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Magnum Workshop with Richard Kalvar
by Richard Kalvar
May 9 - May 13 2013
Magnum Photos Paris
19 rue Hégésippe Moreau
Paris, 75018
For the first time in Paris, the renowned Magnum photographer Richard Kalvar will lead a five days practice workshop, allowing 12 near professional motivated students to benefit from the vast experience of an established Magnum's photographer
The Magnum Workshop with Richard Kalvar in Paris is the third event forming part of the 2013 educational program in Paris.
The workshop will be held inside the Magnum Photos' agency – 19, rue Hégésippe Moreau, 75018 Paris - from May 9th to 13th, 2013.
The Workshop
Through a very intensive program of shooting, daily reviews, group critiques, mentoring, editing sessions, Richard Kalvar workshop's candidates will spend five days developing visual language, photographic identity, practical, technical and conceptual skills and the expertise required to compete in a changing marketplace.
This workshop is not to learn technical skills but to improve each student's own unique photographic vision and ability to tell a story visually.
Workshop will be held in French/English and the class will be assigned an assistant who will facilitate the workshop and guide students with technical or logistical questions and orientate students with the local area.
In addition to the dynamic within each class, there will also be ample informal time for cross pollination of viewpoints and commentary with the other teachers as well as the other students.
Through the generous support of Magnum's educational partners Blurb, workshop participants will also have the opportunity to further their editing experience through the production of a group Blurb books.
The session will culminate in a projection of participant work and a public exhibition at the Magnum Paris office.
The Photographer
After studying English and American literature at Cornell University in the mid sixties, Richard Kalvar worked in New York as assistant to French fashion photographer Jérôme Ducrot. It was an extended trip with a camera to Europe in 1966-1967 that made him decide to become a photographer. After working for two years in New York he was offered his first and last role in the theatre, acting in French in Marseille and Paris, where he settled, helping found the Viva agency in 1972. In 1975 he became an associate member of Magnum Photos, and a full member two years later. He has subsequently served as vice-president and president.
Kalvar has done an extensive personal work in America, Europe and Asia, notably in France, Italy England, Japan and the United States, supporting himself with journalistic and commercial assignments. He has a long-term unfinished project in Rome.
In 1980 Kalvar had a one-man show at Agathe Gaillard gallery in Paris, and has participated in many group shows. A major retrospective of his work was shown at the Maison Européenne de la Photographie in 2007, accompanied by his book Earhlings.
Kalvar's photographs are marked by a strong homogeneity of aesthetic and theme. His images frequently play on a discrepancy between the banality of a real situation and a feeling of of strangeness that emerges from a particular choice of timing and framing. The result is a state of tension between two levels of interpretation, attenuated by a touch of humor.
Richard Kalvar's portfolio on the Magnum website
Workshop participants should be able to show a good level of photographic aptitude. Candidates will be expected to arrive comfortable with their equipment and ready to photograph. The workshop is limited to just 12 participants and photographers will be subject to online applications.
We recommend participants arrive with at least one realistic project idea they wish to develop during the workshop, and that preliminary research be conducted before the workshop begins. This should include contact liaison, access information and even early shooting – Please refer to your teacher's specific requirements.
On the first day participants will have the opportunity to present their existing work and discuss project ideas. The workshop structure is self-directed and participants will be responsible for their own coordination and time management. Candidates are encouraged to be realistic about what is achievable in four days.
Due to the fast pace of the workshop, Magnum highly recommends that participants produce and edit their work digitally, using their own laptops. Individuals wishing to use film may do so, but at their own cost and during the time imposed. Lab services will be recommended.
950€ (does not include travel, accommodations or on the ground expenses). All fees must be paid within 7 days of acceptance or you will forfeit your space. Refund policies will be emailed with acceptance letter.
Please note: Magnum Photos reserves the right to cancel groups with less than 7 participants. Students will be given either a full refund or offered a place with an alternative photographer. In the event of a cancellation, students will be given at least 2 weeks advance notice. Magnum Photos reserves the right to change or alter the program advertised.
- If a participant decides to cancel for whatever reason, this must be confirmed in writing:
. Magnum Photos will reimburse all the registration costs except for €100 administrative fee, if the participant informs Magnum Photos of cancellation at least 3 weeks before the first day of the workshop. Beyond this time limit, Magnum Photos will charge the following:
. 50% of the cost if cancelled between 6 and 20 days before the workshop commences.
. 100% of the cost if cancelled less than 5 days before the workshop commences.
. All workshops that are commenced but not completed through the fault of either the contractor/or participant need to be paid in full.
- Magnum Photos is not responsible for reimbursement of travel expenses in case a workshop is cancelled. We recommend that you buy refundable air tickets and/or travel insurance.
Travel & Accommodation
Participants are expected to make their own arrangements regarding travel and accommodation; a list of suitable accommodation options will be provided to successful candidates. International visitors can travel to Paris from most major terminals.
Please ensure you have the necessary travel documents & relevant visas in order to attend the event. Magnum Photos can provide letters of support where necessary.
Click here to apply
The first deadline for acceptance is April 12th, and qualified applicants will be selected through a combination of the merit of their work and their personal statement, and the order of their application's receipt. All applications received after April 12th will be reviewed, space permitting.
For queries please contact: Nicolas Ossard.
Workshop Application
Richard Kalvar's Portfolio


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Re: "The goons in Boulder," Dec. 9 Vincent Carroll column.
The vehemence of the anti-fracking protesters described in Vincent Carroll's column made me realize there is a more peaceful and influential way for the people of Boulder County to protest fracking. They could simply boycott the sale of petroleum products.
Since nearly all petroleum, both natural gas and oil, is produced from wells requiring fracking, such a boycott would be a logical and effective way to show their disdain for this process. Wood stoves could be used for heating houses, and clothing be made from natural fibers — sorry, no more nylon climbing ropes! Horses could be used to drag logs down from the mountains. Electric vehicles just don't have that kind of power yet, and anyway most electric power comes from fossil-fuel combustion.
But think of the physical fitness gained from cutting and splitting all that wood by hand, not to mention the inner peace gained from avoiding hypocrisy.
Noel Waechter, Littleton
This letter was published in the Dec. 18 edition.
Muzzling opponents and denying free speech is nothing new in Boulder. In 1969, when I was a senior at the University of Colorado, I attended a presentation at Mackey Auditorium by the famous S.I. Hayakawa of San Francisco State University, known for his pro-Vietnam War stance. Students for a Democratic Society, a far-left political action group and a ruling force on campus, showed up en masse in the front seats. Each time Hayakawa approached the podium, they yelled him down and threw trash onstage, causing him to be seated. During his last attempt at gaining the podium, someone threw a folding chair across the stage, narrowly missing him and the dean. At this point the speech was canceled.
Shamefully, nothing much was made of this incident in the press and I haven't seen any reference to it since. In my opinion, it was a dark day for the university when free speech was denied by the "goons in Boulder." This last incident by an anti-fracking coalition has become acceptable behavior in "The People's Republic."
Vicki Noell, Highlands Ranch
This letter was published in the Dec. 18 edition.
If indeed Boulder's intent is "that everyone … feel comfortable expressing a point of view," as Boulder County Commissioner Will Toor said, there's a simple way to immediately help ensure that goal. Simply issue warrants for arrests of the anti-fracking protesters who pursued, blocked and intimidated the two oil and gas industry women who came to speak at the public hearing. Certainly those events Vincent Carroll described constitute public disorder, which is a misdemeanor. Let Boulder's goons explain it to the judge — if they have the guts to show their faces again.
J.K. August, Arvada
This letter was published online only.
For information on how to send a letter to the editor, click here. Follow DPLetters on Twitter to receive updates about new letters to the editor when they're posted.

subset: commoncrawl


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WAG Exhibition Traces Development of Inuit Art
The Winnipeg Art Gallery is known internationally as the home of the largest collection of contemporary Inuit art in the world which it has been collecting since 1957. It is only fitting, therefore, that the WAG celebrates this wonderful collection during its Centennial year. Creation & Transformation: Defining Moments in Inuit Art will have a free public opening at 7pm, Friday, January 25. It will continue on view until April 14.
"The collection of Inuit art held by the Winnipeg Art Gallery is extraordinary by any standard," says Executive Director Stephen Borys. "Its geographic range, diverse media, and size have brought international renown to the collection of 13,000 artworks, and this exhibition reveals its true scope and breadth. It features many of the Gallery's treasures of Inuit sculpture, prints, drawings, and textile art. Charting dramatic transformations over six decades, this is a celebration of creative expression in the Arctic."
Creation & Transformation: Defining Moments in Inuit Art describes the genesis and evolution of contemporary Inuit art from its inception to the present day: from carvers in the 1950s, such as Johnny Inukpuk, to later storytellers in stone, such as Davidialuk Alasua Amittu, and in whalebone, such as Karoo Ashevak;from pioneer graphic artist Jessie Oonark to artists working today in new and personal idioms, such as Shuvinai Ashoona.
"The exhibition offers insight into some of the defining moments of Inuit art," says Darlene Coward Wight, Curator of Inuit Art. "The artistic developments, the influential artists and artistic advisors, the new media explored—all the things that have shaped and transformed the art over six decades."
The book accompanying the publication, written and edited by Coward Wight, includes essays by art historians Susan Gustavision, Ingo Hessel, Christine Lalonde, and Norman Vorano. Illustrated by 150 colour and archival images, it constitutes a new historical narrative of contemporary Inuit art. It is available in the Gallery Shop.
Sunday Drop-in Tours • 2am
Feb 3, 10, 17, 24 / Mar 3, 10, 17, 24, 31
Symposium—Inuit Art: Trajectories of Transformation • Fri, Jan 25
Leading artists, art historians, and curators will gather for a one-day symposium to discuss the history of Inuit art and the work of several key contemporary Inuit artists. Registration is now open and available at wag.ca or by calling 204.786.6641, ext 227.
Inuit Film Night • Sat, Jan. 26 • 7pm
Tunniit: Retracing the Lines of Inuit Tattoos • A documentary produced by Alethea Arnaquq-Baril about her journey to explore the lost tradition of Inuit facial tattoos. Admission is free for symposium delegates. For all others it is included with Gallery admission.
Art Eats • Fri, Feb 8 and Fri, Mar 1 • 6-9pm
Dinner at Storm Bistro followed by an exhibition tour.
Art Eats—Special Edition • Fri, Feb 22 and Fri, Mar 22 • 6-9pm
Join Darlene Coward Wight, Curator of Inuit Art, for a more in-depth and specialized look at this exhibition.
Art for Lunch • Wed, Feb 13 • 12:10pm • Inuit Odyssey (44 min video)
Anthropologist Niobe Thompson takes a visually stunning journey across the North tracing the origins of the modern Inuit in an Arctic odyssey from Siberia to Greenland.
Art for Lunch • Wed, Feb 20 • 12:10pm • Treasure from the Far Fur Country (video)
Hudson's Bay Company Archivist James Gorton presents a special screening of rarely seen films documenting the HBC's activities and First Nations communities in the Canadian north in the early 20th century.
Arctic Adventure Family Sunday • Sun, Mar 17 • 1:20-4pm
Have fun and learn about Inuit art and culture.
Creation & Transformation: Defining Moments in Inuit Art is sponsored by TD Bank, the Northwest Company, First Air, Pattison Outdoor Advertising, CBC, CTV, 99.9 BOB FM, and the Winnipeg Free Press.
The Winnipeg Art Gallery is celebrating its Centennial year with an unparalleled series of exhibitions, programs, and events promoting the power of art in life. As Manitoba's leading art museum, the WAG is home to over 26,000 works of art spanning ten centuries, including the world's preeminent collection of contemporary Inuit art.
The Winnipeg Art Gallery is grateful for the support of the following Centennial sponsors: BMO Financial Group, The Winnipeg Foundation, the Department of Canadian Heritage, TD Bank, James Richardson & Sons Ltd., MTS Allstream, Johnston Group, Air Canada, RBC Royal Bank, PACART, Great-West Life, Friesens, Manitoba Culture Heritage and Tourism, City of Winnipeg, Investors Group, Scotiabank, Volunteer Associates of the Winnipeg Art Gallery, Storm Bistro, Manitoba Lotteries Corporation, Ernst & Young, Fort Garry Hotel, KPMG, Lawton Partners, Loewen, Parrish & Heinbecker, Aikins Law, AON, Cambrian Credit Union, Manitoba Blue Cross, National Leasing, CP Loewen, North West Company, NRG Management. Media sponsors: Winnipeg Free Press, CTV, CBC, Pattison Outdoor Advertising, 103.1 Virgin Radio, 99.9 BOB FM, Doowah Design, Visual Lizard, Esdale Printing, Radio-Canada, Travel Manitoba, Tourism Winnipeg, Midcan Production Technologies.
For the latest WAG updates, follow us on Twitter and Facebook.
– 30 –
For information, please contact:
Debra Fehr
Manager, Communications and Marketing
Heather Mousseau
Communications Coordinator
204.786.6641, ext 211
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10 Essential Laura Nyro Songs
After a yearlong residency of sorts at the Hungry i coffeehouse in San Francisco, one radio station characterized Nyro's music as part of the "San Francisco sound." Recorded in 1966, her studio album debut, More Than a New Discovery, proved that assertion to be inaccurate, as Nyro invoked myriad sounds of her childhood – to wit, her jazz and soul/R&B leanings – to craft songs far more mature than her teenage years would suggest. Inspired by the doo-wop crooning of songs like Nolan Strong and the Diablos "The Wind," Nyro delivered a moving piece on hopeful love and frustration with a potential husband: I was the one came runnin' when you were lonely / I haven't lived one day not loving you only / But kisses and love won't carry me / Till you marry me Bill. The 5th Dimension had a hit in 1969 with their cover of "Wedding Bell Blues," taking the song to Number One on the Billboard Hot 100.
Written by Nyro when she was a teenager, "Stoney End" was a deceptively simple folk-pop cut that illustrated Nyro's gift for complex vocal harmonies and melody. The song, initially released on More Than a New Discovery by the Folkways imprint, featured Nyro's nuanced piano playing and lush production as the backdrop to a hard-worn, homespun narrative: I was born from love and my poor Mother worked the mines / I was raised on the good book Jesus / Till I read between the lines / Now I don't believe I wanna see the morning. A precocious Nyro had developed a fondness for poetry, which imbued much of her work with a literary quality that belied her age. Barbra Streisand named her 1971 studio album after "Stoney End," which included a cover of the title track that peaked at Number Six on the Billboard Hot 100 in 1971.
With lyrics that included the lines When dyin' time is here / Just bundle up my coffin 'cause it's cold way down there … And when I die and when I'm gone / There'll be one child born and a world to carry on, one wouldn't guess the source to be a teenage Nyro, whose gospel-inspired, deeply soulful vocals opened the track before shifting into a rollicking country-tinged number. The song was first recorded by Peter, Paul and Mary, to whom Nyro sold the song; Blood, Sweet and Tears would take the track to Number Two on the Billboard Hot 100 in 1969.
After gaining the attention of David Geffen, Nyro moved to Columbia records where her first release was Eli and the Thirteenth Confession in 1968. Jon Landau noted that the album was "The work of a brilliant, young talent" in Rolling Stone, and "Eli's Comin'" captured that brilliance in a four-minute, moody piece that showcased Nyro's eclectic aural palette, from the haunting, minor-key intro to the upbeat shuffle of the verse and chorus to the soul-infused coda. Three Dog Night covered the song on their 1969 studio album, Suitable For Framing.
Included on Eli and the Thirteenth Confession, a fittingly breezy groove punctuated with splashes of brass, funky guitar riffs and bass pops dominates "Stoned Soul Picnic," as Nyro's complementarily easy-going vocals recommend time to Surry down to a stoned soul picnic / There'll be lots of time and wine / Red-yellow honey, sassafras and moonshine. The low-key idealism found new life with another Nyro cover by the 5th Dimension, who charted at Number Three on the Billboard Hot 100 with their version in the summer of 1968.
Another song from the Nyro catalog that was recorded by the 5th Dimension (included on their 1970 album, Portrait), "Save The Country" was also featured on Nyro's New York Tendaberry album, released in 1969. Nyro once explained that she wasn't pleased with the song when she first wrote it, only when she began singing it in a lower register did it resonate with her. With its expressive gospel flourishes – including the uplifting coda – Nyro crafted a stunning American spiritual that in many ways reflected her reverence for Billie Holiday, who Nyro called "the great mother-musician-teacher of the art of phrasing."
As the title suggests, "Mercy on Broadway" found Nyro gravitating toward her love of the stage, crafting a two-minute micro-suite with a distinct theatrical quality. The track opens with Nyro on the piano then evolves with chorus-laden passages, horns, sound effects and hand claps in an idiosyncratic motif that included the songwriter's assertion: On Broadway, jive and pray / There ain't no mercy now on Broadway.
Nyro described the title track of her third studio album as having emerged during a "very wild time of exploration" to Paul Zollo in an interview with SongTalk, the quarterly publication of the National Academy of Songwriters. Accordingly, "New York Tendaberry" was a deeply emotive arrangement, with moments of absolute silence braced against a piano as the sole accompaniment to Nyro's soothing vocal harmonies that carried a lyrical portrait of city life: Sweet kids in hunger slums / Firecrackers break / And they cross / And they dust / And they skate / And the night comes.
A pop song penned by the songwriting duo of Teddy Randazzo and Bob Weinsten, along with Lou Stallman, and a 1965 R&B hit for the Royalettes, "It's Gonna Take a Miracle" was a highlight of Nyro's 1971 release, Gonna Take a Miracle. The album of soul and R&B covers pulled from Nyro's formative years in the New York City and was produced by the dynamic production team of Kenny Gamble and Leon Huff. With backing vocals by trio Labelle, "It's Gonna Take a Miracle" demonstrated the expressive power of Nyro's voice and her skillful, sympathetic handling of the material that had so inspired her.
After a five year break following the release of Gonna Take a Miracle, Nyro returned in 1976 with Smile. On "Midnite Blue," Nyro used a smokey, jazzy groove as the centerpiece of an arrangement where her vocals were simultaneoulsy tender and forceful. Lyrically, "Midnite Blue" offered some of Nyro's most vivid imagery: There's smoke in the kitchen, shrimps curled / The sun on black velvet and high stars / At the bottom of the world / Smile all you want / But you know that I'm fine in the warm hands of midnite blue.
Inductee Spotlight: Laura Nyro
Rock and Roll Hall of Fame and Museum assistant curator Meredith Rutledge-Borger discusses the handwritten lyrics of Laura Nyro's "And When I Die."
Hall of Fame Inductee Donovan talks about the 2012 Hall of Fame Class
Donovan shares his impressions of Laura Nyro and others.
10 Essential Beastie Boys Songs
10 Essential Guns N' Roses Songs
10 Essential Red Hot Chili Peppers Songs


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Into The Woods
Into The Woods
Still recovering from "Avatar"? Garrett Warren can relate. The stunt coordinator for the film is now a self-proclaimed expert in the tricky art of banshee riding, and he's also an in-demand man in Hollywood with credits on some of the biggest upcoming releases,…
YV: How did you get involved in "Avatar"? It's a pretty huge deal, right?
GW: You have no idea. Where do I start? I remember I met Jim Cameron on "Beowulf" back in 2005, when he was starting this whole idea. After "Beowulf" was finished, I had a chance to pitch some ideas to him. I got a whole bunch of stunt guys together, and I rented a sound stage and a whole lot of equipment, and I pretty much just threw a whole bunch of ideas at him. Even though I hadn't had a chance to read the whole script, I had a chance to find out some ideas of the movie. I threw my best guess out there, let's say, of some of the things that were going on. He'd look at it and say, "Yeah, this is good. This is good. This is no good. This is no good." But in the end, he finally said, "This is good stuff. It'd be great to have you on board." That's how I got on the project.
YV: Talk about your experience working on the film.
GW: When you read the script, you're dumbfounded. I thought it was incredible. I didn't know exactly where to start. So I figured I'd start from Page 1 [laughs]. He left it up to me to try and design a new way to shoot zero-G weightlessness in outer space — which is how the movie starts. We wound up getting an apparatus which is called a spinning ring, and we wound up using it with different kinds of rigging techniques — sometimes flying it by wires, sometimes sticking it on the end of a metal arm like a yolk and a parallelogram — so that we were able to really create what would look like weightlessness in outer space. It's somewhat of a difficult process to go through to actually get on that Vomit Comet. We first ended up doing that zero-G plane that flies out of Burbank. Also, you only have a certain amount of time where you can film it, and you only have a certain amount of space. Jim didn't want to be limited with his space because in the movie you see there are hundreds of people on this huge space shuttle, and you want to be able to have as realistic of a set as possible and have all these people floating weightless on your set so … it's the first time it's ever been done and performed this way. That's why it was so groundbreaking. We had this ring that someone could move 360 degrees in all directions. We could fly them up, down and around — that's what helped give us that feel of what weightlessness in outer space looks like.
YV: So was there a lot of collaboration between you and Jim?
GW: That was probably one of the best things about the movie. I've worked with an awful lot of directors. I worked on "Alice in Wonderland," "A Christmas Carol," "Beowulf" … they're all very good. One thing is for certain, Jim has a definite idea in his mind, and a lot of times he'll sit there and say, "I definitely want it to look like this. I want this kind of movement." But he'll also say, "Play around with it, and give me some of your ideas." Anytime we did any action, it would start with his concept, then it would go to us rehearsing the concept and coming up with other ways of doing it — we had variations of the concept — then we'd go back to him, and he would decide what he liked and didn't like.
YV: Looking back, what was your favorite stunt sequence?
GW: That's really difficult. There are so many that were really good sequences. I have to admit one of my favorite stunts was, at one point, our two heroes Neytiri [Zoe Saldana] and Jake [Sam Worthington], jump off of this tree branch probably about 300 feet in the air. They plummet to the ground and they use these huge, oversized leaves to help slow their speed down so they don't kill themselves when they hit the ground. Well, when they first came to me and said, "How are we going to do this?" I didn't know exactly what to do, but I said we could create — because we had limited height in what we called the volume (Jim set up this big, huge motion capture volume on this stage), our height was only 12 feet tall. So I had to make someone fall hundreds of feet in a 12-foot distance. So we used a technique called "stitching." We would make someone fall a certain distance and then figure out what his last position was and start him at that position at the top of the fall again and keep on doing it X amount of times. … We wound up, actually, in the end deciding that we needed more distance and wound up going to another building that was 80 feet tall and creating what we called the "elevator shaft." The "elevator shaft" was this huge, tall structure where we would put these oversized pieces of PVC tubing to represent the structures of the leaves so that when our stunt people would fall down and grab them, it would be the exact same thing as falling down and grabbing a leaf. It was probably my most favorite part of the movie. There's also the final fight scene in that movie that — to me — is not only epic but one of the better fight scenes that I've done in my lifetime.
YV: And what was it like to work with Cameron on his big follow-up to "Titanic"?
GW: There's one part in my experience with Jim that was typical of what it was like to work with him. At one point, Jake needs to jump on the back of this creature and try to stab Quaritch [portrayed by Stephen Lang]. We worked out how he was going to climb on the side of it and stab him, but Jim came over and was like, "No, you can't stand there. There's a big huge exhaust and you could burn yourself." And I kept going, "OK. I never knew that." And he would be like, "Yeah, because I made it up. It has to have an exhaust somewhere, right? This is probably the most logical place an exhaust should go, right?" I'd say, "Yeah, I agree with you." So he'd be like, "Well, we'll put it here so you can't stand here." That was pretty much the way the whole movie went. It was flying on banshees. Flying on leaping objects. Riding what's called a Thanator. All these creatures were in Jim's mind.
YV: So he was good at expressing what was in his imagination?
GW: You pretty much have to try and fail. He gives you his ideas; he gives you some drawings and some animations and he says, "This is what it's going to look like. I'm not really sure where we'll find a place to put your foot, let's say, when we're doing the banshee. We'll have to find a place." He would talk to us about this clavicle that they would have which is right by where they would breathe. And we're all looking at each other like "This is ridiculous." I mean, this is a made-up creature, but in Jim's mind it was absolutely real. He'd be like, "It breathes right here, it has four eyes, a clavicle right here." He knew the anatomy of these creatures. It was crazy and so fun. He knew what blood type the creature was. He knew them like the back of his hand. And now so do we. I'm now one of the foremost experts on flying a banshee. We would have brainstorming sessions that would consist of Jim and a Sharpie and a piece of paper. Sometimes he'd have a model or drawing. Sometimes he'd sit there … we'd have a whole lot of equipment — stuff we actually invented and came up with while we were doing this movie — and he'd look at the stuff and say, "It's sort of like that piece of equipment over there combined with that piece of equipment." We'd go and grab it and try and secure it as safely as possible, and then I would get on it and he'd say, "Where do you find your balance at?" And then he'd get on. A lot of times, people would come over and say, "How long is this going to take?" and Jim would say, "It could take three minutes or it could take three hours." That was my favorite part. He was creating and inventing all of these new things. The equipment we came up with was never going to be used in this way again. I never would have imagined we could simulate this stuff with just some speed rails, pads and wood to create these flying machines. But we did. If there is one thing I could tell you, Jim is dangerous with tape. He can create a skyscraper, anything he wants with some duct tape.
YV: What's it like for you now that people can finally see the vision realized on the screen?
GW: I can't tell you how fun it is to watch everyone's faces as they gasp or cringe in their seats or clap and stand up and cheer when all of a sudden Neytiri pulls out that arrow for the last time. You will not get a better feeling as a stunt coordinator as you do when you're sitting in the audience and you see the people go through those emotions. It's been a huge part of my life. It was like a family member. It will always be a part of me. I worked on it for four years. I would liken it to "Star Wars" — I think it has that impact, if not stronger in our day and age. It has such a great message. I've worked on so many movies — whether it be "A Christmas Carol" or "Iron Man 2" — this movie is unlike anything else out there. All of those movies are great movies. But this movie … does a lot more than take you through an entertaining experience; it somewhat alters your consciousness. It alters your being. It makes you want to go home and take care of the planet. I'll never be able to fathom what it's like to live on that planet [Pandora], but I came as close as possible. You can expect something you never ever could dream up in your whole life. Jim does such a good job of defining every little detail and letting you become involved that you feel you're a part of the experience.
VY: You mentioned you worked on "Alice in Wonderland." Tell me a little bit about what audiences can expect?
GW: Oh, well that's where I get in trouble. Wait until you guys see it. It will blow your mind away. It's amazing. The trailers don't do it justice. It's that good. It's one of my most favorite movies. You'll see something that was only in your imagination come to life. Only your dream state and yet so tangible that you feel that maybe you did go through the experience.
YV: Can you talk about the technology used?
GW: We used some motion capture in "Alice in Wonderland," but we wound up using a Moven [MVN] suit — that suit transfers information from the user to the computer via Bluetooth. All the reflective dots that you see on people in, say, "Avatar" … those are by cameras all around the performer. Well, this suit actually doesn't have cameras. It actually has little gyroscopes on each joint and that, when it moves, transfers all that movement into the computer. It was completely different than what I was used to on "Avatar." The other thing that Jim did in "Avatar" that I was incredibly impressed with was when we captured the facial expressions … he created this little camera boom that will not only capture the facial expressions but was also very safe. … We would be running through tree branches and vines and that lens: If that boom on your head got caught on any branches, it would put your neck out of place, and that would make an actor or actress have to take some time off. We didn't know how we would do it. He came up with this breakaway boom. If it was to get caught, it would just snap off to the side of the performer. It wouldn't snap his neck off.
YV: And you worked on "The Adventures of Tintin: The Secret of the Unicorn." What can you reveal about that?
GW: Tintin was an amazing movie to work on as well. Once again, I'm not allowed to say anything on that movie either. But I can tell you that it's an incredible story. It's not just a great experience, it's an incredible story. Peter Jackson and Steven Spielberg — two incrediblestorytellers. And the acting is superb.
YV: On "Iron Man 2," you're Mickey Rourke's stunt double?
GW: Again … I can't say too much. I learned my lesson. You don't get better acting than say Robert Downey Jr. and Mickey Rourke. You don't. These guys work together so well. It's such a fun and exciting movie. You can't go away without feeling good.
YV: And there's lots of whipping, right?
GW: Lots and lots of whipping.
YV: I think I know what your answer will be, but I'm going to ask it anyway: What can you tell me about "The Losers"?
GW: That has a special place in my heart, actually. Zoe Saldana was the one who got me on that movie. We were shooting "Avatar," at the time and she came to me saying there was a movie she wanted to be in called "The Losers." The people weren't sure whether or not she could handle action. She felt so heartbroken because they weren't able to see the stuff she was doing on "Avatar." It was all top secret. She was such an action machine, but nobody knew it yet. I suggested we take a weekend to put together a video to help get her the job. I helped shoot this promotional video for her to show that she could do action. We had her shooting guns, wielding swords, knife work. … It was unbelievable. She was unreal. She got the part. And then she suggested they use me as their stunt coordinator. I actually was on our re-shoots of "Avatar" when I got the call from Sylvain White, the director for "The Losers." He wanted it to be not only like the comic book but somewhat more visceral. It's an amazingly real yet superbly comical look at these black ops special agents. And I loved the dichotomy. He was thinking the "Bourne" films and "24," and yet he wanted to have comedy involved. We met. And he hired me. It's all live action, 100%. There is some amazing action in that movie. You will be blown away. People will think, "Wow, that had to be CG." No. Nothing was CG. We did everything. For real. I dropped actors and actresses on wires. I threw people through doors and windows. And Zoe … she's a wrecking machine. I can't tell you how much fun it was to work on that movie.
YV: You seem to be the expert on blending motion capture with live action.
GW: I enjoy blending the two. It's such an open field and your imagination is your tool. The sky's the limit. It's like dropping a hundred feet onto leaves. How are you going to do that in a 12-foot building? It's my job to come up with that solution, and I love that. It's really easy for me to get a guy out there a hundred feet, put him on a wire and just drop him and hopefully it works out perfectly. Whereas, when you're in a computer stage with height limitations, it takes a lot more work. It takes weeks of rehearsal and preparation. It's very challenging. And I love it. I love being challenged. I love being able to bring out the emotion and reality of this unknown fantasy.
YV: So how difficult is it to capture the essence of movement and emotion in the motion capture world?
GW: Fortunately, for me, the computer does a really good job of capturing the body. When we first started off doing the movement in "Avatar," Jim came to me and was like, "I want them to move like two-legged cat-like creatures that can jump like lemurs," I was like, "Wow." I did a whole audition process. It took me an awfully long time — this was even before we started filming. I went through people of Cirque de Soleil. I went through dancers. I went through gymnasts. Through stunt professionals. I went through every person out there that might have some movement I wanted to see. I went through martial artists. I wanted to see any type of movement that was not only interesting but that could lend itself to this movie. In a live-action movie, we'd be able to get a person, paint them blue, and when they'd move, you'd say, "Oh, that's cool." When you're on a motion-capture stage, you're not confined by height or weight. The sky's the limit. You can have a short person or a tall person performing the movements. A person of any ethnicity, any hair color — as long as there's movement. That's the great thing about motion capture, you can get the best movement for that scene instead of having to be confined by what will match the actor or the actress.
YV: Does it make a difference for you in how you coordinate everything?
GW: "Beowulf" was my induction into this world. It was somewhat difficult at first because it's not like you can just have a guy out there who gets hit in the face. I had to account for the space around the person. Like, say, Jim Carrey when he's playing the Ghost of Christmas Present and he's this tall, huge monstrous creature versus this normal-sized person. We don't just get out there and put a ball. We actually put him in that spot and figure out how we'll make the performance match the scene. We try and put that actor into that height or that dimension, and that's why it's difficult. And fun. Jim Cameron, especially, would not allow that to happen. We have a lot of talented actors out there who can pretend they're looking at a creature. Jim didn't want that. He wanted to get that creature. To get the actor to really feel what it would be like in that circumstance. When you see an Avatar looking down at a normal human being, we actually had Zoe or Sam interacting with a child. We tried to mimic that situation. That's what was so good about it. The reason why this movie is so good, every scene, every frame, every movement has that acting or that drama. Nothing was taken for granted. It's a great film. I hope everyone gets a chance to see it.
Yvonne Villarreal


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I need to produce custom star charts for my website. I want to be able to do the following:
- Specify a region, maybe a constellation or just an arbitrary region
- Specify what appears on the chart (e.g. the Messier objects or the objects in some other AL observing list)
- Specify which markings appear (e.g. constellation boundaries, ecliptic, asterisms, etc.)
Does such software exist?


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Safety Blitz: Teens and Sports Injuries
More kids than ever are playing sports, and that's a good thing. But along with fun and fitness comes a rising risk of injury, and parents need to learn to play defense.
Before 21-year-old Owen Thomas became captain of the football team at the University of Pennsylvania, he was a star athlete in my suburban community, one hour north of Philadelphia. Since age 9 he had played on various local teams, so when he killed himself in April 2010 it was shocking to the many people who knew him. Five months later another ripple went through our town when doctors revealed Thomas had CTE—chronic traumatic encephalopathy, a progressive, degenerative disease of the brain that may cause depression and has been found primarily in athletes with a history of repeat concussions. Former NFL players—including Dave Duerson, who took his life this past February after leaving a note saying he wanted his brain to be studied—are increasingly being diagnosed with CTE. As talk about Owen circulated, an alarming number of friends and neighbors had their own stories to share about concussions in young athletes. "It worries me," said a mom whose son is a football captain at our high school. "One boy got a head injury the first week of practice and was out for three weeks. Another quit football after middle school because he'd already had two concussions."
There is a groundswell of awareness about head injuries across the nation; between 1998 and 2008 the concussion rate in high school sports quadrupled. Experts believe the rise is a result of coaches, parents and players who are more likely to report head-banging incidents that may once have been dismissed. In other words, a vast, hidden crisis is now being revealed. "Before, a lot of our statistics were estimates, and were the tip of the iceberg," says Mark Halstead, M.D., assistant professor in the departments of pediatrics and orthopedics at Washington University in St. Louis. "Now athletes and trainers are reporting concussions more often, but they are still an underexposed problem."
As it turns out, concussions are just one symptom of a larger issue: Many kids get hurt playing sports. Football players lead the pack in both concussions and overall injuries, sustaining more than half a million a year—including fractures and ligament sprains, according to the Center for Injury Research and Policy (CIRP) at Nationwide Children's Hospital, in Columbus, Ohio. Girls' soccer is second in terms of concussions. But high rates of serious injuries that bench kids for at least three weeks—and sometimes cause more long-term damage—plague sports like ice hockey, basketball and gymnastics. The most common injuries are broken bones and sprains in hands, fingers, wrists, ankles, knees and shoulders. Less frequently reported overuse injuries like stress fractures and tendinitis account for up to half of all sports-related injuries in kids, according to the American Academy of Pediatrics.
All told, CIRP estimates that 1.3 million high school athletes were injured in the 2009-2010 school year. In fact, high school football players have twice as many serious, season-ending injuries as college players, even though college players are injured more frequently. And the estimates are even higher for kids under age 14: about 3.5 million sustained injuries, according to Safe Kids USA. The reason middle school athletes are so vulnerable is that students are developing at different rates. "You could have a small kid against a kid who is much bigger and more physically mature, and that imbalance in size and speed can result in a lot of harm," explains Dr. Halstead.
Even more disturbing is that bodily damage seems to be accepted—even expected—by athletes. "The culture of sports says that injury is just part of the game, the unavoidable price kids pay to play," says Dawn Comstock, Ph.D., principal investigator at Nationwide Children's Hospital. "That's just not right. We can do a much better job of making youth sports safer." Organizations such as Little League and Pop Warner try to prevent injuries by controlling factors like number of pitches thrown and grouping players by weight. But some intensive programs and hard-driving coaches still emphasize performance over safety. At an Oregon high school's football training camp in August 2010, for example, 12 players ended up in the hospital with severe upper-arm-muscle injuries after a new coach ordered kids to do strenuous push- ups and chair dips nonstop for four to five minutes.
Sometimes coaches don't even realize they're being too tough. "Kids feel embarrassed if they're hurting or can't keep up, so they don't say anything," says Cynthia LaBella, M.D., medical director of the Institute for Sports Medicine at Northwestern University's Children's Memorial Hospital in Chicago. "They feel compelled to please the coach, who thinks everyone is doing okay, so he pushes even harder. Then it's a big shock when a kid comes in with a doctor's note saying that he can't participate."
It doesn't help that our hypercompetitive culture increasingly forces kids not only to specialize in one sport but to start at a very young age—as early as elementary school. "There's a feeling in the sports community that you have to train early and intensely to keep up," Dr. LaBella says. "Practices are longer and more arduous, kids play more games over an extended period of time and there's more emphasis on winning than acquiring skills." Travel teams may play three or more games in a single day during weekend tournaments. And young athletes are quick to learn that the coach won't put them in the game unless they're one of the best players. The result: Bodies don't adequately recover from repetitive stress on specific muscles, bones and tendons. Preliminary research at Dr. LaBella's institute suggests that kids who specialize in one sport before puberty are at higher risk for overuse injuries and are more likely to burn out and quit their sport.
Many parents assume that proper equipment is the key to safety, but experts caution against becoming complacent. "Young athletes need gear that is sized and fitted correctly and in good repair," says Comstock, but that's a tall order with growing kids. "What fits one season won't fit the next," Dr. LaBella says. There's also a new controversy over whether helmets do more harm than good. Some critics say kids actually play rougher when wearing helmets or heavy gear because they think they're better protected.
Still, research shows that wearing equipment generally reduces the risk of injuries. Schools can use old helmets if they have them, but they should send them off-site annually for reconditioning, says Brian Robinson, chair of the Secondary School Committee at the National Athletic Trainers' Association. Unfortunately, up to half a million young players use hand-me-down helmets that haven't been properly updated within two years, according to a recent New York Times investigation. Even worse, it was discovered that re-conditioning companies sometimes fail to follow proper testing procedures and return defective helmets to youth teams. "Schools are at the mercy of these companies," says Robinson, who is also head athletic trainer at Glenbrook South High School in Glenview, Illinois. The helmets Glenbrook receives appear to be in good shape, he says, but no one can be sure just by looking.
There's also the glam and glory factor to consider. Some parents encourage their kids to excel at a sport in the hope that they'll nab college scholarships or go pro. The fact that less than 1% of high school players make it to the professional level doesn't prevent kids from being "dazzled by what they see in pro and college sports—not only the admiration and money and how their heroes train and play," Dr. LaBella says, but also their bone-crunching hits. Even the enormous amount of attention devoted to pro athletes with brain injuries—most recently a hockey player—can further glamorize a life in the limelight. And with a nonstop stream of games being shown on multiple sports-only cable stations, the lure of fame trickles down to kids. ESPN broadcasts the Little League World Series live, for example, and colleges that want first dibs on outstanding talent woo players as early as middle school. "All of this pressures kids to train harder at younger ages," Dr. LaBella says.
Ultimately, the one indisputable factor contributing to the increase in injuries is the large number of kids who are now heading for the field. "More than half of all high school students play sports," says Comstock. And while that's good news overall—fighting obesity, building self-esteem, encouraging fitness and teaching teamwork are just a few of the benefits of organized sports—parents, coaches and players need to champion safety as they cheer from the sidelines.
Rules of Protection
Fortunately, kids can thrive in sports without being sidelined by injuries.
- Athletes should take off one or two days a week to let muscles rest, says the American Academy of Pediatrics. On no-practice days, don't encourage a baseball player to throw pitches in the backyard or a soccer star to run an extra mile to stay competitive. During the summer, instead of enrolling your kid in an intensive one-sport camp, let her body rebuild. If she worries about getting out of shape, have her cross-train or try other sports that use different muscle groups.
- Don't let your child increase his training time, number of repetitions or total distance by more than 10% a week. For example, if he currently runs 20 miles a week for track, he shouldn't run more than 22 miles next week. "It's when kids exceed the 10% rule that we see injuries," says Brian Robinson of the National Athletic Trainers' Association.
- Be on the lookout for signs of burnout, such as complaints about muscles or joints, overall fatigue or reluctance to play. "When kids are physically tired and bored with a sport, skills and technique can get sloppy, which increases injury risk," Robinson says. If you're cajoling your child into participating, it may be time to consider another sport or a less intense team.
- Support coaches and referees who strictly enforce rules and penalties for illegal play. Ten percent of fractures are due to rule violations—and fractures keep kids on the sidelines more than any other injury.
- Talk to your teen's trainer about including moves such as lunges, jumps and squats, which strengthen the muscles that reinforce and protect the knees.
Heading Off Concussions
Why young athletes are especially at risk for a devastating brain injury:
A decade ago a kid who was "dinged" or "had his bell rung" might be put back in the game 15 minutes later. "People didn't have the understanding that concussion is a serious brain injury," says Mark Halstead, M.D., of Washington University in St. Louis. Concussions result when a blow to the head causes the brain to rotate or slosh inside the skull, disrupting normal cell function. "Now we know that after just one concussion, it doesn't take as heavy a blow to cause the next," Dr. Halstead says. In fact, a second head injury on the heels of an unhealed earlier concussion can trigger severe swelling inside the skull. "It's rare, but about five kids a year die from this second impact," Dr. Halstead says. "It seems unique to players under 20." Even the kids who survive second-impact brain injuries can be neurologically devastated, says Thomas Pommering, D.O., division chief of Nationwide Children's Hospital Sports Medicine center. "The developing brain is more susceptible to damage," he says. Multiple concussions may also have additional cumulative, long-term effects, including depression and memory loss.
Players who suffer a head impact should seek medical attention immediately if they experience headache, nausea, confusion, dizziness, double vision, sensitivity to light, forgetfulness or trouble with balance. "Concussion isn't as obvious as, say, a knee injury, when the player hobbles off the field," Dr. Halstead says. "The player needs to tell someone he doesn't feel right." Healing requires both physical and mental rest—activities requiring concentration can make symptoms worse. "We recommend taking a few days off school, and avoiding standardized tests, driving and even video games," says Dr. Halstead. In most cases symptoms resolve within about 10 days.
A Dangerous Jolt
Energy drinks score high with young athletes enticed by promises of better performance, increased concentration and improved reaction time. But some of these beverages, containing up to 500mg of caffeine, may also cause dehydration, dizziness, sleeplessness and potentially dangerous heart palpitations. For sustained strength, encourage your child to fuel up naturally on protein and complex carbohydrates by eating a peanut butter sandwich on whole-wheat bread an hour before playing.
Fearless Females
Girls' injuries are different from boys'.
In soccer, basketball and softball—when girls and boys play by the same rules—girls have a higher rate of severe injuries like fractures and ligament sprains, and double the risk of concussion. Experts believe body differences are largely to blame, especially after puberty, when injury rates markedly diverge. Girls use their thigh muscles more than their hamstrings, rely on ligaments more than muscles to control joints and usually favor a dominant leg. "When girls land after a jump, their knees tend to rotate inward more than boys' do, which puts more pressure on the joint and supporting structures," says Dr. Pommering of Nationwide Children's Hospital. Girls also have weaker neck muscles than boys, which may make them less able to withstand a blow to the head.
"Post-puberty, girls start to match boys in height and weight but haven't developed the same burst of muscle to control their new bodies," says Dr. LaBella. They tend not to lift weights like boys do, which is why some coaches have started to add strength training—squats and lunges —to girls' workouts. Plus, females who strive to stay thin may be even more at risk of getting hurt. "Girls are especially likely to sustain stress fractures in sports where performance is partly judged on physical appearance, like gymnastics, diving or figure skating," says Dr. Pommering.
Indoor Threats
You wouldn't start a car engine in a closed garage, but that's essentially what happens when workers at ice rinks fire up diesel-fueled Zambonis and other resurfacing machines. Carbon monoxide is one hazard—even low-level emissions can cause headaches and nausea. Another concern is ultrafine particulate matter from combustion, which is linked to poor airway function in skating athletes," says Loren E. Wold, M.D., principal investigator at the Center for Cardiovascular and Pulmonary Research at Nationwide Children's Hospital. The best solution is to use safer electric resurfacing vehicles, he says.
Indoor pools may also cause breathing issues. Chlorine-related irritants can make inhaling difficult, according to the CDC. "Tight spaces concentrate chlorine, so small pools at schools are problematic," says Steven Teich, M.D., Clinical Associate Professor of Surgery at Ohio State University in Columbus. Ask the coach to open the windows to boost circulation.
Play It Safe
No matter which sport your kid loves, there are bound to be risks—and ways to avoid them.
Common injuries: Sprains, strains, fractures, pulled muscles, torn ligaments, internal injuries, concussions, heat stroke.
Must-have gear: New or recently reconditioned helmet, mouth guard, shoulder pads; pads for chest, forearms, elbows, knees, thighs, shins; proper shoes.
Playing defense: Kids should block and tackle only who they can see; dropping their heads and hitting helmet-first increases the risk of head and neck injury, says Brian Robinson of the National Athletic Trainers' Association. Conditioning knees and ankles can protect those injury-prone areas.
Common injuries: Overuse injuries, impact injuries and fractures from being hit by the ball or sliding into bases.
Must-have gear: Batting helmet, preferably with face shield; breakaway bases that decrease the risk of sliding injuries; reduced-impact balls; protective cup; proper cleats.
Playing defense: Helmet should fit snugly without interfering with vision. Clear the field of glass and rocks, and fill in holes where kids could twist an ankle. Consider using wooden bats—getting hit by a bat is one of the most common causes of injury, and metal bats swing faster and hit harder.
Ice Hockey
Common injuries: Shoulder and upper arm injuries, facial injuries, concussions, lacerations.
Must-have gear: Helmet with a face mask and four-point chin strap; mouth guard; pads for shoulders, elbows and shins.
Playing defense: Consider joining a league that uses the fair-play rule system—without one in effect the injury rate is two to four times higher.
Common injuries: Sprains, strains, fractures, scrapes, cuts, dislocations, injuries to teeth.
Must-have gear: Mouth guards, eye protection, proper shoes.
Playing defense: Make sure floors are swept before practices and games to prevent slipping. Complain if referees overseeing girls' games don't take fouls seriously: Women's basketball has the highest rate of injury caused by illegal activity.
Common injuries: Sprains, strains, contusions, abrasions, fractures, bruises, cuts, scrapes, concussions.
Must-have gear: Shin guards, proper shoes.
Playing defense: Train kids to keep their knees aligned over their toes when landing after a jump to avoid stress on the joints. Headed balls should be struck using the forehead at the hairline, with the chin tucked toward the chest and arms in front of the body for better balance and protection.
Track and Field
Common injuries: Overuse injuries, sprains, strains, scrapes.
Must-have gear: Proper shoes.
Playing defense: Check the soles of shoes: If the black tread has worn down, you should replace them. Pay special attention to pain over a bone—a sign of a stress fracture.
Common injuries: Sprains, strains, fractures, dislocations, abrasions, lacerations, concussions.
Must-have gear: Apparatus that's regularly inspected, ideally multiple times a year by facilities, and before every use by coaches.
Playing defense: Adult supervision is essential. Coaches and competitors should know how to adjust and inspect equipment.
Originally published in the September 2011 issue of Family Circle magazine.


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Children and Childcare
From Annual2009
Children's Policy
Strollers are permitted on the exhibit floor but only if there is a child in them at all times. Unescorted children are not permitted on the exhibit floor. Children under the age of five must be restrained at all times (stroller, back pack, etc.). Any child over the age of five must have an Exhibits Only badge to be admitted to the exhibit floor. These badges are available at onsite registration for $25. An adult must accompany all children under the age of 16.


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Florals, Lace and Sweet Sunny Days
Kudos to our Visual Merchandising Team for beautifully displaying some of the looks and trends we're excited about this season, and showing how to incorporate them into any occasion.
We're racking our brains to think of absolutely every possible excuse to wear this exquisite black lace Valentino tunic dress. Thankfully, the rest of our windows have inspirations—from florals and prints to color and shine—appropriate for anywhere your day or night might take you.
Valentino Point de Flandres Lace Tunic Dress
Valentino Studded Slingback
Valentino 'Rockstud' Sandal
Valentino 'Rockstud' Hobo
Valentino 'Bow' Dome Handbag
Which look(s) are you loving?


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Events for August 28, 2019 › Star Wars
Events Search and Views Navigation
All Day
X-Wing Game Night
Lock foils in attack position! Welcome to our weekly Game Night for Star Wars X-Wing! Each week we battle it out across the galaxy! X-Wing 2nd Edition is here and generating tons of buzz. Come and join in one of the biggest X-Wing Communities around!Find out more »


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The Am7990 ("LANCE") Ethernet driver is a multi-threaded, loadable, clonable, STREAMS hardware driver supporting the connectionless Data Link Provider Interface, dlpi(7P) over a LANCE Ethernet controller. The motherboard and add-in SBus LANCE controllers of several varieties are supported. Multiple LANCE controllers installed within the system are supported by the driver. The le driver provides basic support for the LANCE hardware. Functions include chip initialization, frame transmit and receive, multicast and promiscuous support, and error recovery and reporting.
The cloning character-special device /dev/le is used to access all LANCE controllers installed within the system.
The lebuffer and ledma device drivers are bus nexus drivers which cooperate with the le leaf driver in supporting the LANCE hardware functions over several distinct slave-only and DVMA LANCE -based Ethernet controllers. The lebuffer and ledma bus nexi drivers are not directly accessible to the user.
The le driver is a "style 2" Data Link Service provider. All M_PROTO and M_PCPROTO type messages are interpreted as DLPI primitives. Valid DLPI primitives are defined in <sys/dlpi.h>. Refer to dlpi(7P) for more information. An explicit DL_ATTACH_REQ message by the user is required to associate the opened stream with a particular device (ppa). The ppa ID is interpreted as an unsigned long data type and indicates the corresponding device instance (unit) number. An error (DL_ERROR_ACK) is returned by the driver if the ppa field value does not correspond to a valid device instance number for this system. The device is initialized on first attach and de-initialized (stopped) on last detach.
The values returned by the driver in the DL_INFO_ACK primitive in response to the DL_INFO_REQ from the user are as follows:
The maximum SDU is 1500 (ETHERMTU - defined in <sys/ethernet.h>).
The minimum SDU is 0.
The dlsap address length is 8.
The MAC type is DL_ETHER.
The sap length value is -2 meaning the physical address component is followed immediately by a 2 byte sap component within the DLSAP address.
The service mode is DL_CLDLS.
No optional quality of service (QOS) support is included at present so the QOS fields are 0.
The provider style is DL_STYLE2.
The version is DL_VERSION_2.
The broadcast address value is Ethernet/IEEE broadcast address (0xFFFFFF).
Once in the DL_ATTACHED state, the user must send a DL_BIND_REQ to associate a particular SAP (Service Access Pointer) with the stream. The le driver interprets the sap field within the DL_BIND_REQ as an Ethernet "type" therefore valid values for the sap field are in the [0-0xFFFF] range. Only one Ethernet type can be bound to the stream at any time.
If the user selects a sap with a value of 0, the receiver will be in "802.3 mode". All frames received from the media having a "type" field in the range [0-1500] are assumed to be 802.3 frames and are routed up all open Streams which are bound to sap value 0. If more than one Stream is in "802.3 mode" then the frame will be duplicated and routed up multiple Streams as DL_UNITDATA_IND messages.
In transmission, the driver checks the sap field of the DL_BIND_REQ if the sap value is 0, and if the destination type field is in the range [0-1500]. If either is true, the driver computes the length of the message, not including initial M_PROTO mblk (message block), of all subsequent DL_UNITDATA_REQ messages and transmits 802.3 frames that have this value in the MAC frame header length field.
The le driver DLSAP address format consists of the 6 byte physical (Ethernet) address component followed immediately by the 2 byte sap (type) component producing an 8 byte DLSAP address. Applications should not hardcode to this particular implementation-specific DLSAP address format but use information returned in the DL_INFO_ACK primitive to compose and decompose DLSAP addresses. The sap length, full DLSAP length, and sap/physical ordering are included within the DL_INFO_ACK. The physical address length can be computed by subtracting the sap length from the full DLSAP address length or by issuing the DL_PHYS_ADDR_REQ to obtain the current physical address associated with the stream.
Once in the DL_BOUND state, the user may transmit frames on the Ethernet by sending DL_UNITDATA_REQ messages to the le driver. The le driver will route received Ethernet frames up all those open and bound streams having a sap which matches the Ethernet type as DL_UNITDATA_IND messages. Received Ethernet frames are duplicated and routed up multiple open streams if necessary. The DLSAP address contained within the DL_UNITDATA_REQ and DL_UNITDATA_IND messages consists of both the sap (type) and physical (Ethernet) components.
In addition to the mandatory connectionless DLPI message set the driver additionally supports the following primitives.
The DL_ENABMULTI_REQ and DL_DISABMULTI_REQ primitives enable/disable reception of individual multicast group addresses. A set of multicast addresses may be iteratively created and modified on a per-stream basis using these primitives. These primitives are accepted by the driver in any state following DL_ATTACHED.
The DL_PROMISCON_REQ and DL_PROMISCOFF_REQ primitives with the DL_PROMISC_PHYS flag set in the dl_level field enables/disables reception of all ("promiscuous mode") frames on the media including frames generated by the local host.
When used with the DL_PROMISC_SAP flag set this enables/disables reception of all sap (Ethernet type) values. When used with the DL_PROMISC_MULTI flag set this enables/disables reception of all multicast group addresses. The effect of each is always on a per-stream basis and independent of the other sap and physical level configurations on this stream or other streams.
The DL_PHYS_ADDR_REQ primitive returns the 6 octet Ethernet address currently associated (attached) to the stream in the DL_PHYS_ADDR_ACK primitive. This primitive is valid only in states following a successful DL_ATTACH_REQ.
The DL_SET_PHYS_ADDR_REQ primitive changes the 6 octet Ethernet address currently associated (attached) to this stream. The credentials of the process which originally opened this stream must be superuser. Otherwise EPERM is returned in the DL_ERROR_ACK. This primitive is destructive in that it affects all other current and future streams attached to this device. An M_ERROR is sent up all other streams attached to this device when this primitive is successful on this stream. Once changed, all streams subsequently opened and attached to this device will obtain this new physical address. Once changed, the physical address will remain until this primitive is used to change the physical address again or the system is rebooted, whichever comes first.
le special character device.
System wide default device driver properties
netstat(1M), driver.conf(4), dlpi(7P)
SPARCstation 10 Twisted-Pair Ethernet Link Test
Twisted-Pair Ethernet Link Test
The message length exceeded ETHERMAX.
While transmitting a packet, the LANCE chip has noticed that the packet's length exceeds the maximum allowed for Ethernet. This error indicates a kernel bug.
The LANCE chip has lost input to its carrier detect pin while trying to transmit a packet.
The LANCE chip timed out while trying to acquire the bus for a DVMA transfer.
If you are using twisted pair Ethernet (TPE), you need to be aware of the link test feature. The IEEE 10Base-T specification states that the link test should always be enabled at the host and the hub. Complications may arise because:
Some older hubs do not provide link pulses
Some hubs are configured to not send link pulses
Under either of these two conditions the host translates the lack of link pulses into a link failure unless it is programmed to ignore link pulses. To program your system to ignore link pulses (also known as disabling the link test) do the following at the OpenBoot PROM prompt:
SPARCstation-10, SPARCstation-20 and SPARCclassic systems come with a choice of built in AUI (using an adapter cable) and TPE ports. In Solaris 2.2 an auto-selection scheme was implemented in the le driver that will switch between AUI and TPE depending on which interface is active. Auto-selection uses the presence or absence of the link test on the TPE interface as one indication of whether that interface is active. In the special case where you wish to use TPE with the link-test disabled you should manually override auto-selection so that the system will use only the twisted pair port.
This override can be performed by defining the cable-selection property in the options.conf file to force the system to use TPE or AUI as appropriate. The example below sets the cable selection to TPE.
example# cd /kernel/drv example# echo 'cable-selection="tpe";' >> options.conf


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Photo courtesy of B.J. Morgan/Museum of Making Music
Facebook, which has ambitions to stick its "Like" button on as many online Web sites as it can, is also trying to do the same offline by mailing "Like Us On Facebook" window decals to businesses.
Spokeswoman Annie Ta confirmed the Palo Alto company has just launched a test by sending the window stickers to a small group of businesses that have Facebook pages.
The online news site Mashable.com reported that one of the first decals went to the Museum of Making Music in Carlsbad (San Diego County).
"I looked in my mailbox today and lo and behold, this is what they sent us," B.J. Morgan, the museum's marketing and promotions manager, told The Chronicle.
Morgan e-mailed a photo of what the decal, which fatures Facebook's familiar thumbs-up "Like" button, looks like on the museum's front door.
Facebook is taking a page out of the playbooks of search giant Google, which has sent out thousands of its "Favorite Place" decals, and review site Yelp, which has its "People Love Us On Yelp" stickers.
Morgan said he didn't know why Facebook chose his museum, but noted Google also featured it in a video touting the Place Pages for Google Maps program.


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Mentor Embedded Hypervisor
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text:
Randall Mann is the author of the poetry collections Breakfast with Thom Gunn, a finalist for the California Book Award and Lambda Literary Award, and Complaint in the Garden, winner of the Kenyon Review Prize; and co-author of the textbook Writing Poems, Seventh Edition. His writing has appeared in the Washington Post, Poetry, Paris Review, New Republic, and Salmagundi. He works as an editor and lives in San Francisco.
This may sound queer,
but in 1985 I held the delicate hands
of Dan White:
I prepared him for burial; by then, Harvey Milk
was made monument—no, myth—by the years
since he was shot.
I remember when Harvey was shot:
twenty, and I knew I was queer.
Those were the years,
Levi's and leather jackets holding hands
on Castro Street, cheering for Harvey Milk—
elected on the same day as Dan White.
I often wonder about Supervisor White,
who fatally shot
Mayor Moscone and Supervisor Milk,
who was one of us, a Castro queer.
May 21, 1979: a jury hands
down the sentence, seven years—
in truth, five years—
for ex-cop, ex-fireman Dan White,
for the blood on his hands;
when he confessed that he had shot
the mayor and the queer,
a few men in blue cheered. And Harvey Milk?
Why cry over spilled milk,
some wondered, semi-privately, for years—
it meant "one less queer."
The jurors turned to White.
If just the mayor had been shot,
Dan may have had trouble on his hands—
but the twelve who held his life in their hands
maybe didn't mind the death of Harvey Milk;
maybe, the second murder offered him a shot
at serving only a few years.
In the end, he committed suicide, this Dan White.
And he was made presentable by a queer.
["The Mortician in San Francisco" by Randall Mann is from Breakfast with Thom Gunn. Copyright © 2009 by The University of Chicago.]
When was this poem composed? How did it start?
My friend Tom Halloran helped to prepare Dan White for burial, and he would sometimes mention this, would note White's small hands, note what it was like in San Francisco when Harvey was a Supervisor, and the assassination of Milk and Mayor George Moscone, and the trial of White, and the White Night Riots, and White's suicide, and so on. I was determined to write something about all this history. Also, I liked the irony: Tom is gay, as am I, and the painstaking care of a gay man is what made White look good after death, even though White killed our great gay civil-rights leader. I came up with the end-words for the sestina some time in 2005, but I put them aside until I was ready to write the poem. I wrote it during a stay in Kansas City, Missouri, in early 2006; I think the critical distance from San Francisco probably helped me find a way into the poem.
How many revisions did this poem undergo? How much time elapsed between the first and final drafts?
This poem must have gone through ten revisions, maybe more. Probably five months elapsed between the first and final versions.
Do you believe in inspiration? How much of this poem was "received" and how much was the result of sweat and tears?
I think this one was equal parts inspiration and craft.
How did this poem arrive at its final form? Did you consciously employ any principles of technique?
Well, I had my end-words, and I knew it would be a sestina, so I had a formal plan of attack. I was mindful of qualifying each repetition, and trying to make each subsequent usage of each end-word surprising. Then I sent the poem to Richard Howard at Western Humanities Review, and he suggested that I take the last stanza and make it the first stanza, thereby amping up the mortician's voice, and if I liked that idea, please send it back to him. Well, I was unsure at first, but I tried out his idea, revised it a few more times, and came up with this final version. Richard's suggestion ("I should like to suggest some emergence," he wrote in his letter) dramatically improved the poem.
How long after you finished this poem did it first appear in print?
It appeared a little over a year after I finished it.
How long do you let a poem "sit" before you send it off into the world? Do you have any rules about this or does your practice vary with every poem?
I only let it sit about a month. I don't have rules, other than it has to "feel" finished, whatever that means.
Could you talk about fact and fiction and how this poem negotiates the two?
There is quite a bit of true fact in this poem, but the age of the speaker, say, is not the same age as my friend Tom, and my thoughts and his thoughts about what happened are commingled, and these are neither fact nor fiction. It's important to get right, say, the exact date of the verdict of Dan White's trial, the unimpeachable. But the rest is up for revision.
Is this a narrative poem?
It's a lyric poem with a clear narrative.
At the heart of this poem is the specter of morality, the idea of right and wrong. Is all good poetry in some way ethical or just?
No. Though some of my favorite contemporary poems, such as Anthony Hecht's "The Book of Yolek" and Brigit Pegeen Kelly's "Song" and Carol Frost's "Pure," are artful, moral lessons, much of the delicious, depraved work of, say, Frederick Seidel, is not, and I love it not in spite but because of that.
Do you remember who you were reading when you wrote this poem? Any influences you'd care to disclose?
I think I was reading May Swenson. I don't really remember.
Do you have any particular audience in mind when you write, an ideal reader?
I've never thought of an audience while writing.
Did you let anyone see drafts of this poem before you finished it? Is there an individual or a group of individuals with whom you regularly share work?
I think I showed it to the poets Geoffrey Brock and Aaron Smith, who provided so much useful criticism while writing Breakfast with Thom Gunn. I am forever grateful to both of them.
How does this poem differ from other poems of yours?
It's more narrative, more directly political and historical, and more personal, than most of my other poems.
What is American about this poem?
It's about a great American civil-rights leader, Harvey Milk. Also, the irony of the oppressed having to clean up the mess of those who oppress them seems very American to me, alas.
Was this poem finished or abandoned?
It's finished.


text:
GNOME Fonts shows you the fonts installed on your computer for your use as
Selecting any thumbnails shows the full view of how the font would look under
various sizes.
GNOME Fonts also supports installing new font files downloaded in the .ttf
and other formats.
Fonts may be installed only for your use or made available to all users on the computer.
Snaps are applications packaged with all their dependencies to run on all popular Linux distributions from a single build. They update automatically and roll back gracefully.
Snaps are discoverable and installable from the Snap Store, an app store with an audience of millions.
On Arch Linux, snap can be installed from the Arch User Repository (AUR).
The manual build process is the Arch-supported
install method for AUR packages, and you'll need the prerequisites
installed before you can install any AUR package. You can then install snap with the following:
git clone https://aur.archlinux.org/snapd.git
cd snapd
makepkg -si
Once installed, the systemd unit that manages the main snap communication socket needs to be enabled:
To enable classic snap support, enter the following to create a symbolic link between /var/lib/snapd/snap and /snap:
Either log out and back in again, or restart your system, to ensure snap's paths are updated correctly.
To install GNOME Font Viewer, simply use the following command:
Publisher: snapcrafters
GNU Image Manipulation Program
Publisher: kde
Kdenlive video editor
A sophisticated text editor for code, markup and prose.
Publisher: slack
Team communication for the 21st century.
Publisher: spotify
Music for everyone
All-in-one voice and text chat for gamers
Publisher: videolan
The ultimate media player
Publisher: canonical
Chromium web browser, open-source version of Chrome
Publisher: telegram.desktop
Official desktop client for the Telegram messenger
Publisher: popey
Bomb Squad
Publisher: kz6fittycent
Clementine is a modern music player.
Publisher: blenderfoundation
Blender is the free and open source 3D creation suite.
Browse and find snaps from the convenience of your desktop using the snap store snap.
Interested to find out more about snaps? Want to publish your own application? Visit snapcraft.io now.


text:
Swimming Pool Blog
by Mark Garcia February 04, 2014
Intermatic Pool Timer Repair
The most common pool timer used for inground pool pumps is the Intermatic time clock. The workhorse of the equipment pad, these timer clocks can outlast some of the equipment that they power - but eventually, the workhorse will tire, and need to be retired to pasture - or maybe you can fix it!
Here's some thoughts on how to troubleshoot your pool time clock problems, and fix or repair an Intermatic pool time clock. I've seen all kinds of failure, sometimes from weather, or insects, or trees.
Other smaller problems are more common, here's a list of some service calls I've gone on over the years.
Q: My power went off, and now my clock time isn't correct.
A: To reset the time clock to the correct time, grasp the outer edges of the large yellow dial, and pull gently outward, towards you. This will disengage the dial and allow you to spin it in either direction. Set the current time to the center time pointer, pointing downward at 6 o'clock.
Q: My time clock has an ant infestation!
A: Break out a can of your favorite ant spray, and let 'em have it. They are attracted to the electricity. You may also find other insects, rodents or amphibians attracted to the time clock box.
Q: The time clock has stopped moving
A: With a small flashlight, look into the Visual Motor Check window, near the top of the timer mechanism. If power is coming to the timer motor, you should be able to clearly see the gears moving through the small window. If not, then check the breaker that the time clock is connected to, turn it off and back on again. If no movement still, the next step would be have a qualified person check the wires coming into the timeclock, to see if power is reaching the time clock from the breaker.
If power is reaching the clock, but the gears aren't turning, that usually means either something is jammed in the gears, or the timer motor has burned out. It could also be loose wires, either on the time clock terminal board, or on the timer motor. With the breakers turned off, it is usually safe to handle and remove the mechanism from the box, but use a power meter set on AC volts to be sure power is off before handling the timer mechansim, or touching wires with a screwdriver.
If power is reaching the clock, and the gears are turning, but the dial is not turning - this could mean that the gear on the back of the dial has not engaged. Grasp the dial, pull out and turn it to the correcf time. Relasing the dial, you should feel the gears engage slightly, so that the dial is fully seated.
Q: Is My timer clock Dead?
A: If you've gone through a full inspection of the mechanism and determined the motor or gears are bad, replacing a timeclock mechanism is an easy repair - for a qualified person. With the power off at the breaker box, and checked with n electric meter, the wires can be removed, 2-in, 2-out, and the ground wire. The mechanism can then be removed by depressing a clip at the top inside of the timer box, just above the mechanism. Pop-in a new timer mechanism, and replace the wires to the previous configuration. It can actually take less than 5 minutes.
Intermatic time clock motors can be replaced, but unless the time clock was fairly new, I'd probably just replace the entire mechanism. But then again, intermatic timer motors can be half the cost of a new mechanism, depending on the model. Here's a real nice pictorial on how to replace an Intermatic timer motor, or mechanism.
Q: My time pointer is loose
A: The center time pointer - the one that says DO NOT UNSCREW? I think you've got a screw loose, and you probably pull the tags off of all your furniture too. Just kidding, it could've vibrated loose, perhaps? Just tighten up the screw. There is a small spring behind the screw that may have rusted or broken.
Q: My time clock manual lever is hard to flip
A: The lever action should be crisp, not like it's full of molasses. You can spray WD-40 behind the dial, on the lever and on the motor gears to lubricate. If it doesn't improve, inspect the contacts behind the time clock for insect infestation.
Q: My timer dogs keep slipping
A: You may need to use small pliers to tighten timer dogs onto the dial. Here's a video of that very thing happening to Rob.
Thanks for Reading!
Mark Garcia


text:
PLYMOUTH, N.H. – A game one grand slam by Chris Adams (Whitman, Mass.) and another strong showing from lefty Kyle Szatrowski (Agawam, Mass.) helped baseball (14-18, 5-7 Little East) earn another Little East Conference split this time with the Panthers of Plymouth State University (19-14, 5-7 Little East). The Beacons defeated the Panthers in game one 7-4 and nearly rallied in game two but fell just short dropping a 6-4 decision Friday afternoon at Panther Park.
In his first conference start Adams ripped the cover off the ball in the opener as he went 2-for-4 with the grand slam and a double. He finished off the victory with five RBI and a run scored. Jamill Moquete (Boston, Mass.), who was quiet offensively in game one, unloaded in the nightcap as the Boston native went 2-for-4 which including a record setting ninth career triple. He also had two RBI and a run scored and nearly helped the Beacons rally from a six-run deficit in game two.
On the hill, Szatrowski notched his third win of the year as well as the team's first complete game. The lefty went all nine innings and allowed the four runs on five hits. He also struck out five and did not walk a batter. In game two Josh Cummiskey (Lowell, Mass.) was solid out of the bullpen allowing just one run on six hits over 5 1/3.
GAME ONE – UMass Boston 7, Plymouth State University 4
The Beacons used a four-run top of the third, all of which came off of the bat of Adams, to take a commanding lead in another must-win contest. Coupled with another Szatrowski no-hitter through five the Beacons were firing on all cylinders. Plymouth State's first two runs of the day also came off of a home run as Brandon Cox emptied the bases to make it 4-2.
After a scoreless sixth, UMass Boston would score their fifth run of the day in the seventh on an RBI double by Adams, which plated Jose Pena (Boston, Mass.). The Panthers would respond with a pair of runs in the bottom half of the inning, but the Beacons bats were not finished as they tacked on two more in the eighth to give Szatrowski a three-run lead. In the eighth Daniel Mantoni (Northbridge, Mass.) ripped an RBI single up the middle, while Szatrowski picked-up an RBI sac-fly which scored Moquete.
The Panthers would go down in order over the final two innings to give the Beacons the conference win.
GAME TWO – UMass Boston 4, Plymouth State University 6
In the nightcap the Panthers would score all six of their runs in the first three innings. The Beacons cut the deficit in half with a three-run top of the fifth, which was led by Moquete's two-run triple. For Moquete his triple broke the program record of eight originally set by Steve Daley who played for the Beacons from 1987-1990. The record marks the second of the week for the senior who also set the career mark for walks in a season in yesterday's loss at MIT.
Following the big hit by Moquete, Mantoni would drive in his teammate on a sac-fly to make it 6-3 Panthers.
In the next inning Anthony Searles (Shelton, Conn.) tripled to nearly the same spot in left center as Moquete and came home on a base hit by Bryan Failla (Torrington, Conn.) to cut the margin to 6-4.
Cody Gilchrist went the first 5 1/3 for the Panthers and eventually earned the victory after allowing the four Beacons runs on six hits. Curtis Arsenault notched his second save after closing out the final 3 2/3. He did not allow a hit in his outing and combined for eight strikeouts respectively with Gilchrist.
For the Beacons, Luca Ilges (Gloucester, Mass.) was handed the loss after going just 2 2/3 in which he allowed five Panthers runs, all earned, on seven hits.
Baseball returns to action on Monday when they travel to Endicott College for a 3:30 p.m. non-conference game.


text:
In the fictional Ender's Game universe, humanity is at war with an alien species known as the Formics, and Battle School is the training ground for the future leaders of Earth's International Fleet. Taken at a very young age, Earth's most brilliant children undergo a rigorous training designed to teach advanced military theory where strategic and tactical glory is won in the null gravity battles known to the elite students simply as the game! Through simulated war games and training conducted in the Battle Room, the children rise through the ranks of Battle School to become Earth's only hope for victory.
This game has been announed as a title in production but has not yet been confirmed for this console. Please check back here for more information.
Also known as: Orson Scott Card's Ender's Game: Battle Room
Release Region: United States
Release Date: TBA
Publisher: TBA
Also available on: Xbox 360, PlayStation 3
Ender's Game: Battle Room at IGN
Ender's Game: Battle Room at GameSpy
Ender's Game: Battle Room at GameStats


text:
In death, legendary Baltimore Colts tight end John Mackey will undoubtedly be remembered for how he played the game. The 6-foot, 2-inch, 230-pounder who played from 1963 to 1972 set the standard for his position, combining speed and power like no tight end who had ever taken the field. As his former coach Don Shula told the Baltimore Sun, "Previous to John, tight ends were big strong guys like [Mike] Ditka and [Ron] Kramer who would block and catch short passes over the middle. Mackey gave us a tight end who weighed 230, ran a 4.6 and could catch the bomb. It was a weapon other teams didn't have." He was the second player at his position ever elected to the Pro Football Hall of Fame, and college football's award for best tight endbears his name.
But in this 2011 season forever defined by the longest work stoppage in NFL history, the timing of Mr. Mackey's death is in some ways his last selfless act toward the players he so dearly loved. John Mackey's legacy lies less on the field than in both his historic tenure as the head of the NFL Players Association from 1969-73 and in the way he suffered from front temporal dementia over the last years of his life.
Mr. Mackey was the first president of the NFL Players Association following the NFL-AFL merger. Called "the smartest man in the room" by former Buffalo Bills quarterback and future vice presidential nominee Jack Kemp, he rapidly gained a reputation as someone who would stand up to NFL Commissioner Pete Rozelle and fight for improved wages, benefits and safety. He rallied disparate players from two different leagues to "one team," and the NFLPA became the first sports union recognized by the National Labor Relations Board. In 1970, Mr. Mackey organized the league's first players' strike, a victory that earned an additional $11 million in pensions and benefits.
Teammate and former union president Ordell Braase said, "We were a fractured group until John began putting permanence in [the union's] day-to-day operations, He had a vision for that job, which was more than just putting in time and keeping the natives calm. You don't get anything unless you really rattle the cage."
Mr. Mackey also went to court and won an antitrust lawsuit that ended what was known as the "Rozelle Rule." The "Rozelle Rule" dictated that any team that lost a free agent was entitled to receive "equal compensation" from the player's new organization. Mr. Mackey flattened the Rozelle rule in court like it was an undersized defensive back, which set the legal precedent to win true free agency in the sport. In other words, if every one of today's players sent 10 percent of their paycheck to the John Mackey family, it still wouldn't equal the cash flow he opened up.
Mr. Mackey paid a price for his activism, traded from the Baltimore Colts to the San Diego Chargers the following season and then forced into retirement. His sacrifice, however, is revered at the NFLPA. Last week, current Players Association President DeMaurice Smith wrote, "John Mackey is still a leader. As President of the NFLPA he led the fight for fairness with brilliance and ferocious drive. John Mackey has inspired me and will continue to inspire our players and define our institution. He will be missed but never forgotten."
But the man who first drew a line in the sand around issues of safety and benefits then became the sport's most visible victim. Football is a brutal game, where players last 3.4 years on average and, according to one study, die 20 years before the typical American male. Few people had to live with the scars of this sport for longer and with more visibility than John Mackey.
Just as Muhammad Ali has walked the Earth these last 20 years a shadow of his former self and a living reminder of the price paid for combat-entertainment, John Mackey suffered in the public eye. Friends noticed changes in him decades ago, as he started to shudder involuntarily and become disoriented. The "smartest guy in the room" had trouble remembering things from earlier in the week. In 2000, he was diagnosed with frontal temporal dementia, a brutal condition that makes Alzheimer's look like a tender mercy. Lethargy, apathy, the inability to feed and clothe yourself, the loss of "social graces" and extreme paranoia are symptoms.
In a widely reported story, during the 2006 season, Mr. Mackey became enraged and disoriented watching Colts wide receiver Marvin Harrison on television because Mr. Harrison was wearing Mackey's number 88. That year, Mr. Mackey was forced to live in a full-time assisted living facility because of his condition. Initially, the NFL would not pay for it because the official wisdom — and it feels obscene to even type these words — was that there was no link between football and brain injury.
His wife Sylvia was a profile in courage during this ordeal, working full-time as a flight attendant and saying to the press, "I take everything in stride. I stay upbeat. When I hear other women in the same position, it's so easy for it to beat them down. I don't get sad, though. I can't." As former Sun sportswriter Rick Maese wrote in 2005, "It's not easy to figure out just how Sylvia does it — she's working full time and parenting her aging husband. It all seems so frustrating, but you don't get that from talking to Sylvia. It seems like she just doesn't have time to get sad."
Since that time, the league and the NFLPA together started the "88 plan" — named after Mr. Mackey's uniform number. The "88 plan" provides $88,000 a year for nursing home care and up to $50,000 annually for adult day care for players suffering from brain damage.
John Mackey's death is a tragedy that should remind us of both the price paid by players past for decent wages and benefits and the price every player pays once the cheering stops. As the NFL owners continue to insist on longer seasons and benefit cuts, we should all remember that it's the players who bear the scar tissue of America's 21st century pastime.
No one should have to be martyred to play this game. Every player now bears an obligation to carry the memory of John Mackey forward so no family ever has to bear the weight that his family was forced to bear with such remarkable grace.
Dave Zirin is the author of "Bad Sports: How Owners Are Ruining the Games We Love (Scribner)." This article, Copyright 2011 by The Nation magazine, is distributed by Agence Global.