ve boasted a generational monster atop their rotation as soon as 2006, when Verlander won the American League rookie of the year award with Detroit, while the San Diego rotation featured next year’s NL Cy Young winner, Jake Peavy.

Recall also that Petco Park, from its opening in 2004 until its remodel in 2012, played as big as Yellowstone National Park.

Not that the DH rule greatly impeded Verlander, a nine-time All-Star.

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Many times over, the ace rewarded Tigers general manager Dave Dombrowski and scouting director Greg Smith for drafting him one spot after Kevin Towers and Bill Gayton — their options reduced by Padres owner John Moores’ stated opposition to drafting Scott Boras-assisted prospects Jered Weaver and Stephen Drew — selected Bush, the easy-to-sign but troubled shortstop turned pitcher.

Verlander helped Detroit reach its first two World Series in decades. He led the league in innings three times as part of chewing up 200-plus innings in eight consecutive seasons.

Dombrowski had displayed an unwavering faith in betting big on hard throwers.

Unfazed by power-righty Kyle Sleeth breaking down soon after he took him third overall in 2003, Dombrowski and Smith, a former Padres scout, became dead set on taking Verlander if the Padres didn’t.

Why didn’t Towers and Gayton choose Verlander?

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Foremost, the Padres generally didn’t like him as much as the Tigers did.

In fact, they preferred Weaver and Drew.

But Moores all but blocked his scouts there. He was openly critical of their adviser, Boras, saying he didn’t trust him. The two had clashed in the Kevin Brown talks that ended with Brown joining the Dodgers, months after Brown had led the Padres to the 1998 World Series.

Moores was subjected to other kinds of pressure, too. Legal complaints had delayed Petco’s construction. Those complaints all failed in court. But in the interim, the price of steel rose. Padres ownership bore that cost.

Even though Moores’ baseball staffers whiffed on Verlander and failed miserably in choosing Bush, Moores put them in a tough spot. He in effect removed two players who would both pan out as big leaguers.

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Someone with the Tigers correctly foresaw that shortening Verlander’s stride would sharpen his control. Untroubled by his 21-18 college record and bursts of subpar accuracy, the Tigers’ duo touted the 6-foot-5, 240-pounder’s “electric” combination of size, velocity and a powerful curveball.

Signing Verlander wasn’t easy.

David Verlander, the pitcher’s father and a union organizer with experience in sticky negotiations, said a contractual impasse led him to negotiate directly with Smith, leading to a deal, per CWA-Union.org.

The sides agreed on a $3.12 million signing bonus, which was less than the $3.15 million bonus the Padres paid to Bush, who was advised by Jeff Moorad.

The Boras-advised Weaver and Drew, who went 12th and 15th to the Angels and Diamondbacks, respectively, got $4 million apiece — but they and Verlander each got major league contracts, increasing the value of all three deals.

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It wasn’t until close to the 2005 draft that Weaver was signed. He nonetheless returned great value to the Angels.

Verlander went on to pitch for the Astros after GM Jeff Luhnow obtained him at age 34 from Detroit.

Verlander became a better pitcher with Houston, benefiting from the tech-and-data-driven edges the Astros provided him. Verlander embraced high-speed camera data, eventually dropping his two-seam fastball and limiting his rising fastball to high in the zone. Prodded by high-speed imagery, he adjusted his slider grip.

He won his second and third Cy Youngs with the Astros, and now stands 266-159 with a 3.33 career ERA in nearly 3,600 innings.

For baseball’s hungriest fanbase, he represents a case of what might have been.

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San Diego Humane Society Releases 4 rare western spotted skunks into the wild

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San Diego Humane Society Releases 4 rare western spotted skunks into the wild


RAMONA (CNS) – Four rare western spotted skunks were released back in the wild after weeks of rehabilitation and socialization at the San Diego Humane Society’s Ramona Wildlife Center, officials announced Wednesday.

The successful release marks a major milestone for a species rarely seen in wildlife rehabilitation. The group included one orphaned skunk that was flown more than 400 miles by Flying Tails Animal Rescue from Sierra Wildlife Rescue in Northern California to join an orphaned group in Ramona, according to the SDHS.

The four skunks were returned to a carefully selected, remote habitat in Valley Center after reaching the necessary weight and developmental milestones to thrive on their own.

Western spotted skunks are a rare sight for the Humane Society’s Project Wildlife team. While the wildlife center typically handles hundreds of striped skunks each year, admitting six spotted skunks from different litters in one season is unusual. Spotted skunks are generally found in remote forested areas and are not as common in urban neighborhoods, officials said.

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“We have never seen this many western spotted skunks in a single season before,” said Autumn Welch, wildlife operations manager at the Ramona Wildlife Center. “Because they are more reclusive than striped skunks, they require very specific care and even more secluded release sites to ensure they can stay wild.”

Socialization is critical for orphaned spotted skunks. During their stay at the Ramona Wildlife Center, the group became a bonded unit — exploring, digging and sleeping together, according to SDHS officials. Experts say these social cues prevent habituation to humans and teach the orphans natural skunk behaviors.

While four members of the group have returned to the wild, two spotted skunks remain in care at the facility. The smallest skunk was moved to an outside pre-release habitat and introduced to a slightly older skunk in late June.

Wildlife officials said by keeping the pair together, the wildlife team ensures the younger skunk will have a companion to learn from until they are both ready to be released, likely within the next month or two.

Anyone who finds an injured, sick or orphaned wild animal is encouraged to visit sdhumane.org/wildlifehelp or call 619-299-7012.

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Copyright 2026, City News Service, Inc.





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