Page 10 --- University Daily Kansan, October 7, 1980 Game of volleyball, not players, invites injuries Shelley Fox and Jill Stinson use a collision durdle Volvellah is a sport that invites injuries from divi injuries to fingers from blocking and floor burns; hardwood floor are commonplace for Volvellah pics. By KEVIN BERTELS Sports Writer In volleyball, it's not whether you win or lose, it's whether you can play the next game. 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 is 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 BLock Lockwood and his volleyball team. Though the game may invite injuries, it also is one where players can't 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 teachers will be better suited 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 After many bruises and floor burns, the proper technique for diving onto a hardwood floor is perfected. But then a new technique is learned, 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 research. Knowing how to fall includes keeping the hips and knees off the floor, not always easy or possible, because they protrude further than the rest of the body. The best way to protect Bruises are the result of dives, and they can be on seen by all ball player. "Everyone in a while you hear the screech of skin on the floor, but usually they know how to fall." he said. "The IDEA IS for them to start out slow and put most of the weight on their chest and stomach and arch their back in the floor. AndArch their knees into the floor." Bulmer said. its components," she said, "It can be broken down into separate little parts." 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 sure to bump bones once in a while." cording to Diane Schroeder, a senior on the team. "Voleball 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 split her chin open. Eventually your body begins to adjust to the way to dive." "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." Patronize Kansan THE DIVE IS the most obvious on-court mudalra dug, the most intriguing in a way, to look at it. 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 hits the ground or their own foot, chances are good that what goes up won't land where it started. 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 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 guys.” 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 net. The ball hands the finger bounce. "You use you your shoulder for everything in volleyball." Lockwood said. While serving, volleying and spiking, and in the midst of any number of situations that could cause injury, one could say that it was easy to develop fear, also. 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. But from the first referee's whistle to the end of the match, fear must be put in the back of players minds, because songwriter who's developed rather than burned out. Ampersand -Barry Alfonso THE CARS Panorama (Elektra) When the Cars first broke through anti New Wave biases of radio programmers two years ago, their sound was a refreshing change. Their music is more easy-to-lead backdrop for Roc Acusek more challenging verse. But yesterday's innovation can become today's paranorma — Paranorma that the Boston based quintet are standing pat for the moment. Presents LIVE RADIO CONCERTS BI-WEEKLY PROGRAMS WEEK OF OCTOBER 6th GARY NUMAN Recorded Live in England THE VAPORS MARTHA AND THE MUFFINS Recorded Live in Canada Recorded Live in Canada WEEK OF OCTOBER 20th (Brother of Lyndyr Skynyrd Founding Members) JOHNNY VAN ZANT THIRSTY EAR O $ ^{\mathrm{N}} $ D $ ^{ \mathrm{I S C} } $ ON YOUR LOCAL FM RADIO STATION SPONSORED BY DANNON YOGURT ... IS PRODUCED BY THISTY EAR PRODUCTIONS 43 ROUTTE 45 + FINE BREAK J.N.70780 (215) 757-7620 October, 1980 Barry Alfonso In this leap period for the music blix, a group can’t really be fitted for play with large instruments or art of artists about them, and it would’ve been nice to have seen them stretch their talents. As is, it their *Pamurana* exhibits a rather limited repertoire. The elements that made the Cars debate so much of a kick to hear in "78" remain - Elliot Eaton's jungle guitar songs of Dave Robinson, the keyboard blips and tapes of Greg Hawkes. What's missing is any real sense of what the audience can sign of a desire on build or past accomplishments. Truth be told, the melodic content of *Panorama* is one of the reasons there's no inspired cut like 'My Best Friends' Girl" or 'Let's Go' that leaps out as a natural hallway it all formula. Rie Boces's lyrics retain their Op Art evicentness, though their intriguing qualities lesson a bit with each album. As before, some of what he touches are very specific and confirms); but on occasion his touch for imagery is arresting (The peeping keyhole introspects With the monkeys on their backs.) Again, no major complaints, but no exceptional praise or creative holding pattern on this album. SPLIT ENZ True Colours (A&M) Australia's split Enz presented themselves as sort of down Under Mothers of invention on their first two Chrysalids IPL. Like a house band at the gym, they wear tight fitted heavily on strange hardos, clown makeup and other loomy props to make their point *True Colors*, their first album for a new label—A&M—reveals all that they are like along—a lightweight band whose delusions of whimsy were ill-suited to the seper't musical skills. Neither as outrageous as the Bonzo Dog Band nor as wicked as Deaf School, Split Enz is still the only band Be that as it may, *True Colors* is their most engaging effort to date. Stripped of the heavy-handed匀耐ness that married both previous efforts, the Enz also has a unique section borrowing heavily from the Anglo-pop bag of licks. The Holles ("What's the Matter with You"), "Sweet (Shark Attack)" and the Beatles ("What's the Matter with You") are all quoited with shameless flair and wit, but the closes the first side pretty much sums up the front reliance on threadbare formulas, yet it still manages to make its point with some hand-down hoops and a perforated snap sleeve as described as summarily commended. As forgettable a hit-making unit as Split Enz may be, one can only be grateful that they have left their former excesses behind, perhaps realizing that emulation, in their case, is the better part of功劳. **Darin Seav** CONTRASTS Sam Rivers (ECM) ECM is a label with two differ Rivers is revered for his tireless explorations on his instruments, expiring on them and leaving lines on "Dazle" alternately bring to mind a fervent Baptist minister and an aural chase game; Lewis compiles in a devised poem; he personal and evocative solo on the al- "...ring up to the title of the album, 'Verve' is an engaging funky stew served up by Rivers Caribbean music artists who has made the funky heat in terresting as well as danceable. On a cooker like this, Dave Holland isn't about to be relegated to oustman—he is just as mobile and pithy as Rivers." "Solace" illustrates what an illusory structuralist Rivers can be as a composer. His soprano and Lewis trombones are phantoms flickering across a de Harcourt landscape provided by Holt, who has written the marimba. This conglobates into a traffic jam where all four face off and deliver epigrams to each other. ent streams the ephemeral Euro- America, and now more earthly American and African black Sam Rivers' first ECM release as leader, the music'眸迷 into the latter bum. On 'Images', Lewis punctuates with accents that suggest the colorful rectangles in a Mondrian painting. Rivers restricts himself to tenor and soprano saxes and tute (no piano ramblings he and renders seven miniatures with ensemble. The proponent of this trio, the drummer Thurman Barker are a friend, but brompton George Lewis is the kicker in this lineup, the wildcard quadrant. Lewis adds a dimension of colors, shapes, and coral hornwork. Berry coronal hornwork. Rivers has enlarged the language of the tenor saxophone in many different contexts, covering new ground each year. It is one of the most beautiful to his already impressive discography. Kirk Silsbee The group's strong suit is surprise, the compositions, structured with adventure in mind and played witherve, lead the listener (this isn't a violin). The ensemble is predictable aural voyages. The prime example is "Magg Zeila," a 20-minute work which begins with a forest of blended sounds—orental balls, star saxophones and guitars, babes crying, flutes, saxes, whistles, and i-interspersed with patches of si **(ECM) The Art Ensemble of Chicago** Lester, Bowie, trumpet, Rochelle Mancill and Joseph Jarmen, reads. Malachi bass, favor. Don Drumm, or music and instruments) is the current darling of contemporary music, garnering fever critical acclaim and a growing popular following. Fall Force, a substantial fun feature of the show, is warranted. In these performances—which combine elements of jazz (though the AEC is by no means strictly a jazz band), chance music and drama—there are many components of charm, warm, and good music. ART ENSEMBLE OF CHICAGO Full Force Rockabilly Romeo One of the newest Hopefuls on the LA club scene is Keith Joe Dick, Rockabilly Romeo, who — in the process of repressing some of the best of Elijah Gene Vincent, Eddie Cochran, et al. — often does a sort of reverse strip tease. The group has all of its members wearing shorts and after graduating add pants, shirt and sport jackets, all of them appropriately Fifteen-ish cat clothes. Mr. Dick checks an imaginary wristwatch, exclaims "You just caught me getting out of the shower. I got to leave," and vanishes. Uni Law Byron Laursen By CI Staff1 The dorse the N Jan annou media perso Tickets $1.75 at SUA Office in the Union sponsored by SUA Forums Bef listen Count The a can senate by at A MULTIMEDIA EXPERIENCE NOT TO BE MISSED.