10The Daily Tar HeelMonday, October 12, 1987
miners
By JULIE WOODS
Staff Writer
f ou prooaoiy aon i pay 100
' ' ' 1 t-. J V
ers on the sidelines at a Uni
versity sporting event, but these peo
ple tape all your favorite players
injuries and help keep them in top
playing condition.
Marcella Fontenot, a first-year
graduate student, knows a lot about
trainers. Serving as a trainer for the
lacrosse, baseball and gymnastics
teams this year, Fontenot said that
most people do not truly understand
the trainer's role in sports.
"A trainer is responsible for the
prevention and care (of injuries) in
athletics,1 Fontenot said.
Fontenot, who is specializing in
sports medicine, said that the basic
role of a trainer is to prewrap before
a game or practice and monitor
players during play. If an injury
occurs it is the trainer's job to follow
up on the injury.
."It's a lot of hard work. You
decide how much you put in; how
committed you are to the athletes
getting better makes a lot of differ
ence," said Allison Angel, a second
year graduate student. Angel, a
trainer for the football and baseball
teams, is majoring in physical educa
tion with a concentration in sports
medicine.
"I like working in a health field
with people who are injured, but
with athletes it is more exciting
because they are very motivated to
get back into playing condition as
soon as possible," she said.
Senior Cliff Turner puts in 30 to
35 hours a week as a trainer for the
football team. Each football trainer
tapes 10 to 15 players per practice.
"We also tape before games, have
coolers full of ice for practices, and
make sure that a stretcher and pair
of crutches is out on the field," he
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have a healing influence on
said. Other responsibilities that keep
football trainers busy include carry
ing water to the players and wiping
them down with towels so they
won't get too hot during a game; v
While trainers use first aid to treat
players, all needed prescriptions for
medications are made by a team
doctor. Trainers and doctors work
closely together. Fontenot said com
munication is very important j
between the trainers, doctors, 1 ,
coaches and players.
Traveling is another aspect of the
trainer's job.
"For football, only two student .
trainers actually travel with the team
for away games," Turner said. The
other trainers can drive up later to
help out."
Lisa Searcy, a first-year graduate
student in physical education with
special emphasis in sports medicine
athletic training, is a trainer for
women's soccer, indoor track and
spring football. j
She explained the differences
between undergraduate and gradu
ate trainers. . !
"Undergraduates can express an
interest in the program by going
down to the training room in fetzer
Gym amd volunteering to work,"
she said. "They also attend an in
service class for two hours each
Tuesday that teaches the taping and
management of different injuries.
Usually after two semesters of
volunteer work, they are assigned to
a team." j
There is a new program for peo
ple who have volunteered at the
training room for one year. Athletic
Training 1 and 2, also known as PE
95 or 96, teaches taping procedures,
rehabilitation and prevention and
management of injuries, Searcy said.
"Students must have 800 clinical
hours to apply to the graduate pro
gram of sports medicine athletic
practice offers
care including:
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Abortion (to 20 weeks)
Breast Evaluation
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training at UNC," said Searcy. The
overall GPA and GRE examination
are other factors in the acceptance
of a student into the two-year pro-
gram. Upon graduation, students
must pass the National Athletics
Training Association certification
exam to be certified trainers. ,
Graduate trainers are usually1 on
teaching assistant programs. They
teach two activity classes a week and
work in both the physical therapy
clinic in Student Health and in the
training room in Fetzer Gym. Grad
uate students also work with intram
ural sports, in addition to the cover
age of two to three other sports.
The trainers for the football team
work under a different system, how
ever. Skip Hunter, head trainer for
the football team, explained how he
picks student trainers.
"Every year in the fall, We get let
ters from interested high school
seniors. We wait to see who gets
accepted into the University and
then interview all of the applicants,"
he said. "I end up hiring the best
qualified candidates based on grades
and experience."
For football, there are five under
graduate trainers and two graduate
trainers who work with Hunter and
his assistant, Bob Smodic. One
trainer is selected each year and
works for four years. Undergraduate
football trainers are paid minimum
wage. Trainers for all other sports
are volunteers.
Turner said the job of trainer can
be difficult.
"Sometimes it feels like we go out
and work and nobody thanks us,
but there are some guys who, if you
hand a cup of water (to them),
always say thank you," he said.
Dance company holds high-tech show
Art met technology Friday night
at Duke's Page Auditorium, and, as
incompatible as the two might seem,
they showed quite an affinity for one
another. In conjunction with the
Duke University Institute of the Arts
ongoing Festival of Science, Technol
ogy, and the Arts, the Mimi Garrard
Dance Company performed to a
receptive, if moderately sized, crowd.
The Garrard company, in existence
since 1965, is known for a distinctive
choreographic style which utilizes
stage lighting and other theatrical
effects as key design elements in the
overall production. With the capabil
ities of the computer-controlled
lighting system and the expertise of
lighting designer James Seawright, it
would be easy for Garrard's work to
degenerate into merely a high-tech
light show!' Yet "lier pieces tightly
integrated technical effects with
movement, music, and a rhythmic wit
to produce an entertaining, highly
visual viewing experience.
The six works on the program
demonstrated the various facets of
Garrard's choreography. "Flux" and
"Phosphones," company standards,
exemplified the Garrard interplay of
movement, light and shape. "Crushed
Ice" and "Exchange" toned down the
technicality and played up the dance
Fleetwood Mac dazzles concert audience
Stevie Nicks is one of those stars
that people either really love or really
hate. Rest assured, 99.9 percent of
those at the Fleetwood Mac concert
Friday night in the Smith Center
really loved Stevie.
Fleetwood Mac took the stage after
the anxious audience put up with half
an hour of music from the opening
band, the Cruzados, who sang their
only notable song, "Bed of Lies for
all it was worth.
During the half-hour wait between
bands, some enterprising folks in
section 225 began a successful (wave
that went 'round and 'round until the
brings out
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Football trainers attend to linebacker Mitch Wike during the Auburn game
.-
Kim Donehower
Dance
with a mix of props, spoken lines and ;
witty choreography. "Prelude" and
"Elusion" are standard modern solo
pieces, with adequate design and
presentation.
"Flux," originally composed in
1968, featured six unitard-clad
dancers, three in white and three in
bright colors. With a plain white
backdrop and five movable panels,
the ensemble served as a living screen
for a film projection of changing
colors and patterns, accompanied by
electronic music composed by Bulent
Arei: Here Garrard's ability "to";
integrate patterns of light and color
with movement and music is neatly
revealed. As the patterns of the film
slid into one another, the dancers
melted in and but of the background,
with the play of the projection over
their costumes and the portable
panels. As the pattern shifted from
undulating color into frenetic dots,
the music changed in quality to a fast
paced staccato, and the dancers
movements echoed the effect. The
Kelly Rhodes
Concert
Smith Center went dark and Fleet
wood. Mac began singing "Say You
Love Me."
Nicks captivated the attention of
most of the crowd with her flowing
black dress and big red scarf under
all that wild blond hair. She played
tambourine and, of course, sang lead
vocals on about half of the songs.
Christine ,McVie on keyboards,
however, was obviously the leader of
the band, doing most of the talking
and introductions. Dressed in a
glittery black pantsuit, she also sang
lead vocals on many of the songs.
Bassist John McVie took to the
background for the most part, not
singing and not even being identified
until the end of the concert.
Behind the drums was surely the
strangest man in rock and roll
Mick Fleetwood. Fleetwood was clad
in a T-shirt, leather pants and black
vest, towering head and shoulders
above everyone else on stage, even
Stevie Nicks who had on at least five
inch heels.
On tour with the band were Billy
ifloiriiii l-jfiu? finite
Tar K.
unity remained tight throughout the
piece, and the overall effect was a
mesmerizing synthesis of visual and
aural effects.
"Exchange" offered a change from
the eye-crossing technical abstraction
of "Flux." A witty satire of the stock
market, the piece involved a speaker,
Andre Bernard, who delivered a
financial commentary accompanied
by the actions of four barefooted
dancers, all dressed in black suits and
bowler hats. Props included a pro
fusion of variously sized briefcases
and small blue balls, the items
involved in the "exchange." The
movement began with a neatly
ordered folk dance with the brief
cases, accompanied by "American
Country Dance." As the speaker's
commentary described various finan
cial happenings," the dancers engaged
in a clever movement parody of his
monologue. "Hurdles to be over
come" was demonstrated by a hur
dling of the briefcases, and the tiny
blue balls were appropriately juggled
and exchanged as trading on the
market increased. "Exchange" dem
onstrated how Garrard's sense of
unity prevails in her more dance
oriented works, beyond her technical
involvement.
For Garrard, technology is not
Burnette on rhythm guitar and Rick
Vito on lead guitar. The two joined
the band before the Tango in the
Night tour when .Lindsay Buck
ingham left the group. Buckingham's
absence did leave a big hole for the
band to fill, but Burnette and Vito
did a good job, often adding their
creative touches to the group.
With a relatively simple stage set
and a sophisticated light show,
Fleetwood Mac brought the songs to
life with a frenzy and gusto that was
amazing. The group performed
"Chains" and "Dreams" in a way that
put the studio recordings to shame.
By the time the band was finally
playing selections off its new album,
the crowd was on its feet and scream
ing lustily. Stevie got bouquets of
roses from more ardent admirers and
one guy hung from the upper deck,
screaming, "I love you!"
A slightly upbeat "Isn't it Mid
night?" was followed by a haunting
"Rhiannon." Christine McVie intro
duced Burnette, who led the group
on a rock 'n roll extravaganza with
"Oh, Well" a la Fleetwood Mac.
"Seven Wonders" was followed
quickly by the introduction of Vito,
who sang, "Do the Shake." Burnette,
Vito and Fleetwood then held a
private jam session onstage that left
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This space provided as a public service. ;
eel players
DTHDavid Minton
merely an aid to the artistic medium;
it is a medium in and of itself. The
final work of the evening, "Phos
phones," revealed Garrard's use of
lighting design to heighten the artistic
value of dance and create a spectacle
of both technical and artistic merit.
Using the ensemble in simple uni
tards, with a plain white background,
Garrard created a variety of siU
houettes and shadows, appearing and
disappearing effects. The clever use
of light focused attention on the
bodies and movements themselves,
sculpting contours and highlighting
shape. With electronic music by
Emmanuel Ghent, the piece produced
a mystic mood combining movement,
light and sound without spotlighting
any of the three.
The Garrard performance proved
that technology and art do not have '
to occupy opposite ends of the
theatrical spectrum. Garrard's work
succeeds because she maintains a
balance and unity between her artistic
and technological elements. Reliance
upon technology does not have to
obscure aesthetic principles; it is
possible for the two to work together
with interdependence, as the Mimi
Garrard Dance Company showed in
its intriguing, entertaining style.
the crowd breathless.
Christine McVie sang "Over My
Head," and Stevie returned after a
brief absence, now draped in a blue
and khaki paisley shawl and black
beret, to sing "Black Widow." From
then on, she managed to change
shawls, tambourines and caps about
every other song.
.The band plunged into a series of
reminiscences, much to the delight of
the long-time fans of the band,
ranging from "Don't Treat Me This
Way," "Remember Me," and "I Want
You."
In a fun new version of "Every
body's Got Me Down," Fleetwood
emerged from behind his drums to
play his body literally. Somehow
hooked up to amplification, Fleet
wood hit his chest to play drums and
hit you-know-where for cymbals. He
had some rhythm help from addi
tional bongo-drummer Asante.
The rest of the band returned to
sing Nicks' solo hit, "Gypsy," with
Stevie now draped in blue. Christine
McVie then began "Tell Me Lies,"
in which three backup singers
Sharon Celani, Lori Perry and
Elisecia Wright contributed beau
tifully. Stevie returned with yet
another scarf to sing another solo hit,
"Stand Back," accompanied by a
spectacular lighting sequence that
looked like lightning. She also bared
her shoulders, to the delight of the
rowdier guys in the floor seats.
The set ended with two standard
Mac songs "You Make Loving
Fun" and "Go Your Own Way"
when the Smith Center went totally
black again and the cigarette lighters
went up. Within three minutes the
band had returned to sing "Blue
Letter" and "Don't Stop Thinking
About Tomorrow." Christine McVie
returned to sing a solo, "Songbird,"
dedicated to John Lennon for his 47th
birthday. ; V ' ;
The concert was a definite success,
with an audience that stayed on its
feet, cheering the entire two hours.
For its first road tour in five years,
Fleetwood Mac looked bright' and
sounded great. The great expanse of
the band's Own music and other blues
and rock was fascinating and
entertaining;. .: ;V1-V:
!