whistle

When Xavier “X” Atencio was plucked by Walt Disney in 1965 to be one of his early theme park designers, he was slotted on a number of projects that placed him out of his comfort zone.

Atencio, for instance, never would have envisioned himself a songwriter.

One of Atencio’s first major projects with Walt Disney Imagineering — WED Enterprises (for Walter Elias Disney), as it was known at the time — was Pirates of the Caribbean. In the mid-’60s when Atencio joined the Pirates team, the attraction was well underway, with the likes of fellow animators-turned-theme park designers Marc Davis and Claude Coats crafting many of its exaggerated characters and enveloping environments. Atencio’s job? Make it all make sense by giving it a cohesive story. While Atencio had once dreamed of being a journalist, his work as an animator had led him astray of a writer’s path.

Atencio would not only figure it out but end up as the draftman of one of Disneyland’s most recognizable songs, “Yo Ho (A Pirate’s Life for Me).” In the process, he was key in creating the template for the modern theme park dark ride, a term often applied to slow-moving indoor attractions. Such career twists and turns are detailed in a new book about Atencio, who died in 2017. “Xavier ‘X’ Atencio: The Legacy of an Artist, Imagineer, and Disney Legend” (Disney Editions), written by three of his family members, follows Atencio’s unexpected trajectory, starting from his roots in animation (his resume includes “Fantasia,” the Oscar-winning short “Toot, Whistle, Plunk and Boom” and even stop-motion work in “Mary Poppins”).

For Pirates of the Caribbean, Atencio is said to have received little direction from Disney, only that the park’s patriarch was unhappy with previous stabs at a narration and dialogue, finding them leaning a bit stodgy. So he knew, essentially, what not to do. Atencio, according to the book, immersed himself in films like Disney’s own “Treasure Island” and pop-cultural interpretations of pirates, striving for something that felt borderline caricature rather than ripped from the history books.

Xavier “X” Atencio got his start in animation. Here, he is seen drawing dinosaurs for a sequence in “Fantasia.”

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Indeed, Atencio’s words — some of those quoted in the book, such as “Avast there! Ye come seeking adventure and salty old pirates, aye?” — have become shorthand for how to speak like a pirate. The first scene written for the attraction was the mid-point auction sequence, a section of the ride that was changed in 2017 due to its outdated cultural implications. In the original, a proud redheaded pirate is the lead prisoner in a bridal auction, but today the “wench” has graduated to pirate status of her own and is helping to auction off stolen goods.

At first, Atencio thought he had over-written the scene, noticing that dialogue overlapped with one another. In a now-famous theme park moment, and one retold in the book, Atencio apologized to Disney, who shrugged off Atencio’s insecurity.

“Hey, X, when you go to a cocktail party, you pick up a little conversation here, another conversation there,” Disney told the animator. “Each time people will go through, they’ll find something new.”

This was the green light that Atencio, Davis and Coats needed to continue developing their attraction as one that would be a tableau of scenes rather than a strict plot.

Tying it all together, Atencio thought, should be a song. Not a songwriter himself, of course, Atencio sketched out a few lyrics and a simple melody. As the authors write, he turned to the thesaurus and made lists of traditional “pirating” words. He presented it to Disney and, to Atencio’s surprise, the company founder promptly gave him the sign off.

“Yo Ho (A Pirate’s Life for Me),” Atencio would relay, was a challenge as the ride doesn’t have a typical beginning and ending, meaning the tune needed to work with whatever pirate vignette we were sailing by. Ultimately, the song, with music by George Bruns, underlines the ride’s humorous feel, allowing the looting, the pillaging and the chasing of women, another scene that has been altered over the years, to be delivered with a playful bent.

The song “altered the trajectory” of Atencio’s career. While Atencio was not considered a musical person — “No, not at all,” says his daughter Tori Atencio McCullough, one of the book’s co-authors — the biography reveals how music became a signature aspect of his work. The short “Toot, Whistle, Plunk and Boom,” for instance, is a humorous tale about the discovery of music. And elsewhere in Atencio’s career he worked on the band-focused opening animations for “Mickey Mouse Club.”

“That one has a pretty cool kind of modern instrument medley in the middle,” Kelsey McCullough, Atencio’s granddaughter and another one of the book’s authors, says of “Mickey Mouse Club.” “It was interesting, because when we lined everything up, it was like, ‘Of course he felt like the ride needed a song.’ Everything he had been doing up to that point had a song in it. Once we looked it at from that perspective, it was sort of unsurprising to us. He was doing a lot around music.”

Xavier “X” Atencio contributed concepts to Disneyland’s Haunted Mansion, including its famous one-eyed cat.

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Atencio would go on to write lyrics for the Country Bear Jamboree and the Haunted Mansion. While the Haunted Mansion vacillates between spooky and lighthearted imagery, it’s Atencio’s “Grim Grinning Ghosts” that telegraphs the ride’s tone and makes it clear it’s a celebratory attraction, one in which many of those in the afterlife prefer to live it up rather than haunt.

Despite his newfound music career, Atencio never gave up drawing and contributing concepts to Disney theme park attractions. Two of my favorites are captured in the book — his abstract flights through molecular lights for the defunct Adventure Thru Inner Space and his one-eyed black cat for the Haunted Mansion. The latter has become a fabled Mansion character over the years. Atencio’s fiendish feline would have followed guests throughout the ride, a creature said to despise living humans and with predatory, possessive instincts.

In Atencio’s concept art, the cat featured elongated, vampire-like fangs and a piercing red eye. In a nod to Edgar Allan Poe’s story “The Black Cat,” it had just one eyeball, which sat in its socket with all the subtlety of a fire alarm. Discarded eventually — a raven essentially fills a similar role — the cat today has been resurrected for the Mansion, most notably in a revised attic scene where the kitty is spotted near a mournful bride.

Xavier “X” Atencio retired from Disney in 1984 after four-plus decades with the company. He drew his own retirement announcement.

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Co-author Bobbie Lucas, a relative of Atencio’s colloquially referred to by the family as his “grandchild-in-law,” was asked what ties all of Atencio’s work together.

“No matter the different style or no matter the era, there’s such a sense of life and humanity,” Lucas says. “There’s a sense of play.”

Play is a fitting way to describe Atencio’s contributions to two of Disneyland’s most beloved attractions, where pirates and ghosts are captured at their most frivolous and jovial.

“I like that,” Lucas adds. “I like someone who will put their heart on their sleeve and show you that in their art.”

Detroit defensive back Brian Branch thought he had been blocked in the back illegally without the officials calling a penalty during the Lions’ 30-17 loss to the Kansas City Chiefs on Sunday night.

So as soon as the game ended, Branch took matters into his own hands — or, rather, his own hand.

After the final play, Branch approached the player he later said was responsible for the illegal block, Chiefs receiver JuJu Smith-Schuster, and hit him hard on the left side of his face mask with an open hand.

Smith-Schuster fell to a knee but immediately popped up and went after Branch. The two players scuffled briefly, with Smith-Schuster losing his helmet and ending up back on the ground, as other players and coaches tried to intervene.

Talking to reporters after the game, Branch apologized and took responsibility for his actions while also attempting to explain what had set him off.

“I did a little childish thing,” the third-year player said. “But I’m tired of people doing stuff in between the play and refs don’t catch it. Like, they were trying to bully me out there and I don’t think — I shouldn’t have did it. It was childish.”

Asked to elaborate on what had happened during the game, Branch said: “I got blocked in the back illegally, and it was front of the ref. The ref didn’t do anything, and just stuff like that. And I could have got hurt off of that, but I still shouldn’t have done that.”

Branch said later in the interview that he should have taken out his frustrations within the rules of the game “between the whistles, not after the game, and I apologize for that.”

Detroit coach Dan Campbell, right, approaches Lions defensive back Brian Branch, left, in a crowd of players after a game against the Kansas City Chiefs on Oct. 12.

(Jamie Squire / Getty Images)

Branch was fined $23,186 earlier this season for face-masking and unsportsmanlike conduct penalties during a game against the Green Bay Packers. He could face another fine and possibly a suspension for his actions Sunday night, an NFL spokesperson told The Times. There is no timetable for a decision to be made on the matter.

The Chiefs offense and Lions defense were on the field for the final play. As soon as the final whistle blew, Branch appeared to walk right past Kansas City quarterback Patrick Mahomes, who had extended his hand for a postgame handshake, to confront Smith-Schuster.

“After the game, I was expecting to shake his hand and say, ‘Good game’ and move away, but he threw a punch,” Smith-Schuster told reporters in the locker room. “At the end of the day, it’s a team sport. We came out here, we did our job, we won, and that’s all that matters.”

Smith-Schuster was asked what might have led up to the incident.

“I mean, just me blocking him,” the ninth-year receiver said. “I mean, I’m just doing my job. I play between the whistles and after the game he just took advantage of what he did.”

Smith-Schuster reportedly received a bloody nose from the hit. There were no signs of blood by the time he gave his postgame interview, but Smith-Schuster confirmed that he had been bleeding.

Detroit coach Dan Campbell — who famously declared during his introductory press conference in 2021 that his team would bite off opponents’ kneecaps — told reporters that Branch’s actions were unacceptable.

“I love Brian Branch, but what he did is inexcusable and it’s not going to be accepted here,” Campbell said. “It’s not what we do. It’s not what we’re about. I apologized to Coach [Andy] Reid and the Chiefs, and Schuster. That’s not OK. That’s not what we do here. It’s not going to be OK. He knows it. Our team knows it. That’s not what we do.”

The Associated Press contributed to this report.

Burrell told BBC Sport he also faced prejudice within the England set-up, during a Test career that saw him win 15 caps after his debut in February 2014.

“I’ve had several traumatic experiences within England camp,” he said.

“Some discrimination and some just old-school mentality that’s really unacceptable.”

Racism had become normalised in dressing rooms, in Burrell’s experience.

“It’s something that has been dressed up as banter and that’s been the problem that I’ve personally suffered and seen,” said Burrell, who is of Jamaican descent.

“Over a period of time you just learn to believe that it’s the norm and that is fine and that it’s not malicious, but that’s nonsense.”

Burrell says he was eventually spurred to speak out after a team-mate at Newcastle referred to him as a “slave” and told him to put sun cream on his wrists and ankles “where your shackles were”.

The RFU said Burrell’s revelations had led to “a deeper look at the culture within the elite game and to the implementation of an action plan for the professional game”.

“The RFU has placed significant focus on inclusion and diversity in rugby union and a great deal of work undertaken both before and since Luther Burrell came forward and shared his experiences of racism and classism,” it added.

“We are continuing work with clubs and stakeholders in the professional game to strive for a culture of inclusivity but acknowledge this takes time and is an ongoing process.”

Every Prem and PWR club now has face-to-face education on building inclusive cultures, with its success monitored via individual reports and surveys.

All England players, including age-grade squads, are trained in being “active bystanders” to intervene and protect others from harmful behaviour.

“You should be so proud of what you have done,” Burrell’s mother Joyce told him as part of the BBC iPlayer documentary Luther Burrell – Rugby, Racism and Redemption.

“I know it has had this effect on you and finished your career, but in our eyes, you have done so well. We are so proud of you and to have you as a son.”

Burrell’s father Geoff died shortly after the filming of the documentary, and his sister died earlier this year.

It was 68 degrees and overcast, a cool coastal breeze wafting across the practice fields, when UCLA commenced its first off-campus football training camp in nearly a decade.

San Bernardino, this was not.

With 55 newcomers dotting a roster of 105, not to mention eight new assistant coaches, the Bruins’ camp that started in Costa Mesa on Wednesday morning was more about togetherness than toughness in the triple-digit temperatures of the Inland Empire.

Every offensive player was matched with a roommate from the defense or special teams. A series of bonding exercises was planned inside and outside the nearby team hotel. Everything the Bruins do over the next 2 ½ weeks will be of the get-to-know-you variety.

UCLA linebacker JonJon Vaughns lines up with his hands on his hips and looks across the field during the first day of the Bruins’ preseason camp in Costa Mesa on Wednesday.

(Nate Donlevy / UCLA Athletics)

“I have a lot of tough guys, but it’s more of the connection,” coach DeShaun Foster said. “There’s a lot of new coaches and players, so I just wanted to find a way to make us be able to connect a little bit more, you know? To be able to eat three meals with each other and just get close.”

Foster said the football facilities at Cal State San Bernardino that the Bruins had last used in 2016 weren’t available, forcing the move to his native Orange County.

After going through the initial two-hour practice, temperatures topping out at 75 degrees, the consensus was that the Jack R. Hammett Sports Complex felt more like a day at the beach than one inside a sauna.

“In the beginning, it was a little humid,” linebacker Isaiah Chisom said, “but the sun came out, it was beautiful out here.”

The facilities included three grass fields, a makeshift locker room under one tent and a makeshift weight room under another. Trainers set up near the field, unfurling folding tables next to carts of supplies. Fences lining the field were adorned with signage reflecting the Bruins mantras — “Discipline, Respect and Enthusiasm” and “Do More.”

There was the usual training-camp cadence. Whistles blew and on cue, players wrapped up foam pads and dragged them to the ground. After another whistle signaled the start of stretching, a roar rang out. Players dropped to their knees to commence a series of body bends, twisting their arms and shoulders one way and then the other.

After a series of leg stretches, new defensive line coach Jethro Franklin offered an opening salvo to a group of nearby players.

“Bruin football,” Franklin said, “should not be for the timid or the weak.”

UCLA quarterback Nico Iamaleava warms up during the first day of the Bruins’ preseason camp in Costa Mesa on Wednesday.

(Nate Donlevy / UCLA Athletics)

During the 25-minute media viewing period, new quarterback Nico Iamaleava made a couple of handoffs to running backs, including one to Anthony Woods for a short touchdown, and threw one pass into the end zone that fell incomplete.

“He slings it,” tight end Jack Pedersen said of Iamaleava’s throwing style. “It’s a nice, firm spiral, man, and the guy doesn’t miss. Literally, can’t say enough great things.”

Before the training session, Foster said he was confident Iamaleava had sufficiently mastered the offense after enrolling in June.

“He’s pretty much grasped the playbook already,” Foster said of the transfer from Tennessee. “We haven’t had to hold back on anything. And I know at least he has these first two installs down pretty well. So just looking forward to getting out there and just watching him.”

The practice was staged in relative secrecy. Other than a handful of donors and a few city officials from Costa Mesa, fans were not allowed to attend like they had been in San Bernardino, where they sometimes lined multiple practice fields. The six reporters on hand Wednesday were barred from taking photos or videos of even the warmup periods.

Foster said training camp was about preparation, not publicity.

“We’re here to work,” he said. “We’ve got 16 days to come out and really be able to put a good product out there on the field.”

This is a business trip complete with bed checks and a curfew. Chisom is rooming with running back Anthony Frias II and has a connecting door attached to the room of linebacker Ben Perry and running back Troy Leigber, providing ample opportunities to learn about new teammates.

“I think it makes us build brotherhood,” Chisom said. “You’re staying with some people that you may have never talked to before … it kind of forces us to be close.”

The schedule called for an off day Thursday to accommodate players’ final exam schedules, one of four breaks interspersed among the 14 practices before the team breaks camp on Aug. 16. The Bruins hope that by the time they return to campus, the installation of a new 100-yard grass practice field alongside two smaller artificial turf fields will be complete.

If not, they’ll have new friends to commiserate with as they shift practices elsewhere on campus.

“This is a great opportunity to spend 2 1/2 weeks with a guy you don’t really know, right?” said Pedersen, who is rooming with defensive back Croix Stewart. “Being able to branch out, I think it’s really cool that they do this, and this is now getting an opportunity to meet other guys on the team and branch out and make those lifelong connections.”

Etc.

Although a judge denied wide receiver Kaedin Robinson’s request for a temporary restraining order that would have granted him immediate eligibility, Foster said his confidence level remained in the “90s percent” that Robinson could play for the Bruins this season. Robinson, a transfer from Appalachian State, has a preliminary injunction hearing set for Aug. 18 that will decide whether he’ll be cleared to play. … Freshman defensive lineman Robert James III maneuvered the area on a scooter, his lower right leg encased in a protective boot. … Luke Duncan took the snaps as the top backup quarterback. … Foster said linebacker Weston Port had commenced a Mormon mission and was expected to return by the spring of 2027.

With red welts scattered like landmarks of the war she’d just waged, Kelsey Plum let the microphone have it.

“I drive more than anyone in the league,” the Sparks guard said, voice taut. “So to shoot six free throws is f— absurd. And I got scratches on my face, I got scratches on my body, and these guards on the other teams get these ticky-tack fouls, and I’m sick of it.”

Plum played 41 minutes during an overtime loss to the Golden State Valkyries, during which she was awarded those six free throws. She is one of many WNBA players, coaches and fans who have vented frustration over what they see as inconsistent and unreliable officiating this season.

Yet, within the walls of the league’s officiating office, there is steadfast belief that referees are doing their jobs well.

Las Vegas Aces coach Becky Hammon questions a referee’s call during the game against the Sparks at Crypto.com Arena on July 29.

(Gina Ferazzi / Los Angeles Times)

“Overall, I’m very pleased with the work this year,” said Monty McCutchen, the head of referee training and development for all NBA leagues.

But McCutchen and Sue Blauch, who oversees WNBA referee performance and development, aren’t blind to the backlash — acknowledging “some high-profile misses that we need to own on our end.”

To do so, they pointed to an officiating analysis program through which 95% of games are watched live, with every play graded by internal and independent reviewers. Those evaluations are used to chart each referee’s performance over time.

Teams can flag up to 30 plays for review per game through a league portal — including isolated calls or themes spanning multiple games. League officials respond with rulings on each clip and compile curated playlists by call type, delivering them directly to the referees.

“There’s no shortage of feedback,” McCutchen said.

But the WNBA’s structural backbone of officiating differs from the NBA in significant ways. With just 35 referees, all of whom moonlight calling NCAA or G League games, the WNBA relies on part-timers earning $1,538 per game as rookies, with each official calling 20 to 34 contests per season.

“You’re working three very different kinds of basketball,” said Jacob Tingle, director of sport management at Trinity University who has conducted research on officiating networks and pathways. “The reason the NBA or MLB works is because that’s all you do — you’re working the same kind of game only.”

The WNBA lacks a centralized replay center, a developmental league to groom talent and shuffles crew combinations from game to game — a patchwork system that can strain referees expected to deliver consistency.

Sparks guard Kelsey Plum questions the official’s out-of-bounds call during a game against the Las Vegas Aces at Crypto.com Arena on July 29.

(Gina Ferazzi / Los Angeles Times)

“When you don’t have group cohesion, you don’t have the same level of trust in your partners,” said David Hancock, a professor who studies the psychology of sports officiating. “We’ve done one study — when referees felt more connected to their group, they also felt they performed better.”

McCutchen said teams get a verdict on the calls they send for review. But beyond that, there’s no insight into grading or transparency about patterns the league has researched. So when it seems a whistle has been swallowed during a game, players and coaches are left searching for consistency.

“You don’t know in the WNBA anymore,” said Joshua Jackson, a Louisiana State University professor who studies media and athlete perception. “I can’t tell when I’m watching a game exactly what this foul call is going to be. I’ll hear the whistle and think, ‘OK, maybe it’s a reach-in and then suddenly it’s a view for a flagrant one instead? Wait, how did we get here?’”

The whistle has become one of the WNBA’s biggest wild cards. Angel Reese called it “diabolical.” Lynx coach Cheryl Reeve said after a fourth-quarter letdown led to a loss that the game was “stolen from us.” Belgian guard Julie Allemand told The Times she felt more “protected” playing in EuroBasket. And Napheesa Collier, one of the stars of the 2025 season, warned “it’s getting worse.”

The whistle, or lack thereof, might echo louder in 2026, when the WNBA begins a $2.2-billion, 11-year media rights deal with Disney, Amazon and NBCUniversal — each of whom will air more than 125 games a year across TV and streaming networks.

Nicole LaVoi, who helms the Tucker Center — a research hub focused on advocating for girls and women in sports — said the narrative surrounding female athletes forces them to walk a tightrope: speak up and risk being dismissed as an emotional woman or stay quiet and let the league’s image unravel.

“This is a broader, contextual, systemic issue,” LaVoi said. “It’s not just about bad refs making bad calls. This is a much larger problem within a system where women’s sport has been undervalued and underappreciated for decades.”

Many players have ignored concerns about the perception they whine too much about officiating, arguing the inconsistency in calls is dangerous.

Lucas Seehafer, a professor and kinesiologist at Medical University of South Carolina who tracks WNBA injuries, said players have suffered 173 injuries this season and missed 789 games, entering Saturday’s games.

Sparks forward Cameron Brink reacts toward an official after no foul was called after the ball was stripped from her as she was driving to the basket at Crypto.com Arena on July 29.

(Gina Ferazzi / Los Angeles Times)

Injuries are undoubtedly multifactorial, Seehafer said. Still, inconsistent whistles can leave players unsure of how much contact to expect — forcing them into unfamiliar movements or hesitation. And that can lend itself to awkward landings, a key contributor in lower-extremity injuries.

“The athletes strive on consistency and mechanical efficiency,” said Nirav Pandya, a pediatric orthopedic surgeon and sports medicine specialist at UC San Francisco. “When you don’t know how much contact’s going to be allowed, it does throw off that rhythm, which increases your injury risk.”

When Caitlin Clark suffered a groin injury in mid-July, her brother — in a now-deleted X post — blamed the officials for letting too much contact slide.

“People go watch the WNBA because of the talent,” LaVoi said, “and when the talent is sitting on the bench, that’s not very exciting to fans.”

While critics are quick to call out officiating, referees are navigating a structure stretched thin.

Brenda Hilton, founder of Officially Human — an organization dedicated to improving the treatment of sports officials — said 70%-80% of officials quit within their first three years, largely due to online abuse.

“The people that are doing the work are people, they are fallible,” LaVoi said. “The players are fallible as well, so are the coaches. So can we get back some compassion for the humanity of the people doing it, and appreciate the fact that they love what they do? They’re not doing it because they’re getting huge NIL deals and branding opportunities.”

NBA and WNBA officiating leaders have not announced any plans for changes to their system, so the stress will probably continue among players, coaches, fans and those who control the whistles.

“I call that a war crime.” Anthony Aguilar told Al Jazeera about what he says were deadly and unprofessional practices he witnessed firsthand at Gaza Humanitarian Foundation aid distribution sites in Gaza.