fourth year

How former shortstop Bill Russell reconnected with the Dodgers

The fourth in an occasional series of profiles on Southern California athletes who have flourished in their post-playing careers.

Before there was Mookie Betts, there was Bill Russell.

An outstanding outfielder in his first three major league seasons, Russell moved to the infield full time in his fourth year. It was a disaster.

“It was something I lost a lot of sleep over,” said Russell, who led the majors with 34 errors that year. “After the season, I just collapsed for a few weeks.”

Then he picked himself up and went to work on getting better and in his second year as a shortstop he led the majors with 560 assists, led the National League in defensive WAR and made the first of three all-star teams.

He went on to play more games for the Dodgers than any player in Los Angeles history.

It was a remarkable career, one that hardly needed a second act. But even after he left the stage, Russell never left the theater. Six months after his last at-bat — he struck out as a pinch hitter in the final week of the 1986 season — Russell was back in uniform as the team’s bench coach.

He later managed in the Dodgers’ minor league system, replaced Tommy Lasorda in that job at the major league level and, for the past 13 years, has worked in the team’s community relations department, coaching youth camps and appearing at schools, fan fests and other events. Since 2002 he’s also served as an umpire observer, partly because the job gets him a good seat behind the plate at Dodger Stadium.

If the team were to a pick a Mr. L.A. Dodger, someone emblematic of the team’s history and values since moving to Southern California, the soft-spoken, humble Russell, a Dodger for nearly half a century, would have to be in that conversation.

But it was his dedication to mastering the switch from the outfield to shortstop — becoming the first prominent player since Honus Wagner to make the move — that literally changed the direction of the franchise. If he hadn’t made it work, the Dodgers may never have had the courage to turn a minor league outfielder named Davey Lopes into a second baseman, where he became Russell’s double-play partner.

If he hadn’t made it work, the Dodgers may never have tried pushing a scatter-armed third baseman named Steve Garvey across the diamond to first, opening up the position to Russell’s right for Ron Cey. The resulting infield of Garvey, Lopes, Russell and Cey played together for 8 ½ seasons, longer than any quartet in baseball history, winning four pennants and a World Series.

“Each one of us had different talents,” Russell said. “It was tough at first but all of a sudden we started having success. It’s four brothers.”

From left, Ron Cey, Bill Russell, Davey Lopes and Steve Garvey pose before an old-timers game at Dodger Stadium in 2013.

From left, Ron Cey, Bill Russell, Davey Lopes and Steve Garvey pose before an old-timers game at Dodger Stadium in 2013. The infield quartet won four pennants and a World Series together.

(Wally Skalij / Los Angeles Times)

Now Betts, a six-time Gold Glove-winning outfielder, has mastered the move too, helping the Dodgers to the cusp of their 12th division title in 13 seasons. However if Betts perfected the shift, Russell pioneered it.

“He was a great athlete,” said Steve Sax, Russell’s double-play partner his last five seasons. “He was maybe the fastest guy in the organization. The whole genesis of being able to move guys around was the thought they’re so athletic, why can’t they make the transition?

“And he proved that to be true.”

At 76, Russell is nearly four decades removed from his last of his 2,181 big-league games, all with the Dodgers. But he’s still fit, not far off his playing weight of 175 pounds. And while he was once among the fastest players in the majors, he now moves at a purposeful saunter rather than a sprint. Wire-rim glasses crease his once-boyish face and the mop of straw-blond hair he once tucked under his cap has gone white, leaving him looking more like a college English professor than a once-iconic athlete.

Bill Russell at his loge section perch where he observes umpires during games at Dodger Stadium.

“I just enjoyed going to the park and being with the guys. They just make you feel young again,” said Bill Russell, who turns 77 in October.

(Robert Gauthier / Los Angeles Times)

What hasn’t changed is his love for a game that has been his life and for a team that has become his family.

“I just enjoyed going to the park and being with the guys. They just make you feel young again,” said Russell, who often wears a wry smile that suggests he’s in on a joke no one else knows about.

“Billy’s very special,” said Peter O’Malley, the Dodgers’ owner and president throughout much of Russell’s career.

“He was stable. Popular with the fans for sure. He deserves more credit that he’s received.”

Russell grew up a short drive from both the Missouri and Oklahoma state lines in the kind of nondescript Kansas town where everybody knew their neighbors and hard work wasn’t a virtue, it was an expectation.

The middle child in a family of five children, he attended a high school so small it didn’t have a baseball team. So he played basketball during the winter and baseball on sandlots and with American Legion teams during the summer. He was the kind of player scouts once described as “an athlete,” meaning he was smart enough and talented enough to excel at any position, though the Dodgers listed him as an outfielder when they selected him in the ninth round of the second amateur draft in 1966.

He gave most of his $14,000 signing bonus to his parents, minus the money he needed to buy a second-hand Chevy like the one his best friend drove.

Russell shot up the minor-league ladder, playing just 221 games before making the jump from Class A Bakersfield to the majors in 1969, doubling in his first big-league at-bat.

The adjustment from the minors to the majors was far easier than the change from the tiny mining town of Pittsburg, Kan., to the technicolor sprawl of Southern California.

“Coming to Los Angeles, you’ve got to be kidding me. A big city like this?” said Russell, who had rarely traveled more than 30 miles from Pittsburg before signing with the Dodgers. “My town was only 10,000 people so I had to grow up fast.

“I’m 20 years old, I’m in the major leagues and the minimum salary is $10,000. It wasn’t even $1,000 a month. But that was more money than I’d ever thought of. And I’m playing in Hollywood.”

Dodgers manager Bill Russell being interviewed during spring training at Dodgertown in Vero Beach, Florida.

After playing 18 seasons with the Dodgers, Bill Russell managed the ballclub from 1996-98.

(Genaro Molina / Los Angeles Times)

Playing exclusively in the outfield, too, although Monty Basgall, a fellow Kansan and the former minor league infield instructor who scouted Russell as an athlete, was already plotting the move to shortstop, the most challenging defensive position after catcher.

“Shortstop is a difficult position,” said Derrel Thomas, a former teammate who played everywhere but pitcher during a 16-year big-league career. “A lot of people don’t give Monty Basgall any credit for what he did helping with the infielders.”

After some preparation in the instructional league and the minors, Russell made his major league debut at shortstop on the final day of the 1970 season, then played 47 games as a middle infielder a year later. But the move didn’t become permanent until Russell’s fourth season when he replaced an aging Maury Wills.

“I wasn’t in a position to say anything, really,” said Russell, who still speaks with a noticeable Midwestern accent.

“I had doubts about it, no question. But I figured my longevity in the big leagues, if I had [any], would come with moving to the infield.”

In fact, the move nearly ended his career. Russell made his first poor throw seven games into the season and by the all-star break he had as almost as many errors as extra-base hits. By then, he was also looking over his shoulder, expecting the Dodgers to put an end to the experiment.

“I’m surprised they didn’t,” he says now. “The fans got involved too. It wasn’t a standing ovation when I was coming back to the dugout after making some errors.

“At that time people brought transistor radios to the stadium. You could hear [Vin Scully] doing the game. I could hear him say something about me at shortstop. Talk radio was just coming on board and they were on me. It was a lot of negative stuff.”

Quitting, however, wasn’t an option.

“Maybe I was too dumb, I don’t know,” Russell said with a shrug. “I never thought about giving up or going back home. What am I going to do back home? I did say to myself, ‘I’m going to show these people I can play this position.’

“And I did. For 13 years.”

Through hard work and determination, Russell turned his fielding from a liability into an asset and the Dodgers began to win, reaching the World Series four times over the next nine seasons. And while Russell never won a Gold Glove — he twice led the majors in errors — he finished in the top five in fielding percentage by an NL shortstop three times, was in the top five for putouts four times and in the top three for assists six times.

He was understatedly brilliant, so much so that Cincinnati Reds’ shortstop Dave Concepcion once mocked Russell’s critics saying he didn’t know who the best fielder was “but I sure watch Bill Russell in the playoffs a lot.”

“He would never quit. Never,” O’Malley said. “Making that transition at the major league level, he deserves extraordinary credit for that.”

Almost lost in the focus on his defense was the fact Russell was a tough out, hitting better than .271 six times and excelling in clutch situations.

“That went all the way back to high school,” said Russell, who hit the shot that took his underdog team to the final of the Kansas state tournament. “It’s just a calmness. You can’t describe it. You can’t teach it. It is something that comes over you and you get a calm feeling that you’re going to succeed.”

As a high school infielder at Arroyo High in El Monte, James Baker was given his choice of uniform numbers. He didn’t have to think long before selecting one.

“I wore No. 18,” he said. “Because of Bill.”

It was the same number he had worn in Little League and American Legion ball.

“He was Mr. Clutch,” Baker, 61, said of Russell. “He was the dean of the infield.”

“The great thing about Bill Russell,” added Rick Zubiate, 57, Baker’s brother-in-law “is he wasn’t flashy. He made all the plays he was supposed to. Not only that, he had a presence and he commanded everybody around him to be better and expect more of themselves.”

Russell may be little more than a face on an old baseball card to Generation Z. But for children of the ‘60s like Baker and Zubiate, he remains the archetypal Dodger, one with a Dodger Blue resume that is unassailable. Which is why Baker and Zubiate braved rush-hour traffic last week to drive to Ontario, where Russell was appearing at an event for the Dodgers’ newest minor league affiliate.

“I loved him,” Baker said after asking Russell for an autograph.

And what’s not to love? He played more games and has more World Series at-bats than any player in L.A. Dodger history. He trails only Willie Davis and Garvey in hits and only Clayton Kershaw has matched Russell’s 18 seasons at Dodger Stadium.

Los Angeles Dodgers manager Tommy Lasorda, right, hugs Bill Russell in the dressing room.

Dodgers manager Tommy Lasorda, right, hugs Bill Russell in the dressing room after the Dodgers beat the Phillies, 6-5, in Game 3 of the 1977 NLCS.

(Associated Press)

But he also managed in the team’s minor league system, was the bench coach under Lasorda for seven years, then managed the big-league team for parts of three seasons, posting the fourth-best winning percentage by a manager since the franchise left Brooklyn. And he still pulls on his old uniform — with the bright red 18 over his Dodger blue heart — several times a year to join former teammates including Garvey, Sax and Steve Yeager in reminiscing with fans at fantasy camps and clinics.

“We have fun out there,” he said. “People come from all over the country. [It’s] like you’re still involved in the whole scene of being a major league player.”

If the speed and power of Willie Mays is synonymous with the San Francisco Giants and the style and grace of Ted Williams is emblematic of the Boston Red Sox, Russell’s blue-collar work ethic and country-boy humility is the embodiment of the Dodgers since they moved to Southern California.

“Quintessential Dodger?” O’Malley said. “Absolutely right. From start to end, he deserves the credit. He was respected and liked by everybody.”

Russell stood out, O’Malley said, partly because he blended in.

“He was quiet,” he said. “But keen sense of humor. If he wanted to make a point or be heard, he could nail it with a comment. It was pretty darn funny.”

Yet Russell’s silent excellence often went unappreciated. A .263 lifetime hitter who had fewer home runs in his career than Shohei Ohtani has this year alone, he received just three Hall of Fame votes the only time his name appeared on the ballot. For a time, even his loyalty to the Dodgers went unrequited; for years after his last game as manager Russell felt unwelcome at Dodger Stadium, the result of a toxic stew of bruised egos, Machiavellian maneuvering and corporate mismanagement.

It began midway through the 1996 season when Lasorda, the manager who had groomed Russell in the minors then won with him in the majors, had a heart attack. A month later Lasorda stepped down and Russell took over on an interim basis, guiding the Dodgers to a playoff berth.

That earned him the job full time but it didn’t earn him unquestioned support throughout the organization. The low-key Russell was a striking contrast to the colorful and bombastic Lasorda, more Mr. Rogers than Bobby Knight.

“He’s named the manager following Tommy. That’s not easy,” O’Malley said. “And he did it in his own way.

“But things didn’t work out. Following Tommy was not an easy task.”

Critics who had preferred hitting coach Reggie Smith, Mets manager Bobby Valentine or triple A manager Mike Scioscia — all former Lasorda pupils — over Russell quietly worked to undermine him and 74 games into his second full season as manager, Russell was fired by the team’s new overlords at Fox, who also sacked general manager Fred Claire, replacing him with Lasorda.

By then a major rift had developed between Russell and his former manager, who privately questioned Russell’s performance to management and publicly questioned his qualifications to manage. As a result many pointed fingers for the firings at Lasorda, who strongly denied being involved.

Bill Russell at his loge section perch where he observes umpires during games at Dodger Stadium.

Bill Russell observed umpires on behalf of MLB during Sunday’s Dodgers-Giants game at Dodger Stadium.

(Robert Gauthier / Los Angeles Times)

Either way, the relationship was irrevocably broken.

Russell left with a .537 winning percentage over parts of three seasons, a better mark — albeit over a far shorter span — than the one that took Lasorda to the Hall of Fame. After firing Russell, the Dodgers never made the playoffs under Fox, with the seven-season postseason drought matching the team’s longest since the late 1960s-early 1970s.

The hard feelings have softened some with the passing of both time and Lasorda, who died in 2021. (Russell, pointedly, was not invited to the funeral; Scioscia, Valentine, Garvey and Cey were.)

“I knew him better than anybody. I was like his son,” Russell said earlier this month, sitting at a patio table near the neat two-bedroom Valencia house where he’s lived for 20 years.

“I don’t want to bad mouth him but he wanted to keep managing. He just couldn’t accept not being there. That’s just the way it was.”

The slight wounded Russell, who took off his Dodger uniform for what he thought would be the final time. O’Malley, who was in the room when Bob Graziano, the former banker Fox put in charge of the team, fired the manager, invited Russell back to the stadium later that season. But the place where he had grown from a boy to man wasn’t the same.

So he went on to work as an advisor with a team in Taiwan, spent a season as bench coach in Tampa Bay and managed in the minors for both the Rays and Giants.

None of it felt comfortable.

“I was in the Dodger organization 30 years,” he said. “To go somewhere else, it wasn’t right.”

After managing the Shreveport Swamp Dragons to a last-place finish in the Texas League in 2001, he returned to Southern California — and Dodger Stadium — as an umpire observer for Major League Baseball, a job that lets him sit behind the plate and watch games.

As if he could imagine doing anything else.

“He’s brought a different perspective because he played at the highest level and he managed,” said Matt McKendry, MLB’s vice-president of umpire operations. “But, you know, Bill loves being at the ballpark and if he wasn’t doing what he’s doing for us, I think he’d be at Dodger Stadium almost every night anyway.”

Because for Russell it’s never been a stadium. It’s home.

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Cheech Marin’s museum legitimizes Chicano art and boosts local economy

“The fame of the museum is spreading far and wide, and people are coming from all over the United States,” says the award-winning comedian and museum founder

In 2022, the iconic L.A. comedian Cheech Marin opened an art museum with the hope of inspiring a Chicano art renaissance.

“I looked around and said, ‘This could be the next big art town’ — because the foundations were already there,” Marin told De Los. “There was this kind of nebulous underground here, but [they’ll] reach officialdom when they have their museum.”

Now, as the Cheech Marin Center for Chicano Art and Culture enters its fourth year, Marin said he believes his goal is slowly coming true.

Known colloquially as the Cheech, the museum is widely considered the only space in the nation that exclusively showcases Chicano art. It’s located in Riverside, a majority-Latino city which is also within one of the largest Latino-populated counties in the country.

Since its grand opening on June 17, 2022, the center has housed hundreds of artworks from Marin’s vast private collection, including from prominent artists such as Wayne Alaniz Healy, Judithe Hernández and Frank Romero.

In its first two years, the space attracted over 200,000 visitors, according to an independent study commissioned by the city, with around 90% of attendees coming from outside the Inland Empire. The study also found that the Cheech brought around $29 million into the city’s local economy in that time frame.

“We were recognized as one of the top 50 shows in the world,” Marin said. “The fame of the museum is spreading far and wide, and people are coming from all over the United States.”

While the Cheech grew in nationwide prominence, its artistic director, María Esther Fernández, explained that the museum’s team also worked to fulfill Marin’s goal by taking advantage of its rapid success.

In the last three years, the center has become a hub and vital resource for many of the region’s Chicano artists. It has done this by creating opportunities to network with high-profile individuals, hosting recurring professional development workshops and regularly contracting emerging creatives for different design projects.

Drew Oberjuerge, the center’s former executive director, added that the museum has invested in the region’s economy by hiring locals to help prepare artwork for installation while also paying musicians and other contractors to work throughout their events.

Cheech Marin, wearing a black t-shirt and cargo pants, stands between paintings in a gallery

Cheech Marin photographed in the Riverside Art Museum for the unveiling of the Cheech Marin Center for Chicano Art & Culture (a.k.a. “The Cheech”) in 2022.

(Gustavo Soriano / For The Times)

Most important for these artists, however, is the space that the Cheech has designated to put their art front and center.

“What we’ve been really lucky to leverage is the visibility of the Cheech,” Fernández said. “We’ve been really dedicated, since we opened, to featuring artists that are emerging or some that are even mid-career in the community gallery.”

Some of the creatives, who have collaborated with the Cheech within the community gallery since it first opened, say the center’s efforts have legitimized their career paths and created new opportunities to help pursue their dreams.

The gallery is located next to the museum’s entrance and is only a fraction of the space given to the other exhibits within the 61,420-square-foot museum — and it feels like being in a waiting room in comparison to the rest of the center too. Yet, on only four small walls, the artists featured in the area have put on powerful exhibitions that tell the region’s story while also making art on par with Marin’s collection.

This includes shows like “Desde los Cielos,” which was co-curated by Perry Picasshoe and Emmanuel Camacho Larios, and looked into the concept of alienness — as well as Cosme Córdova’s “Reflections of Our Stories,” which emphasized a cultural connection between Inland Empire artists, despite the use of vastly different mediums.

Perry Picasshoe stands outside the Cheech as part of a performance piece in Riverside on July 3, 2025.

Perry Picasshoe stands outside the Cheech Marin Center for Chicano Art & Culture as part of a performance piece in Riverside on July 3, 2025.

(Daniel Hernandez)

In total, the Cheech has held at least seven different exhibitions that showcased artists from across the Inland Empire — at times, catching Marin’s connoisseur eyes.

“I bought a couple of pieces from different artists because they are of that quality,” Marin said. “It’s great to be encouraging local talent as well as recognizing a larger picture that they are a part of, or going to become a part of [the Cheech].”

According to the Cheech’s spokesperson, Marin has purchased three works from Inland Empire-based artist Denise Silva after they curated an exhibition named “Indigenous Futurism within the gallery. Another piece, created by artist Rosy Cortez, who has been featured in several exhibitions, was purchased by an anonymous donor and added to the center’s permanent collection.

“We’ve also begun to implement an artist fee for artists who are participating in the exhibitions,” Fernández said, adding that her team has assisted in the transportation of larger works of art as well. “Participating in exhibitions can be cost-prohibitive for artists, and so it’s something we’re trying to mitigate in our practices.”

Their most recent exhibition within the community gallery, called “Hecho en Park Avenue,” has been one of their most successful showings, with over 1,300 community members attending its opening earlier this year.

The exhibition’s co-curator, Juan Navarro, explained that the show culminated years of work within Riverside’s Eastside neighborhood. He, along with other Chicano artists, has been creating art within the Latino-dominant community since 2021.

Then, when the Cheech asked them to curate a show, Navarro felt it was the perfect chance to tell the stories of the Eastside’s locals. The response to the final product was more than Navarro could have ever imagined.

“The community showed out: from intellectuals from UC Riverside, from local government, to state government showed up, to the gang members,” Navarro said. He also noted the emotional weight of being recognized for his art, while surrounded by the work of Chicano artists who waited decades for their own to be recognized.

“Seeing this big, broad community and seeing that our show met the need for a diverse audience… It was meaningful to a lot of people, that’s what I cared about.”

The show’s other co-curator, Michelle Espino, also expressed gratitude for the chance to tell the Eastside’s story at the Cheech. Besides being one of its featured artists, Espino worked on many of the behind-the-scenes aspects of the “Hecho en Park Avenue” exhibition.

It was also a full-circle moment for her; years prior, Espino had written about Fernández’s work for a Chicano art history class. This year, she met with Fernández to ask for advice and to finalize plans for the exhibit.

“It [validated] that I do want to continue with this,” Espino said. “She is literally the person I look up to.”

On top of Espino’s one-on-one meetings with the artistic director, she has also enrolled in a few professional development workshops hosted by the center, most recently taking a class that taught both the art of portraiture and poetry. The Cheech regularly partners with a nonprofit organization named the Riverside Arts Council to host professional development classes.

“If we had these resources when I was younger, my trajectory could have probably been a little bit different,” Espino said.

Marin, in his lifelong quest to collect works for his private collection, has seen how Chicano artists have grown their communities in their respective cities. It starts with painters sharing their works with each other through smaller shows, he said, which builds excitement and increases participation. He likened it to a biological process, where each generation builds upon the growth of the previous iteration.

That process is starting in the Inland Empire now, he added.

“We are a part of this big American picture,” Marin said. “And there’s nothing more official that you can do besides having your own museum.”

Hernandez is a freelance writer based in Riverside. This article is part of a De Los initiative to expand coverage of the Inland Empire with funding from the Cultivating Inland Empire Latino Opportunity (CIELO) Fund at the Inland Empire Community Foundation.



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