University Daily Kansan, October 7, 1980
Game of volleyball, not players, invites injuries
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 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 Luckwood and his volleyball team. Though the game may invite injuries, it also is 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 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. The spectator, diving headlong to the floor appears to be the most dangerous move possible.
Shelly Fox and Jill Stinson avoid a collision divi Volleyball is a sport that invites injuries from divi injuries to fingers from blocking and floor burns hardwood floor are commonplace for volleyball ni
To the volleyball player, the move becomes 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 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 Renae Bulmer.
Knowing how to fail includes keeping the hips and knees off the floor, not always easy or possible, because they protduce further than the rest of the players. The most important Brutes are the dives, and they can be seen on every ball player.
*THE IDEA IA* for them to start on slow and put most of the weight on their chest and stomach and arch their back into the floor. "Bulmer said their knees into the floor."
"Every once in a while you hear the screech of skin on the floor, but usually they know how to fall," she 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 you sure to bump bones once in a white."
"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 won't split her chin open. Eventually your body begins to adjust to the way to dive."
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 sliding down a ramp, or grown 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. We 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 visible. We should be alert for and do from day-to-day."
cording to Diane Schroeder, a senior on the team.
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 the ball is blocking spikes at the net. The girl hands her finger back.
THE DIVE IS the most obvious on-court suicidal move, but not the most common.
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 than 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 free 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 sues."
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.
Patronize Kansan
"You use your shoulder for everything in volleyball." Lockwood
its components," she said. "It can be a bit difficult to tell its parts. Then you have to practice them."
While serving, volleying and spiking, and in the midst of any number of situations that could cause injury, one reason that could make it 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
O'N TOUR
The Flying Karamazov Brothers OREGON COUNTRY FAIR, EUGENE
Having synthesized themselves into juggling siblings four years ago while attending the University of Oklahoma, Brothers Karamazov decided that performing and traveling the country in their converted school bus marked their journey. The brothers their degrees. The Karamazovs have since performed at colleges, theatres on national television, and even placed second in the World Team Juggling
On stage in wooded fairgrounds, the foursome, clad in dark black velvet biefrets and blue cuffed jackets, held gilded sledges and meat-cleavers and then displayed their musicianship during *Percussion Quartet for Jugglers* in a set of 5/4 rhythms with flying tennants.
Ampersand
And just for the record, the Karamazos once jugged a chaisuin in their act, but didn't do so at the Fair
Later, the Brothers proclaimed a contest in which Ivan would attempt to be married directly by the audience. If he met with success, he would receive a standing ovation—if not, his face would be met with jealousy. But two attempts at keeping a music stand gas mask and disposable daper are born, but finally the cheering crowd will wear it.
Perhaps even more impressive than their feat of juggling nine objects—two kettles, torch, skillet and egg—which landed neatly in the pan at its conclusion—a wasteer the performer抽取。The two were show. The four dotted their clothing and fearlessly wagged 12 flaming torches—a feodarty for anyone
The Flying Karamazovz. Timothy Daniel (Feyodor). Randy Nelson (Alyssa), Maid Magd (Dimid) and Joy Patterson (Ivan).
The Heatwave Festival
MOSPOT PARK,
BOWMANVILLE, ONTARIO
Avid festival goers arrived believing they'd see the Clash, the Rumores, Graham Parker, Deny's Mid
October,1980
night runners, Third World, Rockpile, Holly and the Italianas, Teenage Head, The Pretenders, the B-523, Talking to a Baby, the Start—but the first five in that lineup didn't perform Even so, most in attendance are agreed to agree that
This big New Wave bill wasn't a Woodstock a Monkeyte Pop Festival of any of those powerful old things. Moor park was plunked by millions of genuine locusts leaping to the music and on the crowd. This was one of the toughest events we were on a wagon train rolling some where rugged and unknown
The morning events were like a late Seventies stadium gig. The Canadian Teenage Head ram rocked rockabilly numbers at the hate but less dawning. He put on a wristband with wit, the crowd leaped to its feet, but only those near the stage danced: a man with a safety pin earring, a woman drapped in imitation leopard skin, lot of肤sows with painted hair—or perhaps just laughing up when the mass dance
Chrissie Hynde and the Pretenders know what to do. When they played with reggae, blowing it through the giant speaker stacks, the bodies begin to bob. Hynde flingue off a blue satin jacket and turned on th
PHOTOS BY ERIC JANSEN
Christie Hynde of the Protenders (below left) starts Canada's Heatwave festival during while David Byrne of Talking Heads (below) touches a nine member ensemble. New Wake goes gofun!
power in her independent, pouy voice. "Private Life" was like a rhythmic transfusion, the bobbing became quicker. The B.S.P., with their new camera, gave everyone's childhood with the beach party movie"i石Rock Lobster," the festival's first real showstopper. the dressed up New Wavers, the jeans and tee-shirt people the drunks, the urban discotheque and the locust scattered.
Elis Costello pumped in with an uncharacteristic happy expression. With the original Attractions, Costello
The Talking Heads hit the stage, enlarged to a nine member funk ensemble with Nora Hendray singing back up. The result was a sort of space disco--primal dance music without the usual rubbish during "Life During Wartime," the tone during "Take me to the River."
crooned the new popper, "Clubland," enhanced the reggae in his older songs and rumped in his exaggerated stage presence. Finally, in a reversal of his usual stage tactics, a five-tongue song with a double bass, What So Funny Boat Peace, Love and Understanding, "Mystery Dance" and "I Can't Stand Up for Falling Down."
Harold Goldberg
It was sad to see lan laboring in a style inappropriate for her, because she proved herself capable of handling so many other musical genres on campus. Her gospel pianist/caribbean balladian with "Pallied lights" and "In the Winter," singing with a Continental touch of theatrics over her melody, she sang beautifully warm-support club blues tune, was equally charming. Her encer, the bit sweetest business ode "Stars," presented her at her finest, revealing music while ringing true emotionally.
Apparently, these qualities are not enough to score points in the music biz right now, and Ian feels she needs to refashion her sound and image at The Rose. In the roses, the singer wants to rock out in front of audiences rather than win their sympathy—and that's the real pity.
Janis Ian
THE ROXY, LOS ANGELES
It's always easy to feel sorry for Janis Ian. Fifteen years ago, she gained notice as a persecuted teenager of the Society's Child. In the mid-Secventes, she won public attention again for her melancholy recollection of life in the Society, at least, her sorrows were transformed into moral artistic statements. These days, though, she in a post-state world is also the musical tueses of the moment.
The Patter's Over," one of her best upbeat songs, Nest, her three-piece band joined her for a tastefully rendered, sweet song. "She is the brooding, 'From Me to You' and the breery, samba-tinged, 'I Would like to Dance.' When I again took a solo spot for the plainsie 'Jesse,' she added her concert couldn't have been better.
I'm's appearance at the Roxy seemed to reflect her worries over her place in the record marketplace. Hailing failed attempts and failing currently striking out in a rock direction, punching up her usually restrained style with almost New Wavish sound. But tougher stance was not convincing. There were some impressive moments in her performance, to be sure—but they did not come or rock hard enough.
The show's opening minutes were promising. Striding into the spotlight with guitar in hand, Ian offered "When
Barry Alfonso
Unfortunately, fan was intent on proving that even 'sensitive' songwriters can rock and roll, and run through several既轻 compositions with their own distinctive turnover on the spotlight several times to her guitarist, Zito Zito, whose clitched star showbooking was difficiet to endure. I went in through a few of the motions herself, essaying an awkward leap or two in their high heel.
$ \mathrm{O}^{ \mathrm{N}} \mathrm{D}^{\mathrm {I S C}} $
AVE DAVIES AFL1-3603
(RCA) Stuanch Kinks fans have beired anticipating/anticipation a Dave Kinks solo LP ever since his solo single *Death of a Gown* "sawn to the top of the charts" and the dazes of wry Kinkman humor in the packaging — AFI1-5013 is named after its catalogue number and Davies head is replaced by a computerized bar music player. But the music is a bit slight for those who've been waiting 13 years.
It's strictly a one-man operation, save for four songs with an outside rhythm section, and the chief villain is Toby. He's a heavy, hard rock sound dominated by multi-layered guitars, but lead singer Davies winds up badly buried in the bass strings of his instrument spring for a rhythm section next time; the rudimentary nature of musician Davies' bands and drum work leaves it to the guitar licks to create melodies
Songwister Davies has contributed some absolute genes in the past but the neo-Nugent power rocker of "Nothing More to Lose" and the simple
Don Snowden
keyboard melody to "Doing the Best for you" is the best things he comes up with her. The lyrics tend towards modern music and a modern world; but we'll still beat 'em in-the-end sentiments that are all together admirable and practical in normal conversation but sound clay on one's nose naive coming out of stereo speakers.
PAUL SIMON
One-Trick Pony
(Warmer Brothers) "Mature," "tascal,
pollished"—the most exciting accolades with which to praise a pop musician, I'll admit. Yet it's Paul Sainton's gift to turn moderation into a virtue. As a solo artist he's recorded quietly charming music that's soothing without being dull, and one Trick Pony, his first all new LP since 1975, is evidence of his sure touch.
As befits the score for an upcoming film, *Ain't No Trade Pony* has a consistent vocal palette. Its studio sound which refines Fittes rock and rikiri styles in its songs is also featured on Tee's smash "The Tee's Smash."
ing electric piano is overused and Tony Levin's bass lines are muddy at times, the overall sound mix is lovely, highlighting Simon's understated vocal manner to good effect. The basic tune-writing is strong—"Nobody gently rocks to one of the prettiest melodies I've heard in age. Simon puts it into the composing, arranging and recording of this album, and it shows.
If craftsmanship was the LPS's only virtue, it would be a superior rule. But Simon has too much poetry in him to let arranging skill carry his songs and words so deeply up in "That's Why God Made the Movies," *Oh Marion*, or "Goddess the Absentee," adding color to the vaguely melancholy feel of the verses. Simon and others will love the Heart Appaches What It Years" is an awkward hook line no matter how cleverly it scans. But the album is more than redeemed by compelling lines like "Who was the witness to the life of Christ?" or eyes and saw the story. **Snowbie."
One Tick Pony's theme is of an aging rock star trying to cope with his illness, but in case, though, he's playing the role of pop older sisters quite well. The music of Owen Smith
A MULTIMEDIA EXPERIENCE NOT TO BE MISSED.
Tickets $1.75 at SUA Office in the Union sponsored by SUA Forums