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University Dally Kansan, October 7,1980
12. 10.607 Number 10, 507
Game of volleyball, not players, invites injuries
By KEVIN BERTELS Sports Writer
In volleyball, it's not whether you win
hits, it's whether you can play the next
set.
Few sports offer the opportunities for injuries that volleyball does. When six players are crowded into a 30-by 30-foot square and when the nature of the game calls for diving on a hardwood floor or blocking at close range a ball being hit as hard as possible, injuries are almost invited.
But not by KU coach Bob Lockwood and his volleyball team. Though the game may invite injuries, it is also one where you can avoid injuries. Certainly no one can imagine a basketball coach telling his team to slow down so they won't get hurt. By the same token, volleyball teams are more宽容 but tech techniques for safety.
Take, for example, one of the more obvious actions on a volleyball court that could cause injury—the dive. To the spectator, diving headlong to the floor appears to be the most dangerous move possible.
To the volleyball player, the move has become natural through training and repetition. Tina Wilson, a senior on the team, said yesterday that she had to
After many bruises and floor burns, the proper technique for diving onto a hardwood floor is perfected. But then a ball is hit hard and all the newly learned techniques are funging away and an all-out dive is the only answer. Skin and bones hit the floor at the same time, and both the crowd and the player know it was not proper technique, according to KU team trainer Renea Bulmer.
its components," the said, "It can be broken down into separate little parts."
"Everyone in a while you hear the screech of skin on the floor, but usually you don't."
Knowing how to fall includes keeping the hips and knees off the floor, not always easy or possible, because they can break if they are not supported body and don't give much in a collision. Bruises are the result of dives, and they can be seen on every ball player.
"THE IDEA IS for them to start out slow and put most of the weight on their chest and stomach and arch their back against it. They keep their knees in the floor." Rulmer said.
As the trainer, she knows that is not always achieved.
"They sometimes get burns on their hips," she said. "As far as stomach and chest go, they don't get hurt. But they can to bump bones once in a while."
Shelly Fox and Jill Stinson avoid a collision du Volléyball is a sport that invites injuries from dj Injuries to fingers from blocking and floor burn hardwood floor are commonplace for volleyball p
cording to Diane Schroeder, a senior on the team.
"Vollleyball is so much diving or rolling," she said. "If you don't dive right, you cut your chin open. I don't think there is a girl on our team who hasn't split her chin open. Eventually body begins to adjust to the way to dive."
THE DIVE IS the most obvious on-court suicidal but, not the most serious.
Most volleyball injuries come from players landing on something besides the flat part of the foot against the flat floor. Whether it is a ball, someone hit it, or you fall on your own foot, chances are good that what goes up won't land where it started.
"Things such as net violations cause injuries, when one girl lands on the foot of a girl on the other side of the net." Lockwood said. "We stress that girls should never go under the net. In practice, there are a lot of balls around. We make it policy that the girls yell 'ball' and not jump until the ball is moved. Those kind of things you can be alert for and do from day-to-day."
But other things can cause injuries. A very common injury in volleyball is the finger sprain; volleyball's version of the jammed finger. The sprain often occurs when girls are blocking spikes at the end of the ball head before a serve.
more finger injuries this year," Bulmer said. "You've got a girl spiking as hard as she can and you get a finger bent back too far."
Schroeder, who leads the team in warm-ups, and who helped Lockwood design the warm-up routine, says that they are indispensable an important—they are indispensable.
CONCERNING INJURIES, it's top of the list," Schroeder said. "Every injury that I can spot, if it isn't a freak accident, happened from not rotating the ankle or the knee or something. I think because of the physical difference, girls need to stretch more than guv."
One particular injury that hinges directly on stretching is tendinitis. The quick action of serving can wear on the shoulder, and often servers develop tendinitis, much like pitchers develop sore shoulders.
"You use your shoulder for everything in leoleyball," Lockwood said.
While serving, volleying and spiking, and in the midst of any number of situations that could cause injury, one should not forget that it also was easy to develop fear, also.
But from the first referee's whistle to the end of the match, fear must be put in the back of players minds, because
Patronize Kansan
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ONSCREEN
Ampersand
(continued from page 9)
very embarrassing to his superiors (and his inferiors), so the rest of the film is simply the CIA chasing Matthew and his book. Matthai is aided in his cat-and-mouse game by Jackson, whose astringent looks and acerbic wit are here exaggerated to butt effect. Their few scenes together have more of a lightening sexual current present in House Calls.
Matthau, lovable in his curmudgeonly way, is not convincing as a supersp, and though there are lots of plot twists and a requisite amount of action, none of this intrigue is very intriguing. It isn't even mind-making; it doesn't unattractive, the whole film looks as if it were photographed with second-hand film stock, washed and eaten. Even the farmlocations, from Salzburg to London to Washington, D.C., are no hum. If there's nothing to delight the eye or the mind and you don't want to see the point? I spent most of the time wondering why Sam Waterson isn't a leading man instead of a second banana.
Judith Sims
Those Lips, Those Eyes
Like so many stories about Theater, this one believes that a life devoted to the stage (or even behind the stage) is infinitely more rewarding than any mere job, and certainly more fascinating than the life of a doctor. This group narcissism is forgiveable only because the film's characters use just set decorations. Langella is complex, a helpful conspirator in Hulce's sexual pursuit, nasty when he's hurt, but generally all too aware of who and what he is. O'Connor is one of the company's dancers who makes Hulce's summer memorable in more ways than one. Hulce (remembered as the man who unwrapped a bra in Annie Hall) is so boldly bumbling at first, eager to learn, who abandons his medical studies because he's "hooked" on the magic of the theater.
For some of us, Frank Langella's face on screen is enough to ensure two hours of raft attention, but Those Lips, Those Eyes offers even more: a sweet, nostalgic look at a third-rate summer stock company in Cleveland, 1951, plus the sentimental (but not maudlin) coming-of-age of a stage-struck young man (Hodge).
aarming Frank Langella, Glynn O'Connor, and Thomas Hitler; written by David Shober, produced by Steven Charles Jaffe and Michael Pressman, directed by Pressman.
And what magic ghar, painted sets, and those dreadful/wonderful musicals that have been "brilling" (or perhaps just numbing) audiences for generations, like The Desert Song, the Vagabond King, Rose (the song that's the most energetic overacting. This is a valentine to Broadway in the Boondocks, and it's completely charming. *Judith Jones*
The Great Santini
Judith Sims
starring Robert Dusell, Blyde Danner, Michael KOlefei, Keith Jane Parsely, and Stan Show; based on the noted by Pat Conroy; written and directed by Levi John Carloio.
October,1980
*antiti sunt his real name, it's the num de guarré (literally) of 'Bull' Mechain*
*de guarré (literally) of 'Bull' Mechain*
wife, as occasional reluctant referee. Since all three are tremendous, it comes off beautifully. Duvall, in a full-voiced extension of his Kilgore character in *Apocolypse Now*, is one of the recent movies' great eccentrics, and O'Keefe foils him by showing more range than an actor his age deserves to have.
and practical joker, outrageous egomaniac,
and father of a large family which he likes
to run like a boot camp. Ben, his oldest boy,
is a gentle soul who's beginning to chale
himself, and he says nothing of his
father's determination to mold him in
his own macho image.
What is most likely to upset people who see *sunmi* is the retail, as in life, of its volatile mix of human and nonhuman narrative pattern. That and the lack of superstar names probably
This is the stuff of class (not to say old) family drama, and Carlino makes it work primarily by putting Duvall and O'Keele in front of the camera as father and son and letting them have at each other, with Danner, the long-suffering mother and
THE FORBERT SAGA
(continued from page 1D)
a twoyear pursuit. In it, Forbert flashed between a pained, quasi-articulate attempt at burgess, and abrupt stonewailing.
are you still on schedule?
Forburt faces sulently forward on the naugahyde couch, a kid called once more into the principal's office and sick of it.
"Well, I was wondering what other milestones you see ahead for your
career Milestone Well, I plan to keep doing what I'm doing.
"Milestones ... well, I plan to keep doing what I'm doing."
"You were on the road a long time with the first two albums. Now you've had a chance to stick in New York for a while. How has your life been going?"
About the same as it's been going the last few years.
Minutes pass. The phrase 'folk music' appears in one of my sentences. Forrert启拿 a gravelly monologue on the theme 'What's folk music really?' Then we wait, please ground out. Then they turn to the man who takes the subject takes an uncanny turn toward Bobell soliloquizing about how people need direction and motivation; how-if they haven't found it yet—the should continue to search. For the first time, eloquence of a sort enters the room. Out of the mud, the lotus flower blooms. I extend a handshake, happy to have what few notes I have, catch an L-A-bound plank and spend the next three days and nights.
Monday afternoon a call from a New York publisher. "Steve sat up in bed the night after he talked to you and realized there was more he had to do."
One and a half hours past midnight, the phone rings again. ( ring ) "This is Steve, I wondered if you realized that what I said last Friday was all non-
"Didn't realize it. I'm sorry to hear it was nonsense."
"How do you know it was nonsense?"
Ten or fifteen minutes more of this verbal frolie and I essay a politely name blown off. "Well, good luck on your日本 tour. I'm sure I'll be a great fan."
"A good shot for me ... I mean, what am I after? It doesn't matter! I mean,
that's why I'm calling 'I don't want to be nominated' for youth leader or
"I understand that. But you want to be heard, too, if you"
"Well, I am wanna be heard, yeah. But what is being heard, really? What does
"I understand that. But you want to be heard, don't you?"
it mean to be heard?
"If we could turn things around, what kinds of questions would you want?"
I'm not trying to create any new questions. I'm trying to destroy older
inally come Thursday afternoon, an important artifact arrives: an advance cassette copy of *Little Storie Orbit*, Forbors third album to feature a cozy self-referential title. "Can't tell what something's like" *Tit* you've been there yourself, says *Laughter tou*, a blast at critics that's sandwiched between two disarmingly open-hearted love songs to two different women. "Sailed around the world alone," says a song to an emotionally isolated child it took in number."
Throughout the album as on the two before, several basic styles merge—a seacanthy-like instrumental called "Lucky precedes 'Rain', which kicks off with a vintage Nashville feel. Then I'm an Automobile" features a hard rock trump and a lighthearted come-on called "Schoolgirl" arrives with a skipping, folksy tempo "True to the ways established by Forbert," notelied with his lively blues around to provoke relevance, not so much demand attention as engage it, sliding up to a listener's imagination with payloads of humor, observation and, sometimes, frustration. Whatever other items may be on the singer's imaginary schedule, whatever心理防御军 he thinks he needs to wear, it's still a privilege to hear the fresh blends Forbert has to offer. His unspoken ambition—to be really worthy of the flattering comparisons he's inspired—just might come true.
explain the film's failure in six test markets, prompting Orion to sell it to cable before they could be persuaded to give it a New York opening. Thanks to the huge success of that engagement, you may at last get your chance to see it in a local theatre.
Sol Louis Siegel
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Un L
signed to new label Fast Forward (owned by former Capricorn exec Frank Zenter).
GILDA RADNER who plays a U.S. President's daughter in the soon-to-be-released The First Family will next star in a broad play, say Jai Barnhour, written by Jean Minke and Erik DeBienzo. Kerr, directed by Mike Nichols. Gilda's role is the Other Woman.
COLUMN 1 (remember that date) Bantam Books will publish not one, not two, but three books based on the characters in *Tv Dallas* The Quotations of J. R. Ewing will have a black and white picture of the Evil Witch, enough, quotations. The Eucampsis of Dallas by Burt Hirschfeld is the first of a series of novels about these folks—original, not just TV rewrites The *Dallas Family Album* has pictures, bios of the stars, and, what weve all been waiting for, for the Ewing family his parents and his brothers, new episodes away from the small screen *Dallas junkies* must now be forced to read about their five family. Egad.
KENT State, a four-hour NBC TV-movie to air in January, ran into several problems. First, Ohio refused to have anything to do with the production, so the unit suited more than 200 locations, ending up in Gadsen, Alabama, where three separate small colleges combined to look eerily like Kent State. Then the Alabama National Guard refused to cooperate (although the town of Gadsen presented no problems), but the state could not have no National Guard equipment or uniforms could be used. Produced ends up buying $50,000 in trucks, a tank uniforms, etc. John P. Fila, who took the famous Pitzer Prize-winning photograph of the young woman kneeling over her dead friend, is in the movie—taking the picture. *Kent State* was written by Gerald Green (Holocaust)
RETAILERS IN YOUR VICIITY should soon have Haulars and Doves by Neil Young, Dirty Mind by Prince; The Wanderer; by Donna Summer, who wandered from Casablanca Records to Geften Records, with million dollar lawsuits and counter-suiting trailing in her wake; Heart by Heart, a mix of live hits and new studio recorded songs by the band Roll, All Shook Up from Cheap Trick, who recently left Bank-audience-sized audiences in Japan in just that condition; a new album from indomitable bluesman Muddy Waters, another from state-of-the-art New Walkers Heading (see On Tour for coverage of their Heatwax Festival appearance). New Directions in Europe, a live one from Jack Delohrte; Triumph from the band John Paul Jones, Paul Butterfield and George Harrison, not to mention a reunited George Jones and Tammy Wynette, a partnership responsible for some of the best duets in recent Country & Western history.
829 Massachusetts
Fall Waxings:
Families
Tickets $1.75 at SUA Office in the Union sponsored by SUA Forums
A MULTIMEDIA EXPERIENCE NOT TO BE MISSED.