The Brief

Artist Román O’Cadiz crouches down, dips his brush into freshly poured black paint, and adds the finishing strokes to the raised letters that spell out his grandfather's name.

He takes a step back and gazes at the finished mural, the painted words “Sergio O’Cadiz” gleaming in the sunlight.

The concrete relief mural in the entry plaza of Fremont Elementary School in Santa Ana was originally created by his grandfather, J. Sergio O’Cadiz Moctezuma.

In the last month, it has undergone a much-needed restoration led by the Santa Ana Community Artist(a) Coalition, a grassroots collaborative that works to promote and preserve public art through community-driven mural arts projects. The family of the late artist, who died in 2002, was also involved.

“It's cathartic,” said Román O’Cadiz. “It alleviates some of this frustration that my family has felt, and how his work hasn't been represented or appreciated in the way that we always felt it should.”

Decades ago, J. Sergio O’Cadiz Moctezuma was a prominent artist in Orange County, where he settled in the early 1960s after moving to the U.S. from Mexico City. O’Cadiz was instrumental in creating art for several of the county’s public buildings, including Cypress College, where an imposing brutalist concrete relief mural he made for the school’s library building still stands.

He created the Fremont Elementary mural in 1973, with the assistance of community members. The concrete mural spans two walls, set back from the street in Santa Ana’s Artesia Pilar Barrio, a historically Mexican American neighborhood just a few miles west from downtown.

The mural incorporates images like the sun, pyramids, and galleons, symbols that connote Mexico’s rich history. Over the years, neglect has taken its toll — there has been natural wear and tear, like UV damage and environmental degradation, and school district staff at one point changed the original color scheme of the stained concrete design. Still, O’Cadiz’s piece remained a timeless, powerful emblem of Santa Ana’s Mexican American community.

Peeling back the layers

Maria del Pilar O'Cadiz recalled the shock and dismay she felt upon seeking the extent of the damage to her father’s mural.

“It was tragic,” she told LAist. “These murals need to be conserved for our historical cultural patrimony, and it's a crime against the humanity of this community to destroy them. So this restoration is a realization of one of my lifelong dreams, and I'm full of joy for it — but it's unfortunate that we have to do it.”

Maria del Pilar O'Cadiz, the artist's daughter, visits the Fremont Elementary mural restoration site on June 9, 2023.

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The process of removing layers of saturated acrylic paint that were applied to the mural had to be done with care. It entails applying a special solution created by MuralColors, an L.A.-based business that produces art and architectural materials. In what is known as “delamination,” the solution was gradually applied to the piece in segments. Then a pressure washer was used to remove the paint without destroying the original art.

It’s a fraught but rewarding process, said Alicia Rojas, restoration project director and a founding member of the Santa Ana Community Artist(a) Coalition.

“This restoration carries a great responsibility and it’s important to us that we honor Sergio’s brush and vision," Rojas said. "It's a process that goes beyond the individual artists and parties involved — it's about our collective work, to uplift and amplify his art.”

Now, O’Cadiz’ intrinsic deep-relief patterns — rhythmic linear arabesques, abstract geometric designs, and Mondrian-like pops of primary colors — appear as ebullient as when the mural debuted 50 years ago.

The Fremont mural is one of two O’Cadiz pieces being restored at Santa Ana schools. An O’Cadiz mural at Monroe Elementary School is earmarked for restoration next. Santa Ana Unified School District officials say they recognize the district’s lapse in stewarding the murals over the years.

“Unfortunately, we have not always kept murals that had historical significance because we didn't understand,” said Robyn MacNair, art administrator for the school district. “We want to prevent that from happening again.”

A rich artistic legacy

Not all of J. Sergio O’Cadiz Moctezuma’s works have survived over the years, but he looms large in Orange County arts history.

“His work makes OC stare uncomfortably at what it never dreamed of when it came to its Mexicans: unapologetic. Proud. Talented. Successful,” wrote Los Angeles Times columnist and author Gustavo Arellano in an essay for a retrospective exhibit of the artist’s work and legacy at Cypress College in 2019. He quoted O’Cadiz from a Times article dating to the 1970s: ‘My idea of America,” the artist told the newspaper then, “is the right to be as Mexican as I want.’”

Roman O'Cadiz, the artist's grandson, sits among the products used to wash and revitalize the 1973 mural at Fremont Elementary in Santa Ana.

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O’Cadiz’s family shared recollections of the artist and his accomplishments with LAist.

Born in Mexico City in 1934, O’Cadiz attended the Universidad Nacional Autónoma de México (UNAM) to study architecture, and along the way studied with legendary painter Diego Rivera.

He first established himself as an architectural designer, lending his talents to some of Mexico's landmark modernist construction projects and public works. According to his family these include the Museo Nacional de Antropología (Museum of Anthropology) in Chapultepec Park, on which he worked as part of the design team.

In 1961, O’Cadiz came to Orange County to work with renowned architect William Blurock, who is credited with designing hundreds of schools and colleges in California and around the world, along with other notable buildings. O’Cadiz joined Blurock’s firm as an architectural conceptual draftsman, his family said.

Orange County buildings that O’Cadiz contributed to include the Cypress College Library, home to one of his more famous concrete murals from 1967; the Santa Ana City Hall, home to a 1972 concrete relief mural; and Century High School in Santa Ana.

Though trained as a modernist, O’Cadiz introduced his expressive forms and diverse surfaces into the brutalist architecture of the era. His diverse body of work included paintings, drawings, graphic designs, sculptures and public murals.

Whitewashing history

But over the years, many of O’Cadiz’s works have been destroyed, most recently a well-known painted mural on Raitt Street in Santa Ana that had been deteriorating; after a solo artist tried to begin restoring it without permission, the property owner had it painted over in 2019.

In 2000, part of O’Cadiz’s Santa Ana City Hall relief mural was removed for a building renovation, his family said; sculptural fountains created for Fountain Valley's Civic Center in 1962 were eliminated and replaced with a prefab fountain.

A signature reading "Sergio O'Cadiz 73" is still visible on the mural at Fremont Elementary in Santa Ana.

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Another well-known loss was a 625-foot-long painted mural in Fountain Valley’s Colonia Juarez neighborhood, which O’Cadiz painted between 1974 and 1976. With the help of community members, the artist depicted the story of Colonia Juarez’s heritage and cultural history — images that ranged from the arrival of Mexican peasants in California at the time of the Mexican Revolution to a scene of police in riot gear dragging a Chicano youth to a patrol car.

That last scene, according to the family, cost him city financial support for the mural. O’Cadiz finished the mural with his own money, but couldn’t raise enough to seal it properly. It deteriorated over time, and the city destroyed and replaced the wall in 2001.

Rediscovering art that's 'like jazz'

Cypress College held its 2019 retrospective exhibition after completing a restoration of O’Cadiz’s monolithic Library Mural, outside what is now the Cypress College Complex building.

And as his Santa Ana school campus murals are being restored, local students have been learning about the artist.

In the weeks leading up to the restoration, the Santa Ana school district’s arts program and the artist coalition invited 20 SAUSD visual and performing arts high school students to learn about O’Cadiz.

Students attended a series of workshops, including a lecture from the artist’s daughter, Maria del Pilar O'Cadiz, who works as an associate program director in UCLA's engineering school. The students created their own art at Cal State Fullerton’s Grand Central Art Center, and took in a walking tour of remaining O’Cadiz murals in Santa Ana, along with other community murals.

Local Santa Ana artists work on restoring the O'Cadiz mural at Fremont Elementary.

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The restored Fremont Elementary mural will be officially unveiled Friday afternoon.

Meanwhile, the Santa Ana Community Artist(a) Coalition is getting ready for its next O’Cadiz project — the mural at Monroe Elementary, on which work starts next year. One of those working on the restoration will be multidisciplinary artist and coalition founding member Roger Eyes R. — a former Monroe student.

Eyes recalled the first time he saw O’Cadiz’s art as a child.

“I just remember walking up to the school and going, ‘What is that?'" he said. “I had never seen art like that, it just blew my mind. It was like jazz.”

Early every Saturday for the last three and a half years, William Campbell, 61, leaves his Silver Lake home to be at the Angels Flight station for the first ride at 6:45 a.m.

Campbell is one of a team of operators behind the proverbial wheel of the two near-identical funiculars — named Olivet and Sinai — that go up and down a 33% angle slope from Hill Street to Bunker Hill in downtown Los Angeles.

“You’re a part of living history,” said Campbell, who is dressed in an orange and black waistcoat and bow tie, and wears a bowler hat with a monarch butterfly on top. There’s a reason for that, he said mysteriously.

Angels Flight on Bunker Hill.

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Today, I am the first rider. Soon after, I am joined by a family visiting from Texas.

“I was just looking at a local tourist place, and I just saw this small, cute railway,” said Michael Nguyen, who was alongside his mother and sister. “I was like, oh, this looks interesting. And I saw that you can actually go on it. I was like, OK, that’s pretty dope.”

Masterminded by lawyer, politician and engineer Col. James Ward Eddy, the Angels Flight “hillevator” opened on New Year’s Eve 1901 as a way for people to travel up and down Bunker Hill, which was then the place where the city’s wealthy population lived.

The journey took them down to the streets and stores below and from 1917, Grand Central Market, with the first passengers paying just a penny fare for what was billed as the “shortest railway in America,” traveling just 298 feet.

When he’s not working his weekday full-time day job investigating animal cruelty and abuse, Campbell spends his spare time looking through online newspaper archives for any information about Angels Flight.

Angels Flight Railway.

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Angels Flight Railway.

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Originally located by the 3rd Street Tunnel — at the end of the block from where it is now — the train has been through several changes, as has Bunker Hill itself.

“All the wealthy people moved to Beverly Hills, and Brentwood, and Bel Air, and beyond. And all their wonderful Victorian mansions were turned into boarding houses, and it attracted a lower income, more diverse population, which resulted in blight and crime — at least according to the city,” Campbell said of Bunker Hill's transformation.

City officials authorized Bunker Hill to be all but razed in the 1950s and '60s, and Angels Flight was put into what was promised to be temporary storage for a year or two, despite protests from singer Peggy Lee and others.

The year was 1969. And it took nearly three decades for its return. Angels Flight welcomed passengers again in 1996 to its current location after test runs were made with cases of beer and soft drinks weighing 9,000 pounds. The cable cars were rebuilt exactly as before, but with modern safety requirements, such as Sinai having wheelchair space.

A 2001 accident in which one person died and seven were injured saw another long closure until 2010, and there was a derailment in 2014, which saw another short shuttering. But Angels Flight has been running ever since 2017, save the odd mechanical problem.

William Campbell.

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Angels Flight keepsakes made by William Campbell for riders to take.

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Campbell describes himself as a cheerleader for Angels Flight, and you can easily see why. During his shift he pins up a 1904 photo of the city’s landscape taken from an 80-foot-high observation tower at the original location, so people can compare it to the skyscraper skyline of today.

“At one time you could see all the way to Catalina,” he noted.

There is also a display about near-forgotten Bunker Hill folk artist Marcel Cavalla, and Campbell gives away Angels Flight bookmarks, stickers and maps, all of which he researches, designs and prints out of his own pocket.

One of his projects, old advertisements from 1901 to the 1940s, is displayed in the panels above the seats, and was installed a couple of months ago.

Interior of Angels Flight, showcasing old advertisements from 1901 to the 1940s that Campbell installed.

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One of the vintage ads for Catalina Carrier-Pigeon Service.

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There's everything from old Market Basket supermarket ads, to Barbara Stanwyck shilling for Lux toilet soap, to a standard power mower from John Bean manufacturing, to one for the Catalina Carrier Pigeon Service, which operated from 1894 to 1902, taking messages from Avalon to Bunker Hill.

And the monarch butterfly on his hat? That’s related to his Angels Flight “holy grail,” the one question he can’t definitively answer: why were they painted orange and black?

With that, Campbell grabs his binoculars and sees there are passengers waiting for a ride up, so I get into Olivet and wave goodbye as I travel down to Hill Street.

A group called Neighbors Helping Neighbors has been clearing overgrown weeds for free on fire survivors' empty lots in Altadena.

They’ve finished 10 with many more to go. They’re keeping at it not just to keep things tidy, but to avert another disaster as the region enters fire season — and their efforts are spreading. More than 200 homeowners have signed up, after hearing about the group from its Facebook page and through word of mouth.

“I'm 5 feet 2 inches tall, but there were weeds 6 and 8 feet tall,” said Antoinette “Toni” Bailey-Raines, the ringleader. She is also a co-founder of Altadena Talks Foundation, a nonprofit started in the wake of the Eaton Fire.

Bailey-Raines lives in San Dimas but grew up in Altadena. Her parents and sister all lost their homes in the Eaton Fire.

“I went to my parents' lot one day,” she said. “I loaded up the back of my car with my lawnmower, my blower, my rake, because I wanted to make sure their lot was cleaned up.”

It took seven hours, but she figured all that overgrown vegetation can't be good for Altadena with the fire season just around the corner.

And just like that, the idea for Neighbors Helping Neighbors was born.

Preventing another disaster

Antoinette “Toni” Bailey-Raines, founder of Neighbors Helping Neighbors.

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Antoinette “Toni” Bailey-Raines at one of the cleared lots.

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The very first lot, just south in Pasadena, was cleared in mid-April. Bailey-Raines said the property was getting notices from the city to clear the lot or face escalating fines. Pasadena conducts brush clearance inspections every spring and summer.

Toni said the family had moved to Mississippi after the Eaton Fire.

“You lost everything, and then somebody's gonna tell you they're gonna give you a fine because you have weeds on your lot and you're not even here to see that?” Bailey-Raines said.

That day, she rounded up a group of nine people, including her son and his friend. A neighbor across the street was suspicious at first, but eventually told her, "You have me for about an hour." He stayed for two.

The job took less than four hours.

A growing movement

On May 13, dozens of volunteers showed up in Altadena to clear seven lots in one morning.

One of them — a 14,000-square-foot lot — belongs to Sarkis Aleksanian and his family. He had reached out to Bailey-Raines in late April, after learning about the group from a neighborhood WhatsApp chat.

“I was looking into cleaning up the lot and really daunted by the prospect,” he said. “I was worried that the lawn would dry up and be a problem.”

Aleksanian and his wife were on hand to help out. It’s the one thing that Bailey-Raines requires — for the homeowners to be there.

“I've asked them that if they're able-bodied to be here and help,” she said. “You're here. You're encouraging people, and you're helping on your lot. [Sarkis] was doing everything from weed-eater, to chainsaw, to whatever, and that's what it's about.”

This 14,000-square-foot lot in Altadena was cleaned up in less than two hours on a recently Saturday.

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“It was just remarkable, I tell you,” Aleksanian said. He said he recognized some of the volunteers that morning — folks he sees in the community.

And he did encounter someone he knew — a high school acquaintance from years back. “It's neighbors helping neighbors, just like she called it, you know?” Aleksanian said.

His lot was finished in 90 minutes.

More is needed

With a growing waitlist, what is needed are people and equipment — from gloves and trash bags to the hardware.

“I have six brush cutters and two chainsaws and a couple trimmers, but I need, like, triple that at least,” she said.

Same goes for rechargeable batteries that power these tools — which Bailey-Raines juices up with generators they bring on-site.

A number of organizations — including Neighborhood Survants, Altagether, Project Passion, My Tribe Rise, Dena Heals — have granted money and donated equipment and manpower. Bailey-Raines has also put in her own money.

“My dream is one Saturday morning to have 500 people and that we clear a whole street, a whole block — so that this list of 200 can go down, and as others hear about it, they get on it, and we as a community do this as neighbors to help one another,” she said.

After fires and floods, Southern California’s only remaining native freshwater turtle recently got a boost.

Just last month, 15 southwestern pond turtle hatchlings were released into the San Gabriel River — a major milestone in an effort to restore the vulnerable turtle population.

But this wasn’t a typical raise-and-release scenario.

These turtles’ parents went on a harrowing journey before they were born.

A daring rescue

In early September 2020, amid a heat wave and dry weather, a tree branch hit a Southern California Edison power line, igniting the Bobcat Fire.

The fire eventually scorched more than 180 square miles — mostly forest in the San Gabriel Mountains. For comparison, the 2025 Eaton Fire burned about 22 square miles.

Lights from a fire truck illuminate firefighters working the Bobcat Fire in September 2021.

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As the Bobcat Fire spread, biologists grew worried. The fire was burning in the West Fork of the San Gabriel River, a biodiversity hotspot and refuge for bears and mountain lions, the federally protected Santa Ana sucker fish and the mountain yellow-legged frog.

It’s also home to the largest remaining — and possibly only — population of southwestern pond turtles in the entire watershed. Their exact numbers aren’t known, but it’s likely less than 200.

“Because this hadn’t burned in decades and decades and decades, there was big concern about debris flows,” said Robert Fisher, a biologist with the U.S. Geological Survey.

Scientists hoped the turtles would be able to ride out the fire itself by staying in the water, but any rain after would likely lead to a deluge of mud, trees and other burned materials. That would be akin to an avalanche for the turtles in the river, and it had the potential to wipe out the entire population.

Once the flames died down, Fisher and a team of biologists, in partnership with the California Department of Fish and Wildlife and U.S. Forest Service, trekked to the home of the pond turtles.

“It was a moonscape,” Fisher said.

They waded through ashy, murky waters, eventually collecting 11 adult turtles.

A temporary home and 15 surprises

The turtles were taken to the San Diego Zoo, where the plan was to hold them until their mountain habitat recovered enough for them to return.

By 2024, the San Gabriel Mountains were looking far better — biologists even found some pond turtles that survived major debris flows.

But right before the turtles were set to go back home, scientists got a surprise.

“Just before we were getting to release, we found a baby turtle, which is amazing,” said Brandon Scott, wildlife care manager of herpetology and ichthyology at San Diego Zoo Wildlife Alliance. “You don't know how long it's going to take to restart that process of them actually being able to breed, with the stress and it's a new habitat.”

A juvenile southwestern pond turtle is weighed before being released to the wild.

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The turtles and the new baby were all returned to their home in the San Gabriels. But then came another surprise. And another.

“We just continually, every day, started finding a baby in that habitat,” said Scott.

Female southwestern pond turtles lay and bury their eggs in late spring or early summer. Juveniles emerge months later, only about the size of a quarter.

Fifteen babies later, conservation staff were shocked and pleased.

Their goal for the 11 rescued turtles was to make sure they could thrive before being released back into their habitat. “But in the process,” Scott said, “yes, we made it comfortable enough for them to breed.”

A hopeful release

The new generation of southwestern pond turtles was released in April near the spot their parents were rescued from in the San Gabriel River.

Such rescues of vulnerable wildlife are becoming increasingly common in the face of more catastrophic fires. All but two of the biggest fires in recorded history have been in the last 20 years.

Fisher said a similar rescue of pond turtles had occurred only once before, after the 2009 Station Fire in the San Gabriels. That time, the turtles were quickly returned to their habitat.

A staff member of the San Diego Zoo Wildlife Alliance releases a juvenile southwestern pond turtle into the San Gabriel River.

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That rescue, in part, inspired the U.S. Geological Survey to work with the San Diego Zoo to build a conservation habitat for southwestern pond turtles nearly two decades ago. And the Bobcat Fire became the first time it was used for wild rescues, Fisher said.

Ironically, the Bobcat Fire could eventually help the local population, Fisher said.

“We’ve known about [the population] for decades, but it’s not really thriving,” he said. “So this helped give it a head start. And because the fire was so intense, it opened up a lot of habitat.”

With less tree canopy and more sunlight, the cold-blooded reptiles could thrive in warmer waters and on sunnier rocks.

But the new generation is key.

“Because the site was so forested and hadn’t burned in so long, we don’t think they were having good success at breeding,” Fisher said. “Now we think we’ve really enhanced the population by putting more animals out there, especially young animals.”

Scott and Fisher said the saga has inspired preliminary conversations about formalizing breeding efforts to support the population. The little turtles' myriad threats have yet to let up, so they’ll likely need more help in the future.

But at the moment, there’s a little more hope — at least 16 hatchlings and 11 adults' worth of hope, to be exact — for California’s only native freshwater turtle.