Garret Anderson, the often misunderstood and always lethal Angels slugger who starred in the 2002 World Series, has died of a heart attack. He was 53.
Anderson’s most memorable moment was belting a decisive three-run double in Game 7 of the only World Series ever played by the Angels. Yet consistency over 17 seasons — 15 with the Angels and one each with the Dodgers and Atlanta Braves — was the hallmark of the taciturn left fielder.
“The Angels Organization is mourning the loss of one of our franchise’s most beloved icons, Garret Anderson,” owner Arte Moreno said Friday in a statement. “Garret was a cornerstone of our organization throughout his 15 seasons and his stoic presence in the outfield and our clubhouse elevated the Angels into an era of continued success, highlighted by the 2002 World Series Championship.
Garret Anderson, who hit the game-winning three-run double, runs with the World Series championship trophy after the Angels beat the San Francisco Giants in Game 7 of the World Series in Anaheim on Oct. 27, 2002.
(Kevork Djansezian / Associated Press)
“Garret will forever hold a special place in the hearts of Angels fans for his professionalism, class, and loyalty throughout his career and beyond. His admiration and respect for the game was immeasurable.”
Nicknamed “G.A.,” Anderson is the Angels leader in games (2,013), at-bats (7,989), hits (2,368), total bases (3,743), extra-base hits (796), doubles (489) and runs batted in (1,292). And he achieved it all without fanfare.
“Garret didn’t seek the limelight,” said Mike DiGiovanna, The Times’ Angels beat writer throughout most of Anderson’s career. “A classic lunch-pail guy. He was a superstar, he just didn’t act like it.”
Fans occasionally booed Anderson for a perceived lack of hustle. He didn’t dive for fly balls and on rare occasions failed to run hard when he hit a ground ball.
His teammates, however, backed him without hesitation, saying he was one of the smartest players in baseball and made the game look easy through hard work.
“He doesn’t dive for balls because he gets there quicker than most guys,” center fielder Darin Erstad said in 2003.
Fans cheered in shock when Anderson made a diving catch against the Minnesota Twins in 2002.
“But, see, that’s what I’m talking about,” he said. “I never should have had to dive for that ball. I got a bad jump. I study hitters. I have an idea of where the ball is going. I don’t dive because I don’t have to.”
The Angels’ Garret Anderson watches the ball after hitting a two-run homer against the Toronto Blue Jays in the seventh inning of a game in Anaheim on July 4, 2008.
(Mark Avery / Associated Press)
Anderson’s understated demeanor fit well in an Angels clubhouse stocked with young, rowdy personalities.
“We have so many emotional guys on this team, Garret is a calming force,” teammate Tim Salmon said in 2003. “He’s criticized for a lack of emotion, but I think it’s good.”
For his part, Anderson possessed a wry sense of humor and wasn’t above poking fun at himself.
“Interesting,” he told The Times Bill Plaschke with a faint smile. “I used to be called lazy. Now that we win a World Series, I’m called graceful.”
After Anderson retired in 2010, he worked as a television analyst for the Angels.
Garret Joseph Anderson was born June 30, 1972, in Los Angeles. He attended Granada Hills Kennedy High, where he starred in baseball and basketball. He remained close to his baseball coach, Manny Alvarado.
“I’ve lost a handful, some of them at a young age, but this one we had a relationship for a long time,” Alvarado said Friday. “I have a ton of memories, some of them from day one and some just recently. The one thing that comes to mind he was kind of an old soul. A lot of major leaguers have a lot to learn from him.
“He was very humble and always picked up the phone. He made it to a lot of alumni games, was very generous.”
Anderson was drafted in 1990 by the Angels in the fourth round and made his major league debut July 27, 1994 versus Oakland before going on to become one of the most productive players in franchise history.
Anderson had a stretch of eight consecutive seasons appearing in at least 150 games for the Angels and played in at least 140 games in 11 of his 17 major league seasons. He was inducted into the Angels’ Hall of Fame in 2016.
“Teammates and fans came to appreciate him for his consistency,” DiGiovanna said. “He was like a metronome.”
In addition to his World Series Game 7 heroics, Anderson batted .300 with four doubles, two home runs and 13 RBIs during the 2002 postseason. He finished fourth in American League Most Valuable Player voting that year.
In 2003, he became the first player since Cal Ripken Jr. to become both the Home Run Derby champion and MVP of the All-Star Game. Anderson batted .293 with 287 home runs in his career.
His final season came with the Dodgers in 2010. At age 38 he batted only .181 but provided a settling influence on young Dodgers stars Matt Kemp and Andre Ethier.
The Angels will honor Anderson by wearing a memorial patch on their jerseys the rest of the season. There will be a moment of silence and a tribute video before Friday’s game.
Anderson is survived by his wife, Teresa, daughters Brianne and Bailey and son Garret “Trey” Anderson III.
Times staff writers Eric Sondheimer and Bill Shaikin contributed to this story.
There’s a couple somewhere in Los Angeles who unknowingly inspired the second season of “Beef.”
Lee Sung Jin, the creator of Netflix’s anthology drama that swirls in the consequences of class struggles, resentment and the absurdity of life’s curveballs, once again found himself inspired by a tense interaction playing out before him. A road rage incident at a stoplight in Hollywood a few years ago, triggered by Lee’s delayed response to a green light, became the catalyst for the first season. An early idea to write about a men’s doubles partnership gone awry lost its luster after “Challengers,” Luca Guadagnino’s drama about a love triangle between tennis pros, came out. But a heated argument coming from a house in Lee’s neighborhood became the next spark that lit a narrative fuse.
“I told the story to people — it caused a little stir in the neighborhood,” he says. “And what I found fascinating was the different reactions. When I told younger folks, I’d get, ‘Did you call the police? Should you go check on them again?’ Very concerned, having an ideological view on relationships. When I told the story to older friends and couples, they were just kind of like, ‘Who among us hasn’t?’ I thought the idea of juxtaposing these couples at different stages felt like ripe ground.”
The overheard in L.A. moment inspired the eight-episode season,
Carey Mulligan and Oscar Isaac square off with Charles Melton and Cailee Spaeny in Season 2 of “Beef.”
(Netflix)
The twist-filled, darkly comic thriller kicks off when a young couple, Ashley and Austin (Cailee Spaeny and Charles Melton), who work at a Montecito country club, witness the explosive altercation between their boss Josh (Oscar Isaac) and his wife, Lindsay (Carey Mulligan), an interior designer, the night before the club’s new Korean billionaire owner, Chairwoman Park (Youn Yuh-jung), takes over. She has her own mess to tend to involving her husband (Song Kang-ho), a doctor whose health is affecting his work on patients. The calamities each couple faces spin out into a web of favors and coercion in this tale of broken systems and characters going to great lengths to get what they want.
“The idea of cycles felt interesting,” he says. “A lot of shows and movies cover marriage through the lens of one couple, you don’t really see that multigenerational juxtaposition.”
Speaking from his office on the Raleigh Studios lot in Hollywood, Lee discussed the season’s Montecito setting, the financial anxiety that drives the story and the four-legged breakout star of the show. These are edited excerpts from the conversation, which includes many spoilers.
Why did you want to set this season in Montecito?
Just writing what I know. My goddaughters — their parents are my best friends. They live in Montecito. The dad is my oldest friend in LA. He has a membership to Montecito Club, which is where we shot the exterior of our show. I was house-sitting for him during the writing of all this. He let me use his membership. I remember when he told me about the membership, I was like, “You pay how much? That’s insane, dude.” But then you start using the membership. This idea of hedonic adaptation — how humans so quickly adapt to this new comfort, this new stimulus — it felt like an interesting thing. I was observing how all the members seemed to be mostly boomers and Silent Gen; then all the workers were Gen Z and millennial. I thought: What a perfect metaphor for society right now. No matter how hard the Gen Z and millennials work, they’re never going to get to be members of this club because, as Austin says, “everyone grabbed the bag before they could.” That’s what made me want to set it at a Montecito country club.
Oscar Isaac as Josh Martin and Carey Mulligan as Lindsay Crane-Martin. Cailee Spaeny as Ashley Miller and Charles Melton as Austin Davis. The second season of “Beef,” follows the two California couples from different socioeconomic backgrounds — though both are struggling — as they spiral into a high-stakes feud.(Netflix)
That feeling of survival and resentment and entitlement really looms over this season. There’s speeches about love, but also capitalism. The anxiety about finances is so prevalent right now.
We certainly didn’t set out to make a season about capitalism. But if you’re constantly trying to chase truth as writers, I don’t know how you say anything in the modern era, in 2026, and not have capitalism be a huge variable because it permeates every aspect of life. It’s like going to get gas. Gas is almost $7 right now. You have to fill your tank and there goes $140? That’s crazy. And relationships face so much stress — everyone is being hit by all these curveballs and trying to keep your head above water — how can you enjoy each other?
It became very obvious to us that if you’re going to write a season about marriage and love to these two couples, financial implications have to be a big factor. There’s a lot of talk about the disappearance of the American dream right now. Birth rates are declining. No one’s owning homes anymore. But then you also see headlines about everyone’s scamming. CVS has everything locked down. You’re like, “Yeah, no wonder.” Everything’s connected. We wanted to really show how that survival instinct, the desperation, is starting to come for everyone. I don’t think it’s going to get easier, especially with AI moving on the horizon, and with leaders who refuse to put checks and balances in place.
Part of Ashley’s story is using the video of the fight between Josh and Lindsay as blackmail to get health insurance so she can afford treatment for her endometriosis. And that moment where she’s waiting in the ER for hours and it’s not until she collapses that they realize she needs emergency surgery — her big concern is whether she has to pay the deductible.
I wrote that episode in a literal day because it was based on an experience I had in an ER with my daughter’s mother. She had this illness fall upon her. We spent 12 hours at the ER and, the whole time, I had my Notes app out and was just writing down everything I saw. Almost everything in that scene is stuff that happened in real life. Our healthcare system is absolutely insane. It’s, again, unhinged capitalism and … felt like it really unlocked so much of the season.
There’s a moment where Josh has to sell some of his prized possessions to pay a gambling debt. Have you been there, needing to sell things to cover your financial obligations?
I’ve been there multiple times. I obviously struggled to find my way for a long time, even after becoming a writer. If you’re in a writing partnership, in a staff job on a show — first of all, this is what the guild has been fighting, trying to get these longer-term employment windows because these jobs sometimes are only … maybe eight to 12 weeks. You’re splitting a staff salary in two [if you’re in a partnership], and you probably haven’t qualified for health insurance by the end of that run. Sure, you’re a working writer, but I remember [by the time I landed at] “Always Sunny in Philadelphia,” my first real writing job, I had amassed so much debt, half of which were from parking tickets. I just didn’t have the money to pay these tickets, and so I just let them run rampant. So, yeah, I’ve been there. There’s this one guitar that I loved; it was the first guitar I bought with my own money after college — it was a Fender Telecaster. I think I bought it for $1,200. I ended up selling it for $300. I’ve sold collectibles. I’ve sold anything that had gold in it. I’ve scrapped to just find anything because you’re desperate.
Song Kang-ho as Dr. Kim, Youn Yuh-jung as Chairwoman Park in “Beef.” Recalling the opportunity to direct the pair, Lee says: “It just makes me feel like a little kid again. It stops feeling like work and starts feeling like play.”
(Netflix)
You directed this season. Is there a moment that stands out with this cast?
A peak of my career that I think about daily is the moment in Korea where we were shooting at Amorepacific. It’s one of the most beautiful buildings in Seoul. I’m shooting the scene between the great Youn Yuh-jung and the great Song Kang-ho — two of not only my favorite Korean actors, but favorite actors period. They have never been in a scene together in any Korean film ever. They’ve been in a movie together, but never acted together. And here we are making Korean history by having them shoot that breakfast scene and, while I’m in the middle of shooting that scene, director Bong Joon Ho surprises us on set. He comes over laughing, pulls up to me, looks at my monitor, gives me stage fright, then elbows me and says, “You sure you want to frame it like that?” He was teasing. Then we started shooting the scene, it’s all in Korean, and I look back at video village and Bong’s just doubled over in laughter. He is just cracking up. Younger me, and present me, is looking around like: Here I am in Korea, in this building I’ve always wanted to shoot in, two of the greatest living actors and the greatest living director — what is happening? What a crazy sentence to say. It just makes me feel like a little kid again. It stops feeling like work and starts feeling like play.
How did you want race and identity to figure into this season, particularly through Austin?
Charles was the first piece of the whole thing. After Season 1, I got to go to Korea multiple times. I shot a music video for one of the members of BTS. I was experiencing Austin’s journey of being courted by this level of Korea that I’d never been exposed to before and feeling warm and allured by it — I’m having dinners with K-pop idols, like what is happening? So, I knew I wanted to have that element of elite Korea involved. The writers and I discussed a lot whether it should be a Korean American that’s being pulled. We had covered a lot of Korean American ground in Season 1, [but] one of the things we didn’t get to cover is the half-Korean experience. Several of the writers on staff are either half-Asian or half-Korean. We don’t want to repeat things, but let’s do explore a half-Korean character who is about to have a child suddenly get this pull toward Korea.
Carey Mulligan as Lindsay acting alongside Jones, the dog who plays Burberry, in “Beef.” “Jones is the best dog actor I’ve ever worked with,” Lee says. “A24 is making Burberry merch. There’s going to be a Burberry shirt.”
(Netflix)
There are some pretty gross, petty and violent acts of revenge. One is Ashley swirling her period blood in Josh and Lindsay’s pitcher of orange juice. The other takes place during a flight — Lindsay wiping gunk from the toilet seat and transferring it to the rim of the cup Ashley drinks from. Please explain how you arrived at these acts. Were there any left on the cutting room floor?
Episode 4 was pouring out of me. And I remember I got to the point where Ashley snooping through the house [where Lindsay and Josh live]. Initially, I had her scratching up the trophy. She opened Josh’s pomade and blew a snot booger into it. I was thinking of juvenile things. But I had the thought of her going to the kitchen and having the thing that happened to her being the expression of her revenge. I remember I was so nervous to show the [writers’] room. The way I wrote it, I had her crouching over the pitcher and Anna Moench, as the main female writer on the show, was like, “Sonny, I don’t think you know this works.” So, we revised it. That’s how the OJ one happened. With Episode 7 [and the toilet seat], we wanted to have a bodily episode on a plane, and there’s just such limited ways to get revenge on a plane. But given the OJ drink — there’s so many mirrors between the two couples, we thought it’d be fun to mirror that with a drink from Lindsay to Ashley. The only place to do that on a plane is bathroom. We shot it on stage with a fake toilet and Carey was almost vomiting. She came to me after that scene, and she goes, “Sonny, in all my years in this business, that is the most vile, disgusting thing I’ve ever had to do.”
The final moments of the finale jumps eight years. Did you always know you wanted a time jump? And did you always know Ashley and Austin were going to repeat the cycle?
The Ashley and Austin side, I knew the inverse graph for both characters would be very satisfying — to me, at least. I didn’t know whether that happened in a time jump or not. That’s something we discovered later. There was great debate in the room. I had a couple writers plead with me, “Why aren’t you ending with the kiss? It’s so sweet. It’s so good. I feel so good at the kiss. Can we just end it at the kiss?” I took it very seriously, but then it felt very similar to Season 1’s ending. Taking two people who start apart and they finally discover that connection but too late. I didn’t want to leave with the same feeling. How we can make it different is the “what happens next?” Life comes at you fast. He’s [Josh] still in prison. She’s [Lindsay] got to move on. Once I started heading down that thought experiment, I’m like, “Whoa, you could do a whole coda showing the literal theme of the show, the cycles, that’s where we can show Ashley and Austin becoming Josh and Lindsay.” That’s where we show, even though they found a connection, it’s lost between Josh and Lindsay — even if they’re still hanging on to the past a little bit. You show Troy and Ava still together [laughs] — they have it all figured out. Then you show the billionaire who, even with all the money in the world, is crying at the graveside of her first love, filled with regret.
We didn’t see where Eunice (Seoyeon Jang)ends up.
I wanted to leave it open. I’m very curious what people think. She really put her neck out there. Austin burned her bad. I don’t know where Eunice is at but it’s probably not good.
Charles Melton as Austin Davis in “Beef.”
(Netflix)
We can’t talk about “Beef” without discussing the needle drops. When you have Austin listening to Billie Eilish’s “What Was I Made For?” it was over for me.
The needle drops are usually pre-picked even before we shoot. The source music that’s playing diegetically, usually we discover in the edit. Before, as scripted, it had him scrolling Instagram and it was [the song playing on] his Instagram feed — you know how those Reels have music overlayed on a POV? It just wasn’t that funny to me in the edit. He’s so down and out and I wanted to find different source music in there. One day, I told my editor, “Can you rip ‘What Was I Made For?’ And can you just temporarily do it where, as she opens the door, he’s like, pressing the volume up, being like ‘sh— … sh— …’ [intending to make the volume go down]?” Our AE [assistant editor] did the ADR temporarily of the “sh—, sh—,” filmed it on my phone and I texted it to Finneas [O’Connell, the show’s composer, who is Eilish’s brother and collaborator] being like, “Hey, is it cool if we do this?” And he was dying laughing. [O’Connell also makes a cameo in the season.]
Ahead of Season 1, you gifted the writers “The Sopranos Sessions” and also assembled a Letterboxd list of films that served as reference points. What guidance did you provide for Season 2?
I sent another Letterboxd playlist. For inspo, we got “Handmaiden,” “Phantom Thread,” “Force Majeure,” “Eyes Wide Shut,” “The Informant.” For some reason, I have “Margaret” on there, the [Kenneth] Lonergan film. I also had “Michael Clayton,” “Who’s Afraid of Virginia Woolf?” “Burn After Reading,” and lastly, it’s a deep cut, there’s this movie called “Like Crazy,” starring Felicity Jones and Anton Yelchin.
Also, can we take a moment for Burberry’s acting?
Oh my god, Jones! Jones is the best dog actor I’ve ever worked with. He would hit his mark. He would listen. He would look at people when he’s supposed to be looking. It was his first time acting. Crushed it. A24 is making Burberry merch. There’s going to be a Burberry shirt.
When you think of Oakwood School in sports, Mitchell Butler comes to mind. He put the basketball team on the map when getting a scholarship to UCLA and playing in the NBA.
Steve Smith, who coached basketball at Windward and in the WNBA, came on as athletic director and has been trying to raise the level of sports commitment at a school known for its academics and having parents in the entertainment business.
The baseball team is certainly showing passion and commitment this season with a 14-0 record, including wins over North Hollywood and Culver City.
Avery Ware, in his seventh season as coach, said, “It’s a lot of being selfless and versatile.”
Shortstop Jake Waco, who transferred from Sherman Oaks Notre Dame last season, has been effective as a fielder and hitter. He’s the son of David Waco, who was an All-City infielder for Chatsworth during the 1980s. He’s committed to Emory. The top pitcher is Trevor Jones, committed to Washington University.
If you believe Ware, the bus rides home have plenty of players singing, so someone might be capable of singing the national anthem before a game.
“We have a few kids with Hollywood ties,” Ware said.
Jones is a math whiz, also participating in competition with the STEM team. Other players are headed to Duke and Brown for academics.
“We’re making progress as a program,” Ware said. “For a lot of years, you could say baseball was a side note.”
Ware has his own celebrity ties. He and his brother, Anthony, were standouts at Hamilton. His cousins, Matt and Aaron Ware, were football stars at Loyola and Oaks Christian, respectively.
The team made an agreement to create a baseball field at North Hollywood Recreation Center next to the school.
And Ware appreciates Smith’s support.
“He’s able to create an environment of trust.”
This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.
Spring practice continued for the UCLA football program Tuesday morning at Spaulding Field and for the most part head coach Bob Chesney was pleased with his team’s progress.
It marked the sixth of 14 practices leading up to the annual spring game on May 2 at the Rose Bowl.
“The defense took strides today,” said Chesney, who was hired as the Bruins’ 20th head football coach on Dec. 26, replacing DeShaun Foster (fired after an 0-3 start in 2025) and interim coach Tim Skipper. “There were a couple turnovers in there. This was our second day with the officials, it was a different group and they were throwing some flags today. We just have to understand the game we’re in. As you get further along the referees step aside, but early in the season they’re excited to do their jobs and we gave them enough to throw laundry at so we’ll go back and check it all out.”
Receiver Semaj Morgan caught a touchdown pass from quarterback Nico Iamaleava, tight end Brayden Lofton made several fine catches, Troy Leigber rushed for a touchdown, and Donavyn Pellot and Robert Stafford III had interceptions on defense as the squad is motivated to rebound from a 3-9 season (3-6 in Big Ten) — its worst since its debut season under Chip Kelly in 2018.
“Practice six is usually when it dips a little bit,” said Chesney, who led James Madison to the Sun Belt Conference championship and a berth in the College Football Playoff last season. “On defense we did not, on offense we probably slowed down just a little bit. I didn’t feel a dip from the group, which is great, but usually around now is when that starts to happen. [Practices] six, seven, eight are a little bit of a fight and then you gotta come back when you get to nine, 10 and 11. I thought they did a good job today, not a great job, but you have those days. It’s the nature of the beast. I didn’t see any steps backward from anybody, just a little bit of a lull from what they were bringing the other day. ”
One position group that has impressed Chesney since he arrived in Westwood is running back — a unit that returns a number of players.
“Everybody has their pluses and minuses, everyone has things they’re really good at and things they’re mediocre at and our job every day is taking what’s mediocre and turning it into good — and eventually great — and playing to their strengths,” Chesney said. “Each of them has their own running style. I’ve been impressed with them, they’re one of the stronger groups on this team. It’s necessary as a running back for that to be the case. You have to be durable enough, you have to keep your pad level low and keep your body healthy because there’s probably not another position out there that takes as much of a beating … you’re getting tackled by guys who are sometimes much bigger than you.”
Defensive back Scooter Jackson was not at Tuesday’s practice but Chesney expects him to be back Thursday. Offensive lineman Jordan Davis is dealing with a shoulder injury.
“He’s got range, he just doesn’t feel like he has the full strength yet … but he’s close,” Chesney said of Davis. “On Saturday it was a little worse than it is today, so he’s slowly getting better.”
Chesney praised cornerback DJ Barksdale, an All-Sun Belt selection who transferred from James Madison — a player he knows well.
“The nickel and slot corner is important in the bubble game and the screen game,” Chesney said. “You’ve got to be able to fight through some things physically. You’re also tied in a lot as the bonus in the run game and then there’s times when you’re not there and you’re playing straight man-to-man on the other team’s quickest, best receiver so the skillset you’ve got to carry, the confidence you’ve got to carry and the physicality you’ve got to carry is significant. DJ possesses all of those.”
Chesney is excited about the depth in the defensive backfield.
“Rob [Stafford] did a good job,: he said. “In the red zone he’s been really sticky in coverage and he’s done a really nice job. He’s starting to click with his playbook and understand it and that’s kind of where everyone is at this stage of the game, we’re in practice six so everything we’ve done up to this point is six days of full speed stuff. Osiris [Gilbert] made a really big play on a ball that we had trouble with Saturday. To learn and carry that over from the previous practice into the film room and actuality execute it out here was great to see. Jhase McMillan is doing a great job. We’re rotating them through, we put them in different positions to test them in fire and see who can handle all of it. They’re a little more involved in the running game now, Cover 2 things and corner pressures, blitzing off the edge, they’ve done a really nice job.”
Asked who has stood out in the trenches, Chesney cited Aiden Gobaira, Julian Armella and Riley Robell.
“What’s impressed me most about Julian is his passion for this game,” Chesney said. “He’s got to harness that the right way. I’m sure there’s moments when you play with that much emotion and passion it can tip over, but I’ve been impressed with that part. He uplifts a lot of people when he’s out there. There’s never a moment where he’s just out here and it’s not important — it’s all important to him and that’s infectious.”
Pressuring the quarterback is a defensive priority for Chesney and his staff. A year ago the Bruins tied for last in the Big Ten in pass defense, allowing opponents to complete 66% of their passes.
“On the defensive side we have to continue to take bigger steps,” he said. “Our pass rush looks good, the interior pass rush is something we have to work on. A lot of the games that we’re playing inside we’ve got to continue to fine tune things because obviously the offense knows they’re coming and the element of surprise gets defeated The defense is doing a nice job setting them up, then it’s cool watching the chess match go on between both sides.”
Chesney is known for his emphasis on special teams and the Bruins ran drills throughout Tuesday’s practice focused on that phase of the game.
“I don’t want it to be an afterthought — I want to make sure it’s involved in everything we do,” Chesney stated. “I want it to feel like a game as much as it possibly can but I also want our long snapper, our holder, our kickers and our protection guys to know that the whole team is relying on you so when we put them in those situations at the end to pin the ball, they have to know they have to hold up their end of the bargain.”
What has surprised Chesney most in his first few months in Westwood?
“The alums who come out continually and who like being around this program is something I’d hoped for,” Chesney said. “I understood that practices were maybe different and closed and not open to everybody before, but it’s open to all of our alums and to high school coaches. I’d hoped it would happen and to see it actually transpiring day to day is exciting.”
UCLA’s next practice is Thursday on Spaulding Field at Wasserman Football Center.
