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University Daily Kansan, October 7, 1980
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Game of volleyball, not players, invites injuries
By KEVIN BERTELS Sports Writer
Shelly Fox and Jill Stinson avoid a collision due to Volleyball is a sport that invites injuries from dj injuries to fingers from blocking and floor burn hardwood floor are commonplace for volleyball p
In volleyball, it is not whether you win
court, it's whether you can play the next
round.
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 of the few sports that requires coaching to 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 coaches ask for aggressiveness but teach 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
Knowing how to fall includes keeping the hips and knees off the floor, not always easy or possible, because they can break easily. You also body and don't give much in a collision. Bruises are the result of dives, and they can be seen on every ball player.
As the trainer, she knows that is not always achieved.
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 flung 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.
"Everyone in a while you hear the squeechness on the floor, but usually you don't."
"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."
us components," she said. "It can be broken down into separate little parts.
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 else's foot, or the side of her own foot, it can happen that what goes up won't land where it started.
"THE IDEA IS for them to start out slow and put most of the weight on their chest and stomach and arch their back with their knees and their knees into the floor," Bulmer said.
"Volleyball is so much diving or 'Wollieball,' 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 splits her chin open. Eventually your body begins to adjust to the way to drive."
"They sometimes get burns on their hips," she said. "As far as stomach and chest go, they don't get hurt. But when you bump to bum bones once in a while."
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."
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 ball. It's hard to hold them down.
Patronize Kansan
“CONCERNING INJURIES, it’s top of the list.” Schroeder said. “Every injury that I can spot, if it isn’t a frak 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 guys.”
cording to Diane Schroeder, a senior on the team.
Schroeder, who leads the team in warm-ups, and who helped Lockwood design the warm-up routine, says that they are indispensable. They are indispensable.
One particular injury that hings 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 volleyball," Lockwood said.
THE DIVE IS the most obvious on-court suicidal move, but not the most injurious, according to Lockwood.
While serving, volleying and spiking,
and in the midst of any number of
 situations that could cause injury, one
 situation that it 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
nd
Ampersand
Punk Flicks (Old Tricks) Clash in the Cannes (Film Fest)
12
BY P. GREGORY SPRINGER
It took almost too long to squeeze the punk rock rationale through the multi-million dollar movie needle.
when pink finally did raise its little pointed head on the wore-horn streets of the Cannes Film Festival this year, most of the new rock movies are outdated, blaring examples of horror in the wrong place at the wrong time.
Hopeful eyes were fixed upon Dennis Hopper's new film, *Out of the Blue*, expecting it to do for punk what Hopper's Easy Rider had done for pop. The film's focus is Out of the Blue keeps sliding back into country flowerbaubs bashes with New Wake trim. It takes its title from "Day of Heaven," a 1970s novel (Days of Heaven) as a rebelous punk ketoo which alternates Supertump songs and punches safety pins through her face, and it glitteringly dates the film to the 1980s, somehow linking him with Sid Vicoura.
Hopper also star in the film as Linda's father, whose alcoholism and personal severity have contributed to Linda's spiraling decline, obviously Linda. Hopper also stars in the random references to last year's chart listings and a script that forces her to embody a bomicial punk metaphor for her folks while singing "Teddy Bear."
Although it was filmed in Vancouver someone at Hopper's flippant press conference had to ask where the film was supposed to take place. It was held in a backyard where a drumma in cowboy drum, or just an other Canadian tax shelter project?
Breaking Glass was given tuxedo reception at Cannes, often announced as a "pork-punk" tale, with a blast of loud noise by a blow-out reception, dubbed "event of the year" by some hyperbolic press bulletins. The film details the rise and fall of a London band (bearing its name out of sight with street折 hazel O'Connor as leader of the idealistic group. She self-promotes on subways, takes on gigs at skatehead pubs and political railway stations, sells sold-out light show. Phil Daniels, star of last year's Quadrophenia, plays the little manager who gets squeezed out by the big label but gets promoted to the dynamic role that gets the dynamic concert finish, with electric costumes and tight-tuned music (penned by O'Connor), but it is unfortunate that the flatshest, most appalled by the narrative moment of the heroine's greatest moral and psychological decline, casting doubt on the purpose
and impact of primal rock's message. The movie also charts the rise and fall of the original park movement, if one takes a deeper look at its feety. *Is The Rose of a revolution.*
An even greater contradiction is Telephone Public, the hottest ticket among French locals in Cannes, where they speak with their skin in stark contrast to the espoused ideals of the band in *Breaking Glass*, relishes its role as super-role, spreading itself away from the local scene. The members give opinions on and every subject, frequently flaunting their new wealth. female bassist Carmine Marranean even less her melody than the rest; the favorite toothpaste? dialogue is interspersed with the roguish posing and extended amplification of this old heavy metal band in New Wave dring.
Although director Paul Verheen (Soldier of Orange) has a certified hit with Spetters in his native Netherlands, this Dutch version of Saturday Night Live features the natural barriers to be accessible to American youth. Riding motorbikes with lee, munching French fries and mussels on the sidewalks of science colleges the Spetters (translated Acets) are rebellious youth who "live like there's no tomorrow." The soundtrack consists of second-rate box jumbo music, but it is probably the fluent flesh in Spetters which has made it a box office success. There are masurations, erections and cries tha
Che Chai, another Dutch film, combines phonetic戏剧 dramas with narrative storytelling and improprio performances by Lene Lovich and Nina Hagen more than compensate for laps in the story because of their unnatural crooning up lost melody.
On the sparse aesthetic side are Rado On and / Union City, two story films with rock references. Rado On (title signifying the primary mechanical function for properly operative trucks) and Road Movies, the Wim Wenders film company. It comes as no surprise that the film is the British equivalent of the early Wendens movies, Alice in the Dark and Pulp Fiction. The punctured by songs of David Bowie, Kraffek, Ian Dury, Lene Lovie and more, the black and white film follows the odyssey of a man in search of his brother's house, where an uncle was living when he was abducted. After a confrontation with a psychotic lower-class hitchhiker, an encounter with a German woman searching for her daughter and assists for pallibullion. Following the strands the rowing philosophical boy on a preface where the car refuses to budge. dedicated to the electronic age and Fritz Lang, the film also offers a glimpse into the life of Camoe, crooning teatifully as a gargate attendant in love with Gene Vincent
Union City has the chic punk sensibility of New York fashion. Starring Deborah Harry in a non-singing role, the story is based on a cheap thriller, The Corpse Next Door. With garish fifties set and color, astute overacted women play in the psychological disintegration of a jealous husband is slowly depicted. The husband thinks he has accidentally murdered a milk thief and hides him in the empty apartment next door, a plot mechanism which allows the acce- tors to make up their roles to the limit, while dressing up in fashionable rugs as well.
Debbie Harry's performance is an analogue for the psychological violence of the cold war days, all pouring over her face in new shoes and a blonde bleached job
The Clash steered clear of the Festival, unlike the Who, whose appearance the year before sold out a Roman colum本 isem. Perhaps the philosophy em bedded in India Boy kept the Clash an audience away from games partyhopping.
Ride Boy, framed in 1978 at the peak of punk an extreme of European minimalist filmmaking technique, allowing little storytelling. The film of *Ride Boy* was a terraction between documentary foot age and staged events since Medium Cool, although Clash fans aren't likely to care much. The band members fought distribution for a while sensing that they were in an awkward stage of their career.
Joe Strummer, Mick Jones, Paul Simonon, and Topper Headon are shown living their day-to-day lives doing things like standing in front of a mirror, examining the Red Brigade ("It's a pizza parlor isn't it"), while their fictitious coattair, played by Ray Grace, wandered heavily and嘲笑 comment from the band. More than once, it seems that the filmmakers have intruded upon Clash concerts in order to bue up the realism of an unruly Rock Against Racism crowd. Late into the rambling film, a racial element is pasted on, but the real meat of it is in the (spontaneous) replay
October,1980
Rude loud, in Cannes were impatient, loud, and rowdy outside the theatre, but except for jeers at some well integrated footage of Margaret Thatcher, there was little response throughout except stunned silence.
The Sex Pistols have a double autopsy in D.O.A. the *last tour* in America (which, appropriately, failed to feature Johnny Cash's name), sub-titled, in mock self-denunciation, *The Great Rock and Roll Sustela* (the latter goes onward). The movie is a brilliant, present, transcritical, and terminal lengths to prove that the Sex Pistols were nothing more than a *Cash from the Depths*. It also proves Malcolm McLaren. It is not only fascinating, but convincing like the film's beleguarded production, its distribution is currently halted, but you'll see it some day. It's slik revisionism.
Credit the Cannes moguls for one thing. They know when to drop a cold potato. Except for the Apple, an Israeli version of the Wiz, and a pathetic promotion for Can't Stop The Music, there was no mention of disco at all.
The belated appearance of punk movies will likely perpetuate the musical momentum of the old New Wave for a while. Other projects, planned or underway, include Times Square (promised as New Wave Saturday Night Fever) and Robert Kroeber with Urbiz and Uriah. Concerns of magazine, Perez Ubi, X Dead Kennedy, and Wall of Vodoo, the new New Wave
OUT OF THE BLEU
Robin Brown (Jake Gyllenhaal) Drama (Jeffrey Hopper)
BIRCH GLASS
Albid (Johnson) from cinema
NONE PUNIC!
* humourary movie * Marie Merle
P. Gregory Springer is writing a novel about a gay soccer team.
SPETTERS
Seawell Films, dir Paul Verhoeven
CHA
Wildle Triple Thump on the Lambert HA CARL
RADIO ON
IUF and Road Movie, the Derrin Pint
UNION CITY
Kinesis Productions the Rick Hirsch
RUDE BOY
Atlantic Releasing, the Jack Hazon and
Jamal Waugh
THE GREAT ROCK & ROLL
SWINDLE
Boyds and Virgin, Dir. Julian Temple
A MULTIMEDIA EXPERIENCE NOT TO BE MISSED.
Tickets $1.75 at SUA Office in the Union sponsored by SUA Forums