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University Daily Kansan, October 7, 1980
مبلغ 120mn ديون نقدية
Game of volleyball. not plavers. invites injuries
Shelley Flynn and Jill Stinson avoid a collision duri
Vollbally is a sport that involves injuries from divi
injuries to fingers from blocking and floor burn
hardwood floor are common for vollbally pl
Patronize Kansan
By KEVIN BERTELS Sports Writer
In volleyball, it's not whether you win
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 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 also is one of the games that you 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 players must be mindful of health 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
its components," she said. "It can be broken down into separate little parts. Then you have to practice those."
After many bruises and floor burns, the proper technique for diving onto a hardwood floor is perfect. 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.
"Every once in a while you hear the screech of skin on the floor, but usually they know how to fall," she said.
Knowing how to fall includes keeping the hips and knees off the floor, not always easy or possible, because they protride further than the rest of the hand. The exception is Brushes are the result of dives, and they can be seen on every ball player.
"THE IDEA IS'M to start on slow and put most of the weight on their chest and stomach and arch their back so that they don't drill their knees into
As the trainer, she knows that is not always achieved.
"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 hasn't split her chin open. Eventually body begins to adjust to the way to dive."
"They sometimes get burns on their hips," she said. "As far as stomach and chest go, they don't get hurt. But we sure to bump bones once in a while."
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 falls, or someone own's 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 warm-up routine, says that they are indispensable and an important—they are indispensable.
THE DIVE IS the most obvious on-court suicidal move, but not the most
cording to Diane Schroeder, a senior on the team.
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."
"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."
While serving, volleying and spiking, and in the midst of any number of situations that could cause injury, one reason it was easy to develop fear, also.
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 bends the finger back a
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 lolleyball." or
suddow
But from the first referee's whistle to the end of the match, fee must be put in the back of players minds, because volleyball is a game of seconds and
Ampersand
October, 1980
Take Henny Youngman...Please
BY DALE WHITE
Surely those old gags would have gassed their last. How long can a comic repeat the same wife-ethnic sex jokes and secure a strong laugh? If the comic is Henny Youngman, the answer is—a lifetime. "The King of the One-liners" has used the same schick for almost 50 years—and it still works.
The advances and ads in the press for his recent University of Florida appearance were few and brief, though occasionally tagged with a boastful "Take your wife—please." Nearly 2,000 students appeared to hear his 40-minute routine; noted poets, playwrights and politicians have failed to attract so large an audience at the campus.
When the comedian finally lugged his 6-foot-2 inch frame across the gymnasium floor with his famous short step gait, the audience immediately granted him a standing waiver.
At 74. Youngman seems to be as enduring as his jokes. His hair has thinned, his back and shoulders are perhaps more noticeably hunched, the bags beneath his eyes darker and deeper. But time hasn't altered him much. The black suit with the silk lining, the stiff brown tie: the image is intact. And so are the jokes.
"Derek and I got dressing rooms next door to each other. I noticed there was a little hole in the wall. I thought, 'What the hell—let her look.'"
"I got an offer to do a movie with Bo Derek—you know, that 10 girl." Some male members of the audience hooted and whistled. "Production called me up. Say, 'How about $50,000?' I said, 'I'll think about it.' He called again. Said, 'We'll make it $20,000.' I said, 'I'll rait my.'
Years ago he may have used the name of Racquel Wiel or Ursula Andress, but the joke would have been Wiel and neither has its response, an almost unified laughter that comes right on cue.
From a generation that usually identifies with the humor of a George Carlin, Gabe Kaplin or Richard Pyor. Youngman extracts laughs with words to drugs or four-letter words.
In an interview after the program, Youngman admitted his "biggest thrill is playing colleges such as this—seeing a couple thousand students come out to hear my stuff."
"I try to keep it clean. I don't think it has to be filthy. But it
"The take my wife—please!' thing started kinda by accident when I was on the Kate Smith Show. About 15 minutes before it was supposed to go on my wife up to me with several ladies. They had tickets but they didn't. So I asked them, to take my wife—please!' it stuck. The wife in all those plaid shirts, who sold sheet music at the mall, married 52 years.
Wife jokes have become a Henny Youngman trademark and he relied on them heavily with his college audience:
"I'm bow-legged. My wife's knock-kneed. When we stand beside each other we spin, OX."
be cimo trees
walking through a cemetery sees a funeral procession. A hearse with two cas
My wife is on a diet of coconuts and bananas. She hasn't lost any weight—but can
doesn't bother me when younger comics do dirt stirs. They're doing their own thing. Youngman's style is what grants him a lasting quality. It's a rapid-fire technique that hasn't changed since he mastered it in the Thirteens. He been working as a night club comic, employing a cigar instead of a violin as his instrument, and then taking an audition to do a six-minute spot on a radio show. He was an instant hit with the audience, recording time to 10 minutes. With a $250 check in his pocket for 10 minutes of work, Youngman realized he was a sudden success. Since his time was so brief, he decided to stick to jokes that could be delivered quickly. Youngman's jokes not only had punch lines, they had punch words.
doesn't bother me when younger comics do dirty stuff. They're doing their own thing."
kets, then a line of men following this guy with his dog. He asks the guy with the dog. "What happened?" My dog bit my wife and my mother-in-law. Man sacks. I can borrow the dog? Guy says.
Then, of course, a few ethnic cracks:
Then, of course, a few curious clashes:
"A Polish terrorist was sent to blow up a bus. He burned his lips on the exhaust pipe."
"A Polish rapist is in the police line-up. They
The key for Youngman, though, is to incorporate those well-worn gags with some audience participation:
"Two men are talking. One says, 'I just lost my third wife.' What happened to the first?' She died from eating poisoned mushrooms. And the second?' She died from eating poisoned mushrooms.' What happened to the third?' Cracked skull. "How?" Young lifted his hands toward the audience. "'She wouldn't-eat-the-poisoned-mushrooms,' chorused 200 people.
Youngman raised his 19th century violin art and his audience cheered, encouragingly. There are two ways I play the violin. For
"A Polish rapist is in the police line-up. They bring the woman in. He points at her and yells "Bitch."
Few of his iokes are originals, he admitted. "I don't create. I gather. I have writers." Joke collecting occupies a great portion of his time. He has estimated that he has spent more than $250,000 on his four-hour repertoire. (His writers have included Morey Amsterdam, Norman Lear and many others.) He knows more than 1500 jokes, but the jokes themselves aren't what makes him successful, he said. "It's the way I do it."
"Any of you out there italian?" Scattered voices in the crowd velled in the affirmative. "Okay then—I'll talk slower."
Youngman finds of his jokes as cartoons. They have the same impact; a simple image and a simple punch. His method is hit-and-run. If a joke flops, it doesn't matter. He's already into the next one.
An avid student of such glib greats as Eddie Cantor, Al Johnson and George Jessel, Youngman incorporated everything he could learn into an act that is strictly his own, and it works so well, he can't give it up.
"I try to be on the road as much as I can. Last night I was at a convention in Chicago. The night before that I was in"—He sorted out the dates and places in his mind. "Let's see, I was in Philadelphia. I'm always working." He acts as his own agent, sometimes booking more than 200 shows a year.
His silly joking and sour technique with the violin have guaranteed Youngman a steady sixy-fine income. It makes him glad he never pursued a career as a concert violinist as his Russian father.
"If I played the fiddle any better, I'd be making $125-a-week."
Dale White is another in a seemingly endless supply of freelance writers living in Florida
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