USA Gymnastics - November/December 1984

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5I~~ :!Y~D 2~ g

Official Magazine 01 the United States Gymnastics Federation

Vol. 13, No.6

November/December 1984 22 Lori Fung, Chinese top lists at this International event held in Indianapolis, Indiana.

38 Kimb a ll Piano Internationa l took visiting Rhythmic dignitaries to visit its factory and witness the birth of a baby grand.

Cover photos © 1984 by Dave Black for FUJI Film, Inc.

DEPARTMENTS 7

8-11 31

USGF Editorial

By Mike Jacki

National Office News

By Dr. Gerald George

Safety/Education * Direc to r Defin e s Target Areas

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Calendar of Events

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Sponsor News *Kimball Host Pian o Tour

EVENTS 22-27

1984 Four Continents Championships

By Mike Botkin

* Lydi a Bree Closes Co mpetitive Caree r

39-45

1984 USGF Congress

By USGF Staff

' Dic k Cavett Hig hlights Annual Eve nt

FEATURES 13-19

Bart Conner/Kathy Johnson

By Debbie Forsten

* USA's To p Stars Loo k Back

28-29

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J

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By Mike Botkin

Lori Fung *Gold Makes Topping Oh-So·Swe e t

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USGF/McDonald's Gold Medal Tour

United States Gymnastics Federation Board of Directors: Executive Director, Mike j ac ki , 200 So uth Capitol Ave., Suite 110, Indianapo lis, Indiana; Athlete Representatives: Nancy J\'la rshall ; Bre nt Simmo ns; Larry'Ge rard; To m Be ac h; Lydia Bree; Kath y Jo hnson ; Diane Bijesse; Tim LaFle ur. Amateur Athletic Union : j e rry Ha rd y. American Sokol Organization: No rma Zabk a. American Turners : Harry Warnke n. Members at Large: Sue Amme rman and Lind a Che nc inski.

NCAA Gymnastics Coaches-Men: Rusty Mitc he ll, Uni ve rs it y o f New Mexico. NCAA Gymnastics Coaches-Women: judy Ave ner, Pe nn State Uni ve rSit y.

National Association for Girls and Women in Sports: Dr. Mimi Murray, Springfield Colle ge. National Association of Women's GymnasticsJudges: Dale Brown . NCAA: Sylvia Moo re , O regon State Uni ve rsity; G reg Marsde n, Uni ve rs ity of Utah ;J e rry Miles, c/o NCAA; \'\Iayne Yo ung, Brigham Yo un g Uni ve rsit y. NAIA: Bo nnie Mo rrow. NHSGCA:j o hn Brink·wo rth. National Federation of State High School Athletic Assoc.: Sharon Wilch ; Susan True. National Jewish Welfare Board: Co urtney Shanke n. NJCAA: Dave Rowlands, Truman Colle ge ; Arle ne Crossman, Linn Benton College. NGJA: Mike Milido nis. USAIGC: Ed Kn e ppe r. Men's Elite Coaches Assoc.: jim Howard. Uni ve rsit y o f Ne braska. USECA for Women: Roe Kre ut ze r; Ste ve Whitloc k. Young Men's Christian Assoc.: Bud Wilkinso n.

Jr. Boy's Gym. Coaches Assoc.: Robe rt Cowan.

USA Gymnastics Publisher: i\,tik e J ac ki , Exec uti ve Direc to r USG F; Consulting Editor: Ri c h Ke nney, USGF Direc t or o f M arketing and Sp o nso rships; Manag

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ing Editor/ Advertising Director : De bbi e Fo rs te n ; Contributing Photographer: Da ve Blac k; Production Director/ Editor: Mike Bo t· -kin.

Unless expressly identified to the contrary, a ll articles, state me nts and views print ed he re in a re attribut ed soley to th e autho r and the Unit ed States Gym nasti cs Fede rati o n ex presses no o pinio n th e reo n and ass um e s n o r es p o ns ibilit y the reof.

United States Gy mnastics Federation Members: Amate ur Athle tic Uni o n ; American Soko l O rgani zatio n ; American Turne rs; Associatio n fo r Inte rCOll egiate Athle tics fo r \Vo m e n ; Natio nal Associati o n for Girls and \X'o men's Sports; Nati o nal Assoc. o f Coll ege Gymnas ti cs Coac hes; NACGC- \'\Io m e n ; Na ti o na l Assoc. o f \'\Io m e n Gymnastics judges; NCAA; Nati o nal Fede ration o f State High School Assoc. ; Na ti o nal Gymnastics judges Assoc.; National Hig h Scho o l Gy mnasti cs Coaches Assoc. ; Na tio nal Jew is h \'\Ie Lfare Board; ati o nal junio r Co llege Athle ti c Assoc. ; United States Assoc. of Inde pe nde nt Gy mnasti cs Clubs; United Slate s Gy mnasti cs Safe ty Assoc.; Yo ung Me n's Christia n Assoc. ; Elit e Coac hes Assoc.

USA Gymnastics is printe d bi· mo nthly by the Unit ed Stat es Gy mnastics Fed e ratio n. Subscription rates per year: USA - 5 12 ; Can ada - 514 ( U.S. c urre nc y ) and fore ig n - 532 ( U.S. c ur· re ncy, air mail includ ed ). Sing le co py price is 52 .00 plus postage and handling. Co pyri ght © 1984 b y the USG F. All rights reserved. Printed in USA. Address: 200 South Capito l Ave ., Suite I 10, Indi anapo lis, Indiana 4622 5. PLEASE NOTE AS OF JANUARY 1, 1985 OUR NEW ADDRESS WILL BE: USGF, 1099 NORTH MERIDIAN, SUITE 380 , INDIANAPOLIS, INDIANA 46204.

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Midwest Tsukara Camp Cable, WI RUCJust 1q·23, 1q65 i;ast West University of Utah International Gymnastics Camp oalt Lake City, Utah otroudsburCJ, PR June 10-14, 1q65 oouth June 3-7, 1q65 University of Oklahoma Norman, 01<

July 6-12, 1q65 FeaturinCJ • These National seminars are part of the USGF's new educational coaching series and will serve . as the basis of our forthcoming National Coaches Certification Program!

• Experts in sports medicaine, biomechanics, exercise physiology and sports psychology will present "what research tells the coach" from the practical gymnastics standpoint!

• Leading International and Elite coaches and gymnasts will present lecture-demonstrations on the latest movement techniques and teaching methods in gymnastics!

• Three (3) hours undergraduate/graduate credit can be earned by participating in anyone of these seminars!

**6eminar

0110.00 Re'li6tration: Univer6ity Credit (optional) 040.00 Lod'lin'l and meal6 0150.00 (optional) * *U6GF Profe66ional member6 - Re'li6tration Fee: oqO.OO

A MU6T FOR ALL GYMNA6TIC6 PROFI;6610NAL6

Lookfor additional information and registration forms in tbeJanuary /February and March/April issues of USA Gymnastics magazine or contact: Gerald S. George, Ph.D. Director of Education and Safety- United States Gymnastics Federation, 200S. CapitolAve, Suite 110, Indianapolis, IN 46225

November/December 1984

U5GI= SDITtJRIAL

More Stars On The Horizon n looking over past records of the USGF, one can find man y interesting pieces of information. Back in the very early yea rs, the Federation was basically run on a shoestring. In the first three ye ars of the US GF's operation, the total amount of money that the Federation generated was about 5100,000.00. Most of this money was donated b y a number of differen t organizations. Just to give yo u an idea of how far we have come, we spent twice that amount in our Olympic team preparation during 1984.

Just recently, I had the opportunity to speak to some former members of USA Olympic and National teams.

We were discussing the possibilities of a European and South American tour during the summer of 1986. These indi viduals informed me that the very first time they traveled outside the continental United States to compete in a gymnastics meet was when they went to the Olympic Games!!! Times have sure changed! Many of our athletes have been traveling overseas for a number of years even before they are members of the Senior National Team. Most of our Senior National Team members have traveled extensively.

Many of them have been to Europe, Japan, South America, and other continents dozens of times.

It was not too long ago that something as simple as a team uniform was a very major item. There were meets that the USA Team warm ups were handed out prior to the meet and collected as soon as the meet was over. Today, each National Team Member has an extensive wardrobe for both competition and travel. Sponsorship programs have produced these opportunities. They have been a great help to both our image and our athletes appearance and self esteem.

The Federation offices have come a long way from the one room office in the home of our first Executive Director, Mr. Frank Bare. Our newest location, which we will move into on

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January 1, 1985, is a state-of-the-art business office. Our offices w ill be strategically located in 6 ,000 square feet of prime office space. Computer terminals, Word Processors and other modern day equipment hides the fact that we are responsible for administering our National Gy mnastics Programs.

Many new programs will be introduced in 1985. Our fulfillment program will be replaced with a very strong and well operated merchandising program. New products, including instructional materials, apparel, rule books, films and video tapes and all kinds of gymnastics paraphernalia and memorabilia will be marketed, catalogued, advertised and sold. We are really looking forward to this being a most exciting addition to our marketing function.

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here are other new programs on the horizon. Our Education and Safety Department is in full operation and we are excited about the new opportunities it offers.

Our Safety Manual is right around the corner. Our first Coaches Seminars are being offered in 1985. Our Business Management and Opportunity Seminars will include at least four scheduled programs during the 1985 season. Our publication of articles, information and the technical journal will be accelerated during 1985. Other publications, such as USA Gymnastics, will be given the support and the attention that they deserve. As our direct link to the gymnastics family, rest assured that these periodicals are given a high priority in our office.

Our continued work with old and new sponsors alike will be evaluated and, hopefully, increased. We hope to have the opportunity to provide the gymnastics community with more programs from sponsors and other support organizations.

Our Events Department will be hard at work to produce, direct and create the best gymnastics events possible. It is our way to showcase our great sport and we will make sure it is portrayed the way it should be.

There are so many other things that we have in our plans for 1985 and beyond. We are extremely excited about the position our sport is in right now. We are going to make sure that we take full advantage of this in making the best programs possible available to our athletes, coaches, officials and supporters.

Without a doubt, 1985 will be our best year yet.

For the United States Gymnastics Federation, Mike}acki, Executive Director

Want To Know More About Rhythmic Gymnastics?

For more information About This New Dazzling Sport, Please Contact The United States Gymnastics Federation

By Writing: USGF-RSG 200 South Capitol Ave. Suite 110 Indianapolis, In. 46225 USA Gymnastics

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NATIONAL Ol=l=lell NIlWS USA Gymnastics

November/December 1984

Gaylord Named To Council On Physical Fitness WASHINGTON , D . C . -Ol ympic gy mna st Mitch Gaylord was honored with an appointment to serve on the President 's Council on Ph ys ical Fitness it was annou nced Friday, Novembe r 2 1984 from the Western White House in Santa Barbara, California.

In an announcement coming from Pre sident Reagan ,

Gaylord, 23, from Van Nu ys, California , became one of the youngest members in the Council 's history. Only the appointment of the Universit y of Maryland basketball star Tom McMillian in the late 1960's and that of Judy Ford, a Miss America in the early 1970's can match the youthofGaylord.

The four-time Olympic medalist is one of 15 members that serve on the Council. He filled the opening created by member Leon Weil 's appointment as Ambassador to Nepal.

According to the Council' s Executi ve Director Ash Hays these appointments are subject to chan ge by each admini stration. « Thi s is an honorary position and a member receives nn remuneration for it ," he said.

·'The criteria for being selected is quite basic ," said Hays from his Washin gton, D.C . office. " The person has to ha ve an interest in ph ys ical fitne ss and willing to give direction to ot her mem bers .. • Gaylord joins ot her s uch notables as: George Allen , Chairman of the Council and ex-NFL and USFL football coach; Roger Staubach , Dallas Cowboys and Navy football great ; Dorothy Hamme l, Ol ympic skating star; and Wa yne Newton , a popu lar singer and entertainer. The Council also includes, on it s Board , three represe ntati ves from the med8cal profeSSion , fi ve members from the business community and a ch urch representative.

The Council was started in 1956 by President Ei senhower and dedicated it self to rai sing the public 's awareness of physical fitne ss . Probably the best known project the Council has is the President 's Phys ical Award which is carried o ut annuall y in public schools across the nation .

USGF Eligibility Code Updated USGF ELIGIBILITY CODE UPDATE The following sections have been either re vised or added the USGF Eligibility Code. These changes were recommended at an Eligibility Committee meeting held on September 25, 1984 , approved by the Executive Committee of the USGF Board of Directors, and effective on October 27, 1984: I. Section II, A, An y gym nast taking part in a competi tion or other event for which he or she is paid, loses immediately his or her amateur status. (FIG Statutes, Article 38) 2. Section II, C. 10. Municipal , state and federal taxes.

The USGF Eligibility Code will be printed in it' s entirety in the Jan .lFeb. issue of USA Gymnastics.

USGF ELIGIBILITY COMMITTEE The United States Gymnastics Federation has established a Committee on Eligibility consisting of seven members, three of which are athletes representing the various disc iplines (men' s artistic, women 's artistic and rh ythmic gymnastics) of the sport. The current Committee members are serving as interim representatives until fornlal elections and/or appointments are made. The athlete representati ves on the Committee will be selected by the current senior national teams , from nominations made by the athlete representat ives of the Board of Directors of the USGF. The Eligibility Committee is charged with the following responsibilities: I. O verseeing compliance with the rules of eligibility as defined by IOC, USOC, FIG and USGF. 2. Recommending to the Executive Committee of the Board of Directors of the USGF re visions of the Eligibility Code.

3. Responding to inquiries from gymnasts , or their coaches, parents or representati ves , concerning the Eligibility Code.

4. In vestigating alleged violations of the Eligibility Code and recommending to the Executi ve Committee sanctions to be imposed for violations of the Code.

If there is ever a question whether an activity or action may jeopardize the eligibility of a gymnast, please do not hesitate to call or write the United States Gymnastics Federation.

All inquiries regard ing eligibility must be presented to the Eligibility Committee in writing unless, through no fault of the inquiring party , insufficient time is available to submit a written inquiry. Inquiries s hould be addressed to: USGF Eligibility Committee 200 South Capitol A venue Suite 110 Indianapolis, Indiana 46225 3 17/638-8743 The Eligibility Committee may designate anyone of it s members as Chairnlan.

The Chairman will screen all inquiries and respond to

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those inquiries w hi ch he or she believe s do not require consideration by the entire Eligibility Committee.

The entire Eligibility Committee must consider and respond to an inquiry whenever: a. the Chairman , believing that the inquiry raises iss ues either not clearly resolved by the Code or not pre viou sly addressed by the Eligibility Committee , submits the inquiry to the Committee; b. the inquiring party disagrees with the Chairman 's response and file s a written request that the inquiry be considered by the full membership of the Eligibility Commit-

tee; or c. a member of the Eligibility Committee requests that an inquiry appearing on the monthl y log be cons idered by the Committee.

In the case of inquiries s ubmitted to the full Eligibility Committee: a. The Chairman wi ll send to each member of the Eli g ibility Committee a written copy of the inquiry and his or he r proposed response to that inqui ry .

b. The Chairman will then poll the Committee members .

Each member may vote against the proposed res ponse , suggesting alternati ve responses , or vote for the proposed response.

A simple majorit y of the membership of the Comm ittee is sufficie nt to create an official act ion by the Eligibilit y Com-

minee.

A determination by the Eligibility Committee that a gymnast has violated the Eligibility Code wi ll be re viewed by the USGF Executi ve Committee. After review of the entire record in the case, the Executive Committee may reverse or affirm the Eligibility Committee ' s determination . If the Executive Committee affirms a finding of a violation , it may (I) instruct the Executi ve Director to impose the sanction recommended by the Eligibility Committee or a ny other less severe sanction , or (2) request that the Eligibility Committee jeconsider its recommended sanction .

SCU Honors Grossfeld NEW HAVEN , CONN.-Abie Grossfeld, the s ilent force behind the men's Olympic squad, was honored here by local, state and national dignitaries and by the student and faculty of Southern Connecticut State University September 10, 1984.

As reported in the " Southern Journal " in its Sept. 29, 1984 edition, Grossfeld recei ved, among other things, praise, proclamations, a CSU chair from the U niversit y's Dr. Frost , a Neiman painting, a warm welcome home and a hearty job well done. " Abie's achie vements reflect the excellence of the faculty at Southern and demonstrate that Southern is a center for excellence, " said Uni versity Pres ident Michael Adanti who presided o ver the ceremony . Also in attendance was Peter Kormann , currently working at the Naval Academ y with gymnastics, but a past bronze medal winner at the 1976 Olympics in Montreal , Canada. Kormann , who was coached by Grossfeld during college at Southern and in the Games of '76 told the crowd " It takes a special coach to get that kind of confidence from gymnasts." A confidence that spurs one on to win.

The paper also reported Grossfeld said that the men 's victory in the Olympics was " by far the greatest thrill I've ever had. I had goose-bumps for o ver a week ."

As the Southern gymnastics coach looks out of his office window , he will be constantl y reminded of hi s accomplishment s and of Southern' s ad miration as he gazes at ' Abie Grossfeld Circle.'

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,_ _ _ _ _ _ _ _ _ _ ___,_ November/December 1984 _ _ _ __________,

Hall Of Fame Selections Made At 1984 Congress Submitted by Erna Wachtel To be nominated for thi s award one must have 20 or more yea rs of involveme nt in the spon of Gy mn ast ics. There are three categories: Gymnast , Coach and Contributor.

Nominees for Gymnast were: Dale Flansaas Kephan , Doris Fuchs Brause, Barbara Ga llerherTonry , Pearl Perkins Nightingale.

The winner is Doris Fuchs Bra use.

USA Gym nast 1955 - 1968. Member of four Olympic Teams: 1956-60-64-68. Pa n- Am Games fo ur go ld medal s.

World Cha mpionshi ps 1962 - 1966. In Donmund , Germany 1966 she rece ived on the un even bars a score of9. 775pts. Her Countrymen in th e aud ie nce loudly protested the score de laying the competition for one hour and 30 min utes. S he is a legend on this event. Dori s repre se nted USA on numerous State Depanment Tours.

Dori s coaches gy mnastic s in Kent , Conn. at " Ke nt School," teaches gym nastics with an e nrollment of 82 student s at " Ke nt Park Recreation. " On Saturdays she teaches at Lichtfield School in Lichtfield Co unt y. Her book on "Exercises how to look 20 at 40" was publis hed by Globe Publications in 1982.

Coach of the Year Nominees for Coach were: Dick Mulvihill , Dale F1ansaas Kephan , Ell swonh St um pf, Vannie Edwards.

T he winner is: Dick Mulvihill .

Dick has been teac hing gymnastics for more th an 25 years and coached at Juni or, Se nior and Elite level successfull y.

Junior National a ll -around champions : 1963-70-7 1-72.

Senior all-around champions: 1970-71-79-80-8 1-82. Three times Natio nal Team Championship YMCA. Five limes Team Championship USA IGC. Twice Elite Coaches As sociat ion Nat. Team Championship. Members on the Olympic Team: 1964 , one-1968three- 1972 two- 19760neUSA two Canadians - 1980 two USA one Canad ian.

Coached Pan-Am Team members 1967-7 1-75-83. World Championship team members: One 1966 - two 1971 - two 1983 both win nin g Bronze medals, on une ven bars and bal. beam.

Member of coach ing staff: 1966 World Championship 1967 Pan-Am Team 1968 O lympic Team - 1972 Olympic Team .

Member at various times: USGF Tech nical Committee , Foreign Relation, USA Safety Association - USA IGC Charter Member. USA IGC " Master Coach of the year" award.

USGF Coach of the year 198 1.

At present, Di rector of the Nat ional Academy of Anistic Gym nast ics , Eugene , Oregon.

Nominees for Contributor were: Dr. Roben Gruenninger, Dale F1ansaas Kephan, K itty Kjeld sen , Janet Bachna , Flore nce Palas.

The winner is: Dale F lansaas Kepha rt.

Composer of co mpulso ry ro utines DGWS - USGF Beginners, Intermediate, advanced level Floor X DGWS. Gym nastic Guide June 1973-75. Composition of USGF compu lsory Balance Beam level l, II , III. They were in use from 1975 till 1980.

Wrote an icles for International Gymnast from 1968 ti ll 1976.

Five record s with Hoctor, Composition for Floor X class II , dramatic compos iti on for Floor X m usic from many Lands. USGF C lass 11[, II , I, compulsory Floo r X. C ho reographer of the USGF National Age group compulsory Bal. Beam C lass I, II , III , IV , V, to be published by USGF and NAGWS. Composed Class II and III club routines for rh ythmi c gy mastics used 1980- 1984.

Composer of 198 1-84 O lympic Floor exerc ise .

Choreographed 1985 - 1988 O lymp ic compulso ry ba lance bea m , which she wi ll teach in Frankfun, Germany at an International Course.

Dale was unab le to atte nd the Congress. Her fr iend Pam Kees accepted the award with this note from Dale: " I appreciate and thank you for thi s award being placed in the Hall of Fame. My joy in gy mnastics comes from contribut ing to gymnastics and its progressions when ever I can. Thank yo u for the Honor".

Four other" Hall of Famers" were present at the Banquet: Jackie Fie , Walter Lienen , Herb Vogel a nd " me."

USA Gymnastics

Guest Comments

Star TreatInent

By Robert Cowan Rock , mo vie , and eve n political personalities are used to crowds screami ng , following , ask ing for autographs , etc . But, gymn asts. Hard ly. Unt il now .

The 1984 USGF/Mc Dona ld Medali st Tour to honor a nd publicize the outstandin g achievements of our 1984 O lymp ic Teams , proved to be the arena at which our gy mnasts finall y recei ved their much de se rved medi a a nd public acknow ledgement.

The yo ung gi rl s who c heered the names of Mitch , Ban , T im , Peter, etc. accompanied wi th squeals a nd screams of joy a nd appare nt ecstas y at sight of their he roe s are reminders of anot her tim e when Elvis or the Beatles caused yo ung girls to faint and be carried from

their presence.

The names of Mary Lou , Jul ian ne , Trac y a nd Kath y were also on e veryo ne 's lips and the constant de lu ge of flowe rs and gifts from the crowds in WaShington , Houston, Albuquerqueand Indi anapolis were a reminder a~d ever路 pre sent reinforcement of America' s love of a wmn er.

It has been fe lt that our country and ou r spo n needed heroes. Heroes for the kids to look up to to replace the rock groups , to be on a par w ith the spons heroes and astronauts which the last generation emulated. We have them now and as a re sult we are going to have to suppon them because thi s type of notoriety is infectious a nd often times dangerou s. Followi ng the exhibition in Houston , Scott Johnso n a nd I were going to the hotel to ge t his clothes and we were ph ysica ll y attacked by five gi rl s seeking autographs, a touch of Scott or some physical proof that the y could go to school with and show their friend s that indeed they had met one of THEM .

(Ac tuall y, Scott got attacked , I was just try ing to protect him. ) It was a really di sturbing experience and along with their ear-piercing sc reams and the tearing of the clothes , it co uld be ve ry un settlin g to be consta ntl y harassed, to ha ve no pri vac y.

We need thi s expos ure for o ur spon, but at what cost to the at hletes? Are we prepared to deal with their new concept of their worth? Are they prepared to deal with it ?

Wi ll we all forget how we got here and the work and suppon of the Mike Jacki's administration of the USGF and those who preceded him ?

Can we ever di scount the impact that Mas Watanabe had on the wi n in Los A ngeles?

One of the more poignant stories out of the tour originated in Baltimore/Washington whe re two yo ung college girls. . Debbie C louser a nd Gay M ye rs attended BOTH perfomlances at Capital Centre. Not gymnasts and o nl y havin g had their interest sparked through ABC's great coverage of the Ol ympics, they bought tickets for both s hows. They became instant gy mnastics gro upies. The y were among the group of

200卤 people who stayed throug h a pouring rain to watch us leave the are na. They were among the group of30 odd cars who c hased us back to G ree nB elt, Mary land and sat pat ie ntl y when Jerry Fo nt ana a nd the bus drive r went into the police station to ask for police escon . They talked their wa y into the Holi day Inn where we were stayi ng and waited well past 5 a. m . to get autograp hs of an y gymnast who might stragg le through the lobby. The y followed us to the airpon and patiently and covenly got EVERY autograph of everyo ne on the tour EXCEPT Mitch. Finall y in desperation they asked me for help. I asked Mitch to sig n for them and I even took their pic ture together. Later whi le munching down a cold hot dog , they sighed and professed their sad ness at never seei ng a ny of the group again. I kiddingl y said the y sho uld drive to Indianapolis (800 + mi les) to catch the last show.

Seven days later when we arrived in Indi a napoli s, g uess who walked up? Ri g ht. Debbie and Gay . They had left D .C. with on ly a road map and their desire to see the gymnasts one more time . En ro ute , they got lost at least "a mi llio n times," had car trouble , s pent " Their life savings getting the car fixed ," a nd, oh yes, d id not tell their parents where the y were. They enrolled in the Coaches Congress to ge t closer to the action, atte nded the performance in Market Square Arena , handed ou t pictures to the gymnast s that they had taken in WaShington a nd in ge neral had a great time . When I discovered they were in town , I introduced them to Mike J ack i who gave them a USGF pin and comme nded them on their te naci ty.

Whi le these two are no doubt an exception in the extreme , it points out the impact th at our s pon is having o n America .

We ca nnot afford for the athletes sake to fai l in th is great opponunity . Everyone who wants an au tograph must be treated couneo usly even if they ha ve to be den ied the autograph, eve ryone w ho has a " deal" fo r Mary Lou or Mitch or Bart or anyone mu st be heard eve n if he cannot be accommodated.

Everyone who profe sses an interest in a new program or a clinic or a guest appeara nce must he dealt with. In shon , for the ath letes a nd the spon as a who le , we must be good ambassadors . It goes with the territory .

Many of us o ld-times a re uncomfonable with the agen ts, managers , etc., because all too ofte n they appear insensit ive to the dues that have been paid alread y by the USGF, coaches a nd supponers for these yo ung people.

However, this also goes with the territory.

We must all th ink a he ad while at the same t ime remember what got us here . We cannot abandon the ve hicle which pro vided thi s opponunit y. 1988 is not that far away.

As for me, I am lo ving every minute of it and proud to be a pan.

USGF IS NOW ACCEPTING BIDS TO HOST THE FOLLOWING EVENTS: AMERICAN CLASSIC NATIONALS (W) MAY 9-11, 1985 U.S. CLASSIC NATIONALS (W) AUGUST 22-24, 1985 WORLD CHAMPIONSHIP TEAM TRIALS (M/W) SEPTEMBER 26-29, 1985 JUNIOR/CHILDREN USA CHAMPIONSHIPS (W) SEPTEMBER 12-15, 1985 PROPOSED DUAL MEET WITH CHINA (M/W) TENTATIVELY IN APRIL, 1985 BIDS AND TERMS FOR HOSTING THESE COMPETITIONS MAY BE RECEIVED BY WRITING TO THE USGF, 200 S. Capitol , Suite 110, Indianapolis , IN 46225 Attention: Cheryl Grace

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Women's Program Update

By Greta Treiber CLASS IV-A SP Innerstand , face Low Bar Chainnan of National Compulsory Program M: Glide Kip - Cast A listing of skills of the 1985 routines are provided below Back Hipcircle - Cast for the re ason to give an equal opportUntty for all persons to Si ng le Leg Squat Through learn about the appropriate skill content of thi s new program.

Mill Ci rcle Backward Especiall y aiming to help those peOple who were unable to Fl ank Cut Forward attend the USGF National Congress In Indlanapohs, the fol Pendulum Seat Swing lowing comments should be made: Short Kip I. These are NOT descriptions of routines on an y e vent , Front Hip Circle but only individual skill li stings. Definite description of skill s Pike Down - Slride Supp. (LB) and connecti ve moves will be publi shed in the OFFICIAL Flank Cut Backward TEXTBOOK released in 1985 . The interpretation of the D: Straddle Sole Circle (backward ) to TEXT , the guidelines for technical execution of the ski ll s, Underswing and special points for safet y will be covered in detail throug h CLASS IV-B SP: Outer Stand , face Low Bar the National Master' s Workshop held In 1985 at IndIa na State M: Run Out - Kip Uni versity, Terre Haute, Indiana on May 24 , 25 , 26, 27 , and Front Hip Circle at Emory Uni versity, Atlanta, Georgia on May 30 , 31 , June Single leg Squat Through 1,2.

Stride Pendu lu m Swing (Backward ) 2. At the time of this publication the final writing. of the Flank Cut forward text is still in progress. The matching of .the te xt with the Bac k Pull Over (to hi gh bar) video tape is under work. Therefore , thIS hst shall be cons ICast - Bac k Hip Circle dered unofficial, as some minor changes may occur.

Underswing - 180" Turn 3. Thi s list is basically the same as the one distributed at D: Straddle Sole Circle to Underswing the USGF Congress. The only difference is: 180" Tum a. Uneven bar skill list is refined SP: Inner Stand, face Low Bar CLASS IV-C b. Errors are corrected (t yping) M: Run out Single Leg Kip (Stoop up) 4 . The ideaofteaching these skills in a form ofcont inuous Mi ll Circle Forward routines or to use it to conduct workshops over thi s material Single Knee Pe ndulum Sw ing is highl y discouraged, as the infonnation provided here is (Backward) absolutely insuffic ient for these purposes.

Back Hip Pull Over Cast - Back Hip Circle SKILL LIST: Pike down (Stride Support LB) HORSE VAULTING Flank Cut backward Handspring - 360" Twi st Off CLASS I D : Straddle Sole C ircle backw ard to Handspring CLASS II Underswing Handspring CLASS III SP: Outer Stand , face Low Bar CLASS V-A A: Squat Flight CLASS IV M: Front Support - Single Leg Squat B: Squat Through, C: Squat on-Straight Jump Off Pendulum Knee Swing (backward ) A: Run - Hurdle-Jump from board to CLASS V Mill Circle forw ard squat on Horse and Jump Off 180" Turn in stride position - close legs I. Straight Body to Front Support 2. Tuck Cast - Back Hip Circle 3. Straddle (Pike) D: Underswing 180" Turn 4. 180" Turn SP: Outer Stand , face Low Bar B: Same as V-A - Without the use of CLASS V-B CLASS V M: Front support horse Cast - Back Hip Circle I. Straight Body - Land - Forward Cast - Single Leg Flank Cut Roll Single Knee Pe ndulum Swing 2. Tuck - Land - Forward Roll (backward) 3. Straddle (Pike) - Land - Forward 180" Turn in stride position - close legs Roll to Front Support 4 . 180" Tum - Land- Backward Roll D: Cast - Underswing 5 . Forward Roll with Flight SP: Inner Stand , face Low Bar CLASS V-C C: From 3 Runnin g Steps - Hurdle to CLASS V M: Chin-Up to Low Bar Board Back Pull O ver I. Straight Jump Off (Lift) La ndon 2 Cast - Back Hip Circle Feet D: Underswing 2 . Running Technique 3. Acceleration

UNEVEN BAR CLASS I

CLASS II

CLASS III

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SP Outer Stand - face Low Bar M: Glide Kip Clear Hip Circle to Hand Sta nd Stoop Sole Circe - 180" - Catch HB Short Kip Handstand 180" Pirouette, swing down between bars Counter swing to Free Straddle over LB (Backward) Glide - Stoop over LB Long Hang Kip Front Hip C. - to Hands tand D: Fly Awa y - Stretched .

SP Outer Stand - face Low Bar M: Glide Kip - Cast Clear Hip C. Backward to 7/8 Handstand Glide 180" Tum Glide Kip Catch HB Short Kip Straddle Sole Circle Backward 180" Turn to Beat LB (Stomach Whip) Uprise - Straddle O ver LB Long Kip Front Hip Cirlce - Cast D: Fly Away - Piked .

SP Outer Stand , face Low Bar M: Glide - Double Leg Stoop Up Pendulum Seat Swing (bac kw ard) Short Kip to HB Front Hip Circle Straddle Sole Circle (backward ) 180° Tum to Beat LB Uprise, Pike - Rebound from LB D: Straddle Sole Circle backw ard underswing 180° Turn from HB

C LASS IV- B

C LASS IV -C

CLASS II

CLASS III

CLASS IV-A (Highest)

M: Handstand (press) .

Backward Body Wave Double Stag Jump Cross Handstand - F1ic Floc Cat Leap (1 80" Turn) 360" Tum Front Scale Stag Split Leap - Sissone Side Handstand 90° Cross Handstand D: Cartwheel Step - in - Backward Saito Layout.

M: Free Jump (From 2 Feet) To Semi Squat Body Wave Stag Jump Flic-Floc Assemble ' - Tuck Jump with 180° Turn 360" Tum Front Scale Hop- Chasse ' - Split Leap Farm Aml Pirouette 180" Turn to Cross Handstand D: Cartwheel Step In - Backward Saito Tuck M: Step on to Semi Squat Body Wave Sissone Bac kw alkover 360" Tum Front Scale Split Leap - Chasse Side Handstand - Cartwheel Out D: Brani M: Jump to Semi Squat (' use hand support) Body Wa ve Tuck Jump Back Roll

D: M:

D: CLASS V-A (HIGH EST)

CLASS V-B

' CLASS V-C

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M: Tow 180" Turn s Forward Body Wave Split Leap Backward Swing Tum Front Sca le Forward Roll D: Straddle Toe Touch Jump Off M: Backwarrard Body Wave Cat Leap 180" Tum Forward Roll - Straddle D: Swing Up (from Knee Scale) M: Forward Chasse' Forward Swing Turn Sideward - Body Wa ve Assemble ' - Si ssone D: Tuck Jump

FLOOR EXERCISE CLASS I

CLASS II

540" Turn Round Off - F1ic Floc - Saito Backward Layout - Rebound Cat Leap 360" Scissor Split Leap Ha ndstand - 360" Pirouette - Front Walko ver (Free Leg High at Landing) Front Saito Tuck - Cartw heel Step in Mount ing Flic-F1ac - Bkwd Walko ver to Handstand Round Off - Split Jump Altitude Tum - 360" Backward Body Wave Side Body Wave Split Leap - to Side Leap Round Off Di ve Roll - Straddle Jump Bac k Extension Roll - Bac k Walkover 540° Turn Front Walko ver - Handstand : 90° + 90° Pirouettes

BALANCE BEAM

CLASS I

D: M:

Front Scale Split Leap - Chasse' Forward Roll Roundoff Scissor - To Stag Sit (' use hand support ) Split Leap Forward Swing Turn Forw ard Roll Front Scale Forward Body Wave Assemble ' - Si ssone Round Off Sw in g up to Stradd le Sit Cat Leap Forward Body Wave 180" Turn Front Scale Forward Roll Assemble - Tuc k Jump Straddle Toe To uch Jump Off

CLASS III

CLASS IV-A (Highest)

CLASS IV-B

CLASS IV-C

CLASS V-A

CLASS V-B

CLASS V-C

360" Chasse ' Tum Aerial Cartwheel Tour Jete - Back Walko ver Round Off - F1ic Floc - Saito Bac kward (Tuck) Round Off - F1 ic Floc Hitch Kick 360" Turn Split Leap Fouette ' - Back Ext. Roll - Back Walko ver Splits Front Handspring - One Arm Cartwheel (Far Arm) Front Scale - F. Walko ver - One arm CW (Far arm) 360" Turn Round Orf - F1ic Floc Chasse ' Cat Leap Front Scale - Forward Roll Round Off - Rebound Back Extension Roll (straight amls) Assemble ' - Stag Jump Handstand - 90° Pirouette Front Scale (extend up from kneeli ng) Chainne Turns Backward Roll (To Arabesque ) Forward Body Wa ve Hilc h Kick Front Scale Round Off - Rebound - Backward Roll Split Leap (90° Ext) Assemble ' - Stag Jump One Arm Cartwheel (far Arm) Cat Leap Handstand - Forward Roll - Di ve Roll Cartwh eel - 90° Tum in - Lunge Forward Body Wa ve Step - Skip L-R sides Assemble ' Forward Ro ll to Jump 180" T urn Bac kw ard Roll to Stand

USA Gymnastics

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1985 NATIONAL MASTER'S WORKSHOP OF WOMEN'S GYMNASTICS COMPULSORIES REGISTRATION FORM Georgia 0 FEE STRUCTURE

Please Register me for: SITE I: Indiana 0 Indiana State University Grete Treiber - Director Terre Haute, IN 47809 May 24 , 25 , 26, 27

SITE II: Emory University Bonnie Cook - Maryann Dykes Dir. Atlanta, GA 30322 May 30 , 31, June I , 2

Last Name _ __ -'First Name _ _ _-'Female----.Male_ _ Street Address _ _ __ _ __ _ _ _ _ __ _ _ _ _ City_ _ __ _ _ _ _ _ _~State _ _ _ _____L.., 7ip - -

If preferred workshop is full (not avai lable) please register me to alternate workshop: YES 0 NO 0 (Return Check) Home Phone: ( ) " T" Shirt Sizes (Unisex; ADULT: S:D M:D L:D XL:O Date of Mailing: State of Mailing: Calif.O Oregon: 0 Enclosure: Money Order: 0 Cashiers Check: 0 Personal Check: Amount: _ _ _ _ _ _ __ __ _ _ _ __ _ __

o

IMPORTANT: Registration is Limited . First comes served first!

Register early - Starts: December I , 1984.

$130.00 Up tu Man.:h first Registration (post marked) Mail to: V. French: P.O. Box 247 , Boreggo Springs, CA 92004 $150 .00 After March First Mail to: V. French: Route I, Box 245 , Forest Grove, OR 97116 For cancellation-$30.000 fee will be charged. For checks returned (insufficient funds) $10.00 will be charged .

FEE INCLUDES: Four days Instruction by Master Teachers , Film Sessions, " T " Shirt, Practice session, Textbook, FX Music (cassette tape) Program and Roster.

CONFIRMA nON OF REGISTRATION and site information will be mailed to you by the Site Director after January 31 st, 1985.

ATTENTION: INDIANA PARTICIPANTS! Due to " Indy 500" automobile race held (in Indianapolis) on the same weekend the motels will be booked starting in January.

Motel Headquarters: Ramada Inn , U.S. Hwy. South 41, Terre Haute, IN 47802 Single: $36.00 Double or More $38 .00 (3 miles from ISU) Phone: 812-238-2424 University Housing: Single $16.00 Double $9.00

---------------------------------------------------

On their way to the Gold they used the USGF Travel Desk.

Here's why.

1. They got guaranteed lowest applicable airfares on all carriers or we paid the difference.

2 . They got $100 ,000 FREE flight insurance with each ticket.

3. They got a FREE USAmateur Travel Card when booking their airfare. The Card gave them and their families Athletic Savings Fares™ as well as additional travel discounts all year long .

4 . FREE trip credits were issed to the Men's and Women's National Team for each trip booked on American , Piedmont and Frontier Airlines . This much needed support has helped the USGF expand the benefits of free air travel to more individuals on the National Team.

Why not travel with us this season. f~~~~~TIONAL Toll-Free 1·800·243·3180 (In Connecticut: 203·772·0470)

TRAVEL USA Gymnastics

11

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USGF Insurance Program

Liability and Medical Benefits

Join the Winning Team

We are proud to introduce an enti rely new insurance plan designed to meet the needs of today's modem gym nastics dub . This new program providesthe besl available coverage at a cosl based upon peak enrollment. There are no report ing re9uirementsl The cost is $9.75 per student. And for . tiny tots." a reduced rate of $5.60. Minimum total cost is $975.00 per club. All trial students and guest perfonners are covered at no addi tional cost.

The benefits for you. your sta ff and you r members incl ude: • $1.000.000 comprehens ive general liability coverage • $~O.O()O excess medical coverage with $2~ deductihle ($100 deductible fo r pfiys ica l th erapy or ch iropractic care) • $10.000 accidental death and dismembennent coverage • Owners. landlords a nd tenants li abilit y coverage • Full trampoline coverage • Hired and non-owned au to liability • Personal injury liahility • Incidental medical malpractice • Ext ended bodily injury liahi lity coverage

With the USGF In surance Program or the USGF Gym nastics Cluo Memhership Program , you'll have the security and peace of mind fo r confident teaching or cluh ope ratio n.

I-or a ll the delai ls on coverages. call or w rit e:

Club Membership Option For those clubs which enjoy individual member benefits. we still offer the USGF Club Membership by enrolling IOO'Y" uf the staff and st udellls as USGF General Members at $9.00 ea"h. All staff members and students receive full insurance coverage, plus a membership card and decal, a discount certificate for a subscription \0 USGF GYMNASTICS Magazine and special assistance in making discount travel arrangements.

12

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USA Gymnastics

I

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I

November/December 1984

Withstanding The Test Of Time To Be Olympic Champions

By Debbie Forsten

he 1984 Olympic Games brought to the forefront athletes who had all made a commitment to excellence, displaying the "Right Stuff," a true grit that separates them, enabling them to break barriers and turn success into high achievement. President Roosevelt once said, " It is not the critic that counts .. . the credit belongs to the man who is actually in the arena ... who strives valiantly, who errs and often comes up short again and again ... who, at best, knows in the end the triumph of high achievement, and who at worst, if he fails, at least fails while daring greatly .. ."

In gymnastics the 198 4 Olympic Games were the culmination of years of toil, pain, highs and lows, ecstasies and agonies-hundreds of athletes weathering voiced trends and making statement with each competition. In a sport where perfection is strived for daily always with a critical eye, Kathy Johnson and Bart Conner epitomize the "right stuff" in our sport. They have withstood the scrutiny of judges, coaches, peers, the media and the tests of time to make indelible marks on USA Gymnastics development.

Individually, their careers span a decade of elite level competition-quite an accomplishment in itself in this day and time. The following is an interview with each about their careers and accomplishments.

T

D.F. What are some of the feelings you felt at the '84 Olympic Games?

KJ. It was what I had always dreamed it would be, like the culmination of all the meets and all the workouts and everything you've ever done in gym-

USA Gymnastics

nastics put together. I really felt that entering the Olympic Games. So many people were trying to relax the athletes by saying it's just another meet.

This wasn't just another nieet, you could feel the difference.

All the other sports were around you. It wasn't just the pagentry that surrounded the Olympic Games, it was the feeling. There aren 't words to describe it. As far as the competition, it was probabl y the most intense competition that I've ever been in , almost to the puint that il was dream-like.

D.F. As a reflection over the past eight years, how do you define success and failure?

KJ. Sometimes they are one and the same. I guess the way I've seen success and failure is they're instruments th at you use to go on. It just depends on how you handle them. I've had both. My success, oddly e nough , have somet imes caused more problems than the failures did. Failures make you stronger. You say to yourself, this wi ll not happ en aga in , either I didn't train hard enough, I wasn't prepared, or mentally I wasn't tough e nough.

There's usually a reason. You go back in the gym and you roll your sleeves and do the work.

Success sometimes scares a gymnast, this is now my standard. Now, I have to live up to it everyday. Not just at meets but everyday at workouts. That can be a problem. I always thought you're only as good as your next meet and so the success is behind you . You live it for a moment but it's usually something you 're looking back at. Now

Bart Conner

13

KathvJohnson waves to the crowd after receiving her bronze medal she won during thef/oorexercise in the 1978 World Championships. that I've retired it makes them all much sweeter. Now I just sit back and I look at all the successes and sure I know that there were failures along the way but because I ended in success; the failures don't seem as dark and dim as they did at the time they happened.

D.F. What were the hardest transitions you had to make and what kept you going?

KJ. What kept me going was just as a kid I was just always hungry for more. I was never ever completely satisfied. I would think I can do better. I was also afraid I would miss something. If I retired too soon I would miss something that might be the greatest thing that ever happened to me. The other thing is when I started gymnastics, my first few years were not very different from the way most people start. My workouts were fun. I just went in the gym. I had volunteer coaches, I was with a bunch of girls that just loved gymnastics. They had to literally take my body off the equipment and shoo me out the door ~o they could turn the lights off and put the equipment up. When I probably should have been building strength and good flexibility and good basics, I was building a love for gymnastics that was so strong that it was going to carry me through all the down times. I could always stop in my lowest low and think back and say "I love it." I knew from the very beginning it was something that I could be good at.

I think the hardest thing for anybody to overcome, and you never completely overcome it, is knowing you have limitations.

I think the neatest part about my career, now, is for the last few years I reached my limitations. I felt them there and then I pushed them farther. I did things in the last couple of years that I would have never dreamed possible. It was like moving through eras in gymnastics to break that barrier. I remember thinking, I can't do a double back. That sense of being able to not completely be stopped by limitation but to work with it and make yourself better and put it out. It's scary. Your taking a chance of maybe failing and not being able to overcome it.

D.F. About the accomplishments and the experience you have gone through, how do you feel it has effected the direction of gymnastics in the U.S. for people starting out?

KJ. Well, the people are staying in the sport longer now.

Maybe it's coincidence, but they are. Back when I first started, my first three years, I watched people come and go on a yearly basis. It was amazing to me. I think now people really develop a sense of responSibility, not only to themselves to look back and say I did gymnastics to my fullest, but to the sport itself. People are taking on more of the responsibility in a way that it makes them kind of hang tougher when the going gets rough. I've always felt a strong responsibility to the team.

One of the things that doesn't get a lot of attention, but is very important, is the team concept, the importance of every member on the team. Each team member contributes to the win, either a team win or an individual win. There is a lot of pressure to go last, but there is a lot of pressure to go first, too.

Those in the middle are equally important to keep the scores going up.

D .F. Who, besides the athletes that you've competed with, have had the most profound effect on your gymnastics?

KJ. A lot of people that don't even know they have. I've worked with many coaches, parents and people involved in the gymns. The people in Atlanta were very special to me because they probably witnessed my lowest of lows and they stayed with me just the same_There were times when I'm sure they thought I was finished because I thOUght I was. I never completely stopped, I never quit. When I left to come to California, that was probably the hardest thing I've ever done in my life, because I was comfortable in Atlanta. Too comfortable. I was just going to slide into retirement and not even know it, or forced to quit because I wasn't good enough or just could not get my act together. When I made the decision to come here, Don Peters didn't have to take me. He had second thoughts, but instead he said, 'no, I'll give her a chance.' Bunny and Tom Cook have been behind me 100 percent.

The men's team probably helped me the most in my training, and they don't even know it. But watching them train through

14

USA Gymnastics

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November/December 1984

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the years, starting with whan I went to Tokyo, the World Cup, the other girl couldn't go so it was just me, Bart Conner, Kurt Thomas, and Mike Willson. I watched the way they prepared and I remembered thinking why don't girls last so long in the sport. I watched their attitude, the way they prepared for a meet, pushing when they were supposed to, and not when they weren't supposed to. You last longer that way. Myself, as a com路 petitor, I always was in fourth gear. I mean even when I shouldn't have been I would start in fourth gear and you wear your motor down that way. It's just like a car. I learned a lot from them.

D.F. How has the role or the involvement of your coach or coaches changed as your knowledge and skill level has increased?

KJ. Bill Sands used to say a coaches role does change as the gymnast progresses. In the beginning the coach is actually a guide, he's in front of the gymnast leading them. As they progress, then it's more of a side by side relationship. Because the gymnast isn't completely ready to not have someone in front to lead. At the final stages of their career the coach steps back and is there when the gymnast needs it, still guiding, always there for support and always there to coach and teach. I agree with that because as a gymnast progresses you don't want to teach the gymnast to think that she can do it all on her own. There are times when you need coaching and teaching, you're not always right. The coach has to be flexible enough to meet all the gymnasts needs and visa versa. I think that makes the best coach.

D.F. Ted Muzyczko said in an article in Technique virtuosity today is the accepted execution tomorrow. Being a performer of this virtuosity how do you feel about that?

KJ. I would have to agree strongly. In order to be the best in the world we have to step out, not follow in the footsteps of the Russians or Chinese who are probably the most virtuous of all gymnasts. For years and years, we would just copy them or always be just three steps behind instead of taking on a leadership role. Now we're in this position to go beyond. We just realize that virtuosity is something that must be done. The younger gymnasts have to know it's not just good enough to do the skills, but you have to do them well with perfect form and higher than anybody else.

D.F. How do you become a trend leader versus a trend follower?

KJ. It's a hard position to be in. It's a lot easier to follow.

That's why there are more followers than leaders. We are in the position now to become one of the leaders in gymnastics in the world and we've got to accept that responsibility. I think our men's team is a perfect example. They can start leading not just the rest of the world but the rest of the gymnasts in our country.

Setting a new standard, that's why the Russians are so good.

Many years ago they set this standard that they all do their gymnastics by. Their standard is to be the best in the world. So all the gymnasts strive for that level so when they compete against the rest of the world they've got more than just the six they put out on the floor at that level that's just the six that they choose for that particular competition. We have to be able in this country to do that. We've got to start building depth that goes all the way down to the grass roots. A good coach should be able to look into the future and know what it's going to take.

There's still room there and there's always more room for artistry in movement, just better form in general. People are so involved with what can we do now, what's the next trick, but you want to build the other side of the sport which is the beauty.

Make it look better.

D.F. If you had it to do again would you change anything?

KJ. For so many years, something that my dad told me once it stuck with me. My grandfather was a professional baseball player and in an interview, they asked him when he retired, if you had it all to do over again would you do it any differently, and he said I'd do it better! My dad told me one time, I don't want you to ever have to say that. Not that my grandfather meant it in he didn't do it well, but you still want to be able to say I want to do it better. I always thought to myself, am I going to be able to ask myself that question and say I couldn't have done any better? I'm glad about the way I did it. Partly because I stayed in for so long. I've got so many more memories than a lot

Kathy Johnson qets a kiss from Mitsu Tsukhara after win路 ning the American Cup in 1977.

USA Gymnastics

15

of people will ever have. They're not just all up's. There are up's and down 's and way down's and way up's. As I look back over it all, I like the way I did it and I feel good about it and it's going to make it easier to go on in life to be completely satisfied with this.

I remember thinking, on the awards stand when I got my individual medal, how much collective blood, sweat and tears went into th at medal. I'm as thankful for the support of all the coaches, all the teammates, family and the USGF that have helped along the way.

Bart Conner D .F. Personally and gymnastically what are some of the feelings that you had after the Olympic Games were over?

H.C. It's so hard to describe what a wonderful occasion it was for all of u s, but for me particularly, having been a part of gymnastics for so long and having been a member of all aspects of gymnastics from the 9-11 age group program, the whole developmental program in this country up through National, World and Olympic titles. I have a very complete appreciation of the sport of gymnastics in this country because I have participated in all those different levels. You always say 'wouldn't it be great if you were on th e American team when they won the

,.

KathyJohnson (left) realizing her dr'eam by participation in the 1984 Olympic Games. (Right) Gazing down at her bronze medal she won, she realized all of the time, effort and people who made that medal possible.

Olympics some day' and you just laugh like you're joking. It was a dream come true for me to be a part of the growth of American gymnastics, and on the award stand when American gymnastics got that ultimate symbol of accomplishment.

D.F. Having experienced both at different stages of your own development, how do you now define success and failure?

B.C. Success and failure is within your own perception, it's only what type of goals you have set for yourself and what priorities you have. I firmly believe that challenging yourself is the more important goal, whether that challenge is something that seems Significant or not. When you say I want to be an Olympic Champion, it's the same type of goal if you say I want to learn my back handspring in three weeks. The short range goals are as important as the long range. I think success is being able to learn how to achieve all those small step by step goals along the way.

D .F. Are there such things a~ failures?

B.C. That's what I mean, it's the same attitude. Certainly, there are times when things don't work out as nicely as you would have wanted them to, but it's a real challenge for a champion to learn how to make things work and find positive results in everything that happens.

D.F. What were some of the hardest things to overcome or transitions to make if you look back over a decade of international gymnastics?

B.C. I think the tough things and I think Kathy would probably agree with me in this area are that when you are the challenger and when you're growing and working your way up, it's pretty easy you've got nothing to lose, I think the really tough challenge is keeping yuurself motivaled and continuing to improve when you 're already one of the top members. Then hanging on is tough. It's possible to take things for granted.

D .F. What kept you going?

H.C. The one important thing that helped me the most, something Paul Ziert helped me with a great deal, was encouraging me to continue to learn and try new things and strive to reach for things that I had never tried before. That was very important because if I maintained the same level, I would stagnate. But as long as I was improving and as long as I had another goal just in front of me, it was very easy to continue. I believe very much in the mechanics and the importance of being ab le to set and achieve goals, for many of us, our lives were focused on one good effort in L.A. and it was very, very difficult to plan for too much past that.

D .F. Has your participation in gymnastics effected the sport on a national level and if so, how?

B.C I think a couple of very important things were accomplished. First we gave gymnastics visibility and attention it has never gotten before. The base of interest in gymnastics is broadened and becoming Significant now.

In addition, we broke down a barrier that had been there for many years. For years you trained to be on the U.S_ National Team but we weren't really significant contenders in international events_ We were competitive here and there as individuals, but as a team we couldn't put it together. We broke down the barrier that young kids training in gymnastics in this country can now know that, 'hey if I work hard and I believe in U_S_ Gymnastics I can knock off a Bart Conner or a Peter Vidmar or Mitch Gaylord then chances are I can compete with the best in the World.' I think it's very important for young kids to have that kind of motivation because when you're in the gym working out back at home you don't have the same kind of intensity. But knowing in the back of your mind that if you're one of the best in the U.S. then that means you're one of the best in the World_I think that helps young kids keep in it perspective and try a little harder. The third thing that was very important in helping gymnastics in this country was now some of the Significant heroes of (USGF photos

Š 1984

USA Gymnastics

by Dave Black for Fuji Film, Inc)

17

Bart Conner (left) was tbe first to take tbe risk and perfonn a band stand on pommel borse. Now it is an accepted move and used quite widespread.

(USGF photos

Š 1984

by Dave Black for Fuji Film, Inc.)

18

USA Gymnastics

Bart Conner (right) took the gold medal on the parallel bars during the Olympics. His 10.00 pe1j01mance in the finals enabled him to edge Nobuyuki Kajitani ofJapan.

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the Olympics are Americans. After so many years it's been a Romanian, Russian or a Japanese athlete but now some of the role models kids have to look up to are Americans, and that brings it much closer to home.

D.F. Who, besides the athletes, has had a profound effect on your gymnastics success?

B.C. Certainly, Coach John Berkel in high school. He was very important in helping me in the early stages to take pride in doing the little things wel.l, but also helped me to be willing to reach out, to experiment, be creative and to take a risk if necessary.

D.F. How has the role of outside forces (i.e. coaches) changed as your knowledge and skill level has increased?

B.C. It has to be a give and take working relationship. Certainly I can contribute a lot because of my experience and my feelings, but you must have a very, very good communication between the coach and gymnast. I think Ziert also knows if he said I was unsure abbut what he was telling me, I would do it anyway because I trust his judgment to be more objective than mine. After you have mastered your basics, you begin to have a partnership relationship more. I contribute equally but in any conflict, I would have to trust the coach.

D.F. Ted Muzyczko wrote an article for Technique, stating what is virtuosity today is the accepted execution tomorrow. Your comments?

B.C. I think I agree with that. Gymnasts are getting so good now the average level of World Class gymnasts is very high. It would be interesting to find out what was the average level score in the Olympics. It might have been 9.7 which is amazing.

Now there's a lot of great gymnasts that's true but the medium level is getting very high. There has been a very high standard set of what's expected in execution and also virtuosity. What's happening is we are definately taking a more critical look at execution. There are guys who can do double back flips on floor, but now the judges have an opportunity to get more critical in their evaluation. Why, it's important to keep your knees together when you flip, and things like that.

D.F. How did you become a trend leader?

B.C. That goes along with being able to take a risk. You can go your whole life in mediocre gymnastics if you're not ever willing to take that important risk. By risk, I don't mean endangering yourself, I mean doing something new, different, untried.

Being able to take a risk is important because you can do all the right things and yet not really make any significant accomplishment. You have to be willing along the way to say 'hey, this is kind of neat, I don't know how it's going to be perceived, if it's going to be accepted or not, but let's do it and see what happens.' That's where a coach comes in so handy because they have to be the one to support you and say 'this is right' because many times you might get the wrong feedback.

Risk taking is not easy, there is a lot more failure and a lot more frustration. I was one of the first performers to do a handstand in the middle of the pommel horse. At the time the Hungarian judge said no that was not the direction or trend, but I went ahead and took that risk. That's what you have to be willing to do if you're going to try and set a direction. Nowa lot of guys do a handstand on a pommel horse, a lot of Hungarians.

D .F. If you had it to do over again would you change anything?

B.C. No, not a thing.

Our individual definition of winning and our perception of the accomplishments of Bart, Kathy and other athletes hold special lessons for all of us at every gymnastics developmental level and age group. These athletes and their coaches have earned inspirational respect and have opened the doors for many to follow.

In closing, Vince Lombardi, legendary in football and probably one of the most famous motivational coaches of any sport sums up that intrinsic will to excel. "And each day, each week, each year, there is a new encounter, a new challenge. But all of the cheers and all of the color and all of the display linger only in the memory. The spirit, the will to win and the will to excelthese are the things that endure and these are the qualities that are so much more important than any of the events that occasion them ... . that the quality of any man's life has got to be a full measure of that man's personal commitment to excellence, regardless of what field he may be in."

USA Gymnastics

19

1984 FOUR CONTINENTS

CHAMPIONSHIPS Story by MIKE BOTKIN Featuring photos by DAVE BLACK

Competitors Look Up To Lori Fung And Her Performance

1984 USA Group Team Much

Improved or the first time on the lands of these United States, international rhythmic group routine was involved in the competition. Teams from the U.S.; Japan; Mexico; Canada and China clashed in what turned out to be an eye-opening event for all.

This is a sport of the future, just as its sister the individual rhythmic competition. The Chinese were superb in their efforts on the final two days of competition as they synchronized their way to the gold medal, just ahead of the Japanese and Canadians.

The event was so spectacular and unexpected that it caught most spectators completely by surprise. The group routine is an effort of six participants who compete with a combination of three hoops and three ropes. What can be done with these apparatus is incredible as the well choreographed routines became a quick favorite among the faithful at Market Square Arena.

The United States team used a very strong finish to place fourth in the competition edging the Mexican team. The members of the U.S. group team were: Elizabeth Cull; Joanne Heinemann; Melissa Greenblatt; Catherine Lepard; Kim Stiles and Cara Walker.

F

1984 FOUR CONTINENT CHAMPIONSHIPS OCTOBER 25-27,1 984 INDIANAPOLIS, INDIANA - USA

Rank 1 2

3 4 5

GROUP STANDINGS Nation Chn 38.400 Jpn 37.400 37.150 Can USA 36.675 Mex 33.075

Score

Lisa Aaronson added to her international experience with a strong showing and a 13th place all around finish.

Fung had such a tight grip on this event that her performance overshadows some other stellar efforts by other participants involved. Like that of New Zealand's Tanya Moss. Coming in after a 30th place finish in the Olympic Games, Moss had a very fine competition and was able to place fifth in the hoop and fifth in the ribbon events.

China will be able to return to the Great Wall knowing Yanfei Xia put in a very fine performance for that country. In the final analysis, Xia played a bit of the second fiddle to Fung and Hirose by taking third in the hoop and clubs but managed to crack the top two in the ribbon competition taking the silver.

Iso, representing the United States were Marina Kunyavsky and Lisa Aaronson, both from Los Angeles.

Kunyavsky, who looks to be a bright spot for the Americans in the future, had a topsy-turvey meet. She had moments where her performance was stunning and others where her lack of international experience was evident. In her defense, it must be noted this was her first big international meet and she performed well enough to take a sixth place finish in the hoop with a 9 .30 average and a seventh place finish in the clubs with a 9.25 average.

Aagonfon was involved in her fourth international meet and also established herself as a bright star to look for. She made her way into the final standings with an

A

The United States lost one of its greatest competitors after the meet as Lydia Bree announced that the Four Continen.ts was indeed her swan song. Bree completed a very consistant meet, which over her past eight competitive years as a National Team member, has become one of her trademarks.

The final standings show Bree with a fourth place all around showing, a seventh place finish in the hoop and fifth place finishes in the ball, clubs and ribbon individual events. " I would have liked to win a medal but I still feel I went out in a very good manner," said an emotional Bree. Standing next to the floor with her competition apparel still on, Bree appeared relieved that her whole retirement process was over. "I've had a good run," she said reflecting back on her illustrious career that started out as no more than a hobby. "When I look back and realize I've been involved in international competition for eight years, that's more than anybody else in this country.

"The sport has given me a lot. I'm glad I got to compete here (in the Four Continents) and I believe I deserved to be here," she said with an air of-determination emulating from her.

T

he United States Gymnastics Federation, host of the Four Continents Championships, awarded Bree a plaque at the closing banquet in appreciation for her didication and contributions to the sport. Taking the podium, trying to hide the tears of joy/disappointment at ending her career, Bree, in a voice that was fading ever so fast, took the opportunity to express her appreciation to her coach, Alia Svirsky and to the youth of the sport that kept pushing her to be the best she could. Ending, she said ''I'm just going to relax and sleep late. I can have as many deserts as I want now. " eighth place finish in the ball routine.

"This was a big meet for the United States," said Svirsky. "We may not have won any medals, but the important thing is we

Marina Kunyavsky is one of the USA's bright stars for the future. She competed well and placed 12th all around.

26

USA Gymnastics

Lydia Bree is stopped in motion. Bree, a favorite in the USA, retired from competitive action after the meet but plans to stay active either by coaching or judging. came close. We were right in the running all the way," said the 1984 U.S. Rhythmic Olympic Coach.

The fourth place showing by Bree was thc highest U.S. finish ever in this important international event. Also placing high in the all around portion of the meet were Kunyavsky 12th and Aaronson 13th.

One of the most interesting aspects of this competition was the witnessing of all the various routines put on by the international list of competitors. Of all these participants, Erika Akiyama of Japan had the most energetic of them all. To say that she moved quickly around the floor during her routines would be an understatement. Even the photographers in attendance had a hard time focusing on this endless body of nervous energy.

I L

1984 FOUR CONTINENT CHAMPIONSHIPS OCTOBER 25-27, 1984 INDIANAPOLIS, INDIANA - USA

Rank 1 2 2 4 5 6 6 8

HOOP STANDINGS Score Competitor 18.950 Chieko Hirose 18.800 Lori Fung 18..750 Xia Yanfei 18.700 Li Van 18.650 Tanya Moss 18.600 Marina Kunyavsky 18.500 Adrienne Mark 18.500 Lydia Bree BALL STANDINGS Score Competitor 19.300 Lori Fung 19.000 Erika Akiyama 19.000 Chieko Hirose 18.800 Xia Yanlei 18.700 Lydia Bree 18.650 Li Van 18.650 Adrienne Mark 18.500 Lisa Aaronson

Can Jpn Jpn Chn USA Chn Can USA

Rank 1 2 3 4 5 6 7 8

CLUBS STANDINGS Score Competitor 19.400 Lori Fung o 18.850 Erika Akiyama 18.800 Xla Yanfel 18.700 Chieko Hirose 18.600 Lydia Bree 18.550 Angela Walker 18.450 Marina Kunyavsky 18.400 Adrienne Mark

Can Jpn Chn Jpn USA Nzi USA Can

Rank 1 2 3 4 5 6 7 7

I

Rank 1 2 3 4 5 5 5 8

r

Rnk 1 2 3 4 5 6 7 8 9 9 11 12 13 14 15 16 17 18 19 20

RIBBON STANDINGS Score Competitor 19.350 Lori Fung 18.900 Xia Yanfei 18.650 Erika Akiyama 18.600 Chieko Hirose 18.500 Tanya Moss 18.500 Lise Gautreau 18.500 Lydia Bree 18.250 Li Van

Score 38.600 37.500 37.450 37 .250 37.000 36.950 36.850 36.700 36.500 36.500 36.450 36.400 36.300 35.950 35.850 35.800 34.500 34.100 33.950 33.700

USA Gymnastics

Competitor Lori Fung Chieko Hirose Xia Yanfei Lydia Bree Adrienne Mark Keiko Hamada Erika Akiyama Li Van Angela Walker Lise Gautreau Tanya Moss Marina Kunyavsky Lisa Aaronson Ann Maree Kerr Patria Hume Tan Jun Laura Ayola Minerva Quintana Antonietta Guida Diana Velarde

Jpn Can Chn Chn Nzi USA Can USA

Can Chn Jpn Jpn Nzi Can USA Chn ALL-AROUND Nation Can Jpn Chn USA Can Jpn Jpn Chn Nzi Can Nzi USA USA Aus Nzi Chn Mex Mex Aus Mex

Hoop 9.650 9.400 9.400 9.350 9.300 9.150 8.850 9.300 9.150 8.700 9.350 9.300 9.200 9.200 8.900 8.500 8.400 8.400 8.100 .

8.350

Ball 9.600 9.500 9.300 9.350 9.300 9.350 9.400 9.250 9.050 9.300 8.750 9.150 9.250 9.100 9.000 9.200 8.700 8.600 8.950 8.400

Clubs 9.700 9.350 9.350 9.300 9.300 9.250 9.300 8.950 9.250 9.300 9.150 9.200 9.050 9.000 8.950 9.100 8.700 8.450 8.500 8.400

Ribbon 9.650 9.250 9.400 9.250 9.100 9.200 9.300 9.200 9.050 9.200 9.200 8.750 8.800 8.650 9.000 9.000 8.700 8.650 8.400 8.550

27

Olympic Gol Makes

Topping Oil So Sweet

By Mike Botkin inning an Oly mpic gold medal isn't an easy task but Canadian rhythmic gy mnast Lori Fung had more than her share of assistance. The majority of her help came from the coaching efforts of Mall Vesik, however she received additional stimulus from such objects as a wallet and a four-leaf clover.

It was june 1984 and Fung was in japan training. She had just flown from a competition in Europe home to Canada, packed and left the following day to train in japan. The Bulgarian rhythmic gymnasts were there training also. "They (the Bulgarian team) were very sad about the decision to bo ycott the Ol);mpics. I know all of them and they knew this would be their last chance to be in an Ol ympics," said Fung. " LUi Ignatova came up to me one day and gave me a four-leaf clover and told me to go win the gold medal for her. " At the time Fung passed the gesture offwith a 'we'll see about that' response , but later she admitted it did give her encouragement in training for the grand event.

The second experience also occurred in japan, this time with artistic gymnast Koji Gushiken, who won the all around gold medal at the Games. " We had kind of a joke going between us for a couple of years," stated Fung. " One time he came up to me and gave me a wallet and told me to train hard and he would see me again in Los Angeles. Every time I would see him after that I would rib him about the wallet. At the Olympics I just couldn 't believe the news that he had won the gold medal and I thought to myself, 'Well, he held up his end of the bargain, now all I ha ve to do is to hold up min e .'''

Despite all of the extraneous support acquired, Fung was mentall y and physically prepared for the Games, moreso than an y other competitor. " I was prepared physically, which made me stronger mentally. We studied the peaking process and found you could peak twice in a very short time. I had just returned from Europe where I competed very well and was very

W

USA Gymnastics

up. I had a down time while in Canada just before the Games and we figured I would peak again in Los Angeles," she said.

All of the studies paid off as Lori's performance level p e aked and she put herself in the position to take the gold. To be in a position to win is important but Lori found to go out and perform to her best ability, to satisfy herself takes precedence o ver all. " I went out to perform and not worry about m y scores," she admitted. " In fact , it helped me more not to know m y scores at all. That way I didn 't have an ything to worry about ."

Another advantage Lori had was that of over preparation. Not by her but by the other rhythmic gymnasts from points all over the world. " Our team went down to Los Angel es just one week prior to the Games.

That was one week later than everybody else. When we arrived evervone else was tired and wishing the comp~ tition would begin. They were read y too soon. On the other hand, we weren 't worn out. We were very fresh and I feel that was an advantage for me."

For those competitors who had to wait until the tail end of the Ol ympics to perform , it was hard to keep mentall y on the right track, according to Fung. " The whole atmosphere of the Olympic Village made it hard to keep your mind on your sport. All around were athletes who were either happy because they were winning medals or sad because they hadn 't performed well. It gave you an uneasy feeling because for them it was over, but we hadn 't even started yet. " Once the competition started it was a kind of tunnel-vision and some reverse psychology that, along with Lori's fine performance, brought the first rhythmic gold medal ever awarded, to Canada. " In the finals all I would do is to go out and do my routines. I didn 't care what anyone else was doing and didn 't want to know at all," she said. " I had to follow the Romanian girl (Doian 5taiculescu who finished second behind Fung by .050 of a point) e very day. I never watched her routines but I could tell if

she was doing well or not b y the crowd reaction. If I would have seen her, I might have placed more pressure on myself to try and match her routines. " To win the gold, the whole compe tition came down to the final ribbon routine which was shrouded in a bed of cOI1trov~rsy an y,vay. The air conditioning unit at Pauley PaVIlIon was playing havoc with the flittering ribbon making the intricate tosses virtually impossible. " I could tell the Romanian girl had a bad routine and my coach told me she did. " It was at this point Coach Vesik doubled the bet and went for all the marbles.

"She (Vesik) told me that for some reason the air conditioning had been turned up. I couldn't believe it and I was almost in a panic. She told me to go out and beat that ribbon around and not give it a chance to get away. I went out on the floor thinking the br~e z e created by the air conditioning was tWICe as strong (actually the air conditioning unit hadn 't been turned up at all). My arm was so dead after that routine I could hardly lift it. But it was my best routine. My coach was crying, my pianist (Donna Forward) was crying and that turned out to be the margin of victory for me," she recollected.

With the acquisition of the gold medal, a certain amount of notoriety has come to her and her sport. " Now instead of people wondering who that girl is with the hoola hoop, they think 'oh, that must be a rhythmic gymnast.' The public is more aware of the sport. " Improving, modifying and upgrading are next in line for Lori and her career as a rhythmic gymnast. "After the Four Continents I am going to change all of my routines and I am just itching to get started on them. But for the Four Continents, I am not looking to win, I'm just looking to improve. I don 't feel any pressure to win."

Fung hasn 't e yed the end of the road for her career, in fact she has no idea when that will be. " One day I will wake up and I will realize that I should retire. That will be the day that all of the fun is out of the sport, but that won 't be for awhile," she added.

Being at home with her family gives her a chance to get back to some of her favorite activities off the competition floor. " I love the outdoors." She and her two dogs Muffin and Candi (spelled with an i) like to take walks and go fishing. Everyone has a fishing story and Lori is no different and hers involves an 8-pound salmon no less. " I was fishing with a friend and all I was doing was reeling m y line in and I snagged this salmon my friend had caught. Of all the fish in the ocean, we both caught the same one. That fish was doomed. 50 I guess I only caught a four-pound salmon. " Fung considers her good fortune in Los Angeles not as the only aspect of her career, but just a part of it. " If something terrible had happened to me before the Olympics and I would have never had the chance to go, everything I've done up to now has been good. The Ol ympics was just the topping on the cake. " The gold medal helped to make that topping oh so sweet.

29

the

OFFICIAL USGF GYMNASTICS SAFETY MANUAL Edited by: GERALD S. GEORGE, Ph.D. USGF Director of Education & Safety

A comprehensive guide for the promotion of safe learning environments for gymnasts at all levels of involvement.

Designed to raise the level of safety awareness of the entire gymnastics industry.

Will serve as the official manual for the USGF Safety Certification Program.

Covers the major safety areas of concern including: Legal and medical responsibilities Environmental safety factors Spotting and gymnastics safety Performer readiness Trampoline safety Gymnastics skill progressions Educational and safety materials

** *** **

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A MUST for every serious gymnastics professional Available JANUARY 1985!

To be placed on the USGF Educational and Safety Programs mailing list, please fill out the form below and return to: u.s. Gymnastics Federation 200 S . Capitol Avenue 1 Hoosier Dome. Suite 110 Indianapolis. IN 46225

Name ______________________________ Address ________________________ City ______________ State _____ Zip _ _ Phone ~(~__~_______________________

Coach _ Judge _ Gymnast _ Club Owner _ Other _

30

USA Gymnastics

I

November/December 1984

Dr. Gerald George

Director Defines Target Areas he USGF has recently established the Department of Education & Safety. It's fundamental purpose will center upon the development, implementation & evaluation of a safe and effective "national program system" for the teaching, learning and performing of gymnastics at all levels of involvement. The department's primary target areas are : 1) professional teachers and coaches associations; 2) recreational & competitive gymnastics programs; and 3) professional gymnastics judges associations.

The objectives specific to our Professional Teachers and Coaches Associations include: 1. To conduct strategically planned nationals & regional coaching seminars and symposia.

2. To develop and implement a National Gymnastics Safety Certification Program.

3. To develop and implement a National Gymnastics Coaches Certification Program.

4. To develop a recommended course of study (undergraduate/graduate credit) for prospective Physical Education majors interested in the teaching and coaching of gymnastics.

5. To serve as a resource library, clearing house and publications outlet for the gymnastics industry at-large.

The Recreational and competitive Gymnastics Programs are, without question, our fundamental "reason for being" and, as such, must receive a top priority in terms of emphasis. The USGF is currently planning programs of national scope that will help to accomplish the following objectives: 1. To broaden the gymnastics participation base and particularly at the " Grass Roots" level.

2. To improve both the quality and level of gymnastics participation for all age groups of both sexes.

3. To develop an accurate and working technical knowledge of core movement patterns and sequences, particularly in terms of their relationship to the more progressive and complex skills and combinations.

4. To serve as a fundamental resource unit for our National Gymnastics Developmental Programs.

T

5. To lend assistance and direction to our National Technical Committees in terms of preparation, training and evaluation to national and international gymnastics competitions.

The "silent partners" affecting both the direction and quality of gymnastiCS in the United States rests on the shoulders of our Professional Gymnastics Judges Associations. The associations influence the standards throughout our industry as well as help to determine the quality of over developmental programs. The USGF plans to work very closely with these associations to provide the following assistance: 1. To lend assistance and direction to our National Judges Associations in terms of both the development and interpretation of compulsory exercises as well as the technical evaluations of optional skills.

2. To serve as primary consultants to our National Judges Associations specific to safety and analysis of new and/or innovative skills and techniques.

3. To work closely with our National Judges Associations specific to standardizing the operational guidelines and procedures for gymnastics competitions.

In order to help promote the kind of credibility & services so essential to the success of our programs and their objectives, the Department of Education & Safety is currently in the process of formulating 6 primary support committees (see Figure 1). The heads of these various committees will serve as the USGF Steering Committee and will be charged with the following responsibilities: 1. To promote the conduct of original research into the scientific aspects of gymnastics.

2. To serve as an editorial review team for the USGF publications department.

3. To disseminate relevant scientific and technical information to teachers, coaches, gymnasts and judges via USGF publicalions, workshops, seminars and congresses.

4. To direct and coordinate the collective workings of the sub-committees.

Figure 1 Administrative Flow Chart for the USGF Department of Education and Safety

r-----------

USGF Editorial Staff Publications Department

â&#x20AC;˘

USGF Steering Committee Heads of sub-committees

Sports Medicine sub-committee

Biomechanics sub-committee

Exercise Physiology sub-committe

Sports Psychology sub-committee

Education sub-committee

Safety sub-committee

The USGF is and will continue to be unquestionably committed to the development of viable educational, developmental and safety programs. This is indeed a new and exciting era for gymnastics in the United States. And yet the level of this success in these endeavors will be primarily dependent upon the active support of our gymnastics professionals. Consequently I am asking those of you who feel they have something to offer and who want to play an important part in reaching out and helping our kids, to do so by applying for membership on one of our six support committees. Please include a brief resume (vita) specific to your professional and/ or gymnastics background and address your letter to my attention.

Gerald S. George, Ph.D. Director of Education & Safety 200 South Capitol, Suite 110, Indianapolis, IN 46224

USA Gymnastics

31

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November/December 1984

CALENDAR UNITED STATES GYMNASTICS FEDERATION 1985 PROPOSED SCHEDULE OF EVENTS (Dates & Events subject to change or cancellation)

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*Tokyo Broadcasting System Cup (M / W )

Japan

6 -7

First Elite Zone Meet (W: C, J ,S)

Various Sites

6

*USA Junior Bo )'s vs.

Ilal ian Junior Boys

TBA

JANUARY 17- 20

FIG Brevet Judges Co urse (W )

Ft. Worth, TX

' 2 7 -29 Austra lia n Ga mes C up (M / W) AWllrnliane , TBA

*l)SA Junio r Boys "s.

Italian Junior Boys

* 5-6

'USA/J apan Junior Bo)'s

8

Caesars Palace

TBA

' 5-6

McDonald"s American Cup (M / W)

Indi anapolis, I

*Intern ati o nal Mixed Pairs (M / W )

.. Las Vegas , NV

*Cit)' of the Pope Invo tationa l Tourn am ent ( \'(1)

A vignan , France

12- 13

NCAA Nat ional C hampio nships ( W )

Utah

' 13 -14 *Imcrnati o nal To u rnament (R )

\,\/iesbade n, France

* 13 路 14 * Imernal ional

USSR

Ant ibes/J uan -

Fr ance

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Class I Sla te Championships (W)

Va ri o lls Sites

30

Junior Bo ys

TBA

TBA

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Various Si tes

13-14

Class 1 Regiona l Champio nsh ips (W )

20-2 1

Macabiah Game Trials Rockville, MD (M / W/ R)

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TBA

Va rious Sites

2 7-28

Second Eli te Zo ne Meet (\\I : C, J,S)

TBA

*Bro th e r Cup ( R)

Japan

17- 19

Class I East/ West C h ampio nships (W)

TBA

4, 5

Junior O lympic Nat ionals (\V )

TBA

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37

November/December 1984 Visiting Rhythmic dignitaries were treated to lunch and shopping in scenic Nashville, Indiana (left) by Kimball International , (Right) A Kimball craftsman constructs a Keyboard. (All USGF photos Š 1984 by Mike Botkin for FUJI Film, Inc.)

RSG Officials Take Notes At Kimball Factory loomy days don 't seem to matter as much In Indiana's beautiful Brown County as officials of the 1984 Four Continents Rhythmic Sportive Gymnastics competition found out courtesy of Kimball International.

Kimball Piano's Ray Reuter explaine d why the company is so interested in rhythmic gymnastics. "The two seem to go hand-in-hand, rhythmic gymnastics and piano . It gives us another avenue in which to display our pianos and since rhythmics uses live music, it is good for them," said Reuter.

The highlight of the days journey was a tour through Kimball's piano factory tucked away in the hills of southern Indiana in French Lick. On the way to the factory, the group enjoyed the miriad of colors the turning of the leaves brings to this area from the comfort of Kimball's chartered bus. The compan y also treated guests to lunch and shopping in scenic Nashville, Indiana.

As officials strolled through the production area of Kimball, the complicated story of the birth of a piano is unveiled.

Officials of the factory stated 50,000 to 60,000 pianos are manufactured each year in

G

French Lick. As noted by the participants of the tour, not all pianos are manufactured the same way. Kimball has two types in production at this plant, a Grand piano and a Spinet or upright.

Pianos come in different sizes and are measured just as people are, in feet and inches. The largest piano the company manufactures at this location is a 6700 series Grand piano. Pianos are measured by the length of its strings. The 6700 series has strings that are 6-feet 7-inches long.

The group was assured each piano was individually tuned but to the craftsmen tuning the Grand pianos, it is very evident who did the tuning. "It's as different as night and day," said one worker to the visiting dignitaries. "We all have a different style so we sure can tell who tuned what piano."

Reuter added " Grand piano tuning is more individualized than the upright. " Kimball workers and management take pride in the role they played in the recent Olympic Games. The company supplied 8 4 white Grand pianos for the opening ceremonies and one Bosendorfer, a Kimball

(Left) Winding their way through the piano factory, Rich Kenney, USGF Director of Sponsorships stops at a keyboard with Kimball representatives Dennis Guillame (left) and Ray Reuter (right) .

(Above) Rosa Maria Leon (left) and Maria EUena Remirez, the President of the Mexican Gymnastics Federation look attentive during the plant tour.

(Right) Maria Guigova, the FIG Rhythmic Technical Committee member from Bulgaria takes a last look at the keyboard oDeration.

piano constructed in Vienna, Austria, for the orchestra. The Bosendorfer is the largest and most expensive Grand piano Kimball company makes as its strings are measured 9-feet in length.

"The people here at the factory put in a lot of extra hours," said Reuter. "We still had to keep up with our normal orders, so it did put a bit of a crunch on us. But we' re all proud of our involvement with the Olympic Games," he stated.

The Olympic Pianos, as they were referred to, each had a special plate with the Olympic seal attached tothem. Many of the artists who played the piano during the ceremonies bought the piano to keep, but many were sold to retailers across the country "at no extra cost" to be sold right along side of the other Kimball pianos, according to Reuters.

The pictures were all taken and pins exchanged between the visitors and employees, the rhythmic officials were seated back on the bus and once again were treated to some of the beauty ofindiana that even the cloudy weather couldn't ruin.

November/December 1984

Gymnastics Takes To The Road Medal Tour Ends In Indy During Congress

By Carla Besemann ith the huge success of the United State's men's and women's teams at the 1984 Olympic Games in Los Angeles, Calif., the United States Gymnastics Federation wanted to show-off the products of its elite program to the nation. The gymnasts were invited to come together again, this time not under extreme competitive pressure, but to perform in an exhibition-style show called the McDonald's/USGF Gymnastics Medalist Tour.

The entire gold medal winning men's team of Bart Conner, Tim Daggett, Mitch Gaylord,Jim Hartung, Scott Johnson and Peter Vidmar were there in force along with Olympic Team alternate Jim Mikus and National Team members Brian Meeker. The women Olympians who performed on tour were Kathy Johnson, Julianne McNamara, Mary Lou Retton and Tracee Talavera. Accompanying them were National Team member Yolande Mavity and Kerry Haynie including juniors Natalie Reske and Kristie Phillips.

Olympic Rhythmic gymnastics Valerie Zimring and Michelle Berube performed with Olympic team alternate Lydia Bree in a three member group routine in

W

which a black light was used at the end.

Each rhythmic gymnast also did individual routines.

The sites of the tour were Washington, D.C. ; Houston, Texas; Albuquerque, N.M. and Indianapolis, Ind. In the nation's capital, media was invited to come and watch dress rehearsel Thursday, the day before the first show. The media interest was high and the gymnasts were interviewed after the rehearsel and training session.

Each gymnasts did their choice of two routines during the show. Intermixed between the conventional routines were comedy routines performed by comedian gymnast Kelly Crumley whose slapstick style filled the arenas with laughter.

The premier show was Friday, Sept.

14th at Capitol Centre and the audience's response was positive. Washington Redskins' quarterback, Joe Theisman, came backstage after the show to congratulate the gymnasts. The next day's matinee show went well and late that afternoon the whole entourage headed to Houston the next tour stop and where ABC Sports was going to tape the show for a later broadcast. Everyone was exhausted by the time they reached the hotel located directly across from the

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The entire arena in Houston was sold-out for th e Sunday matinee show.

The gymnasts now had the show down to a science and everyone did a superb job even with the added pressure of having the television cameras focused on them.

The bus was loaded at the arena and headed directly to the airport where the group caught a plane which took them to Albuquerque, N.M. The next show was not until Wednesday and the group had an opportunity to rest for a couple of days. One night the local McDonald's owner-operator Chet Caldwell gave a barbeque at his home and then the group was treated to a western rodeo where country singer Tammy Wynette performed. A highlight of the tour, for a few of the gymnasts who managed to get up early, was riding in hot air balloons high above the New Mexico terrain.

The Pit, the arena at the University of New Mexico, was filled to the rim with excited and enthusiastic fans for the exhibition. This sell-out crowd pumped the gymnasts full of energy and the show they gave in Albuquerque, after their few days of rest, was nothing but excellent.

Their next and final stop was Indianapolis, Ind. The gymnasts were honored at high noon on "The Circle" in the heart of downtown Indianapolis by Mayor William Hudnut who presented each with an honorary citizen certificate. A special guest appeared in the final show at Market Square Arena. He was an average gymnast in his time but now is world famous for his quick wit and television appearances. His name is Dick Cavett and he surprised the audience by performing a pommel horse routine. Bart Conner was kind enough to offer to help Cavett out on his routine. Watching the two of them work together was entertaining and comical.

The tour from the start was bound to be a success but the real treasure is how well everyone blended together to make one strong and unbendable force. The comradarie among these gymnasts is special. They may now have medals to wear around their necks, but their hearts have always been made of gold.

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Kelly Crumley took his comedy act on the road with the Tour and became a fast favorite of the show.

Jim Hartung

was a crowd pleaser

39

November/December 1984

1984 Congress Convention Crowd Visits USGF's New Home Featuring photos by Mike Botkin and Dave Black. he 1984 USGF Congress had a and services ranging from new apparel and homecoming atmosphere to it as equipment to music, computor programs, gymastics enthusiasts from across the books and literature, promotional items, incountry made their way into America's structional programs and insurance packHeartland, Indianapolis, Indiana in particu- ages.

It was a festive atmosphere, as are most lar, for the annual convention.

The guests were coming to Indy to see the conventions. The old and new getting tonew home of the United States Gymnastics gether to exchange v iews and ideas.

Federation, which happens to be the stable Everywhere could be heard the sound of for the city's newly acquired professional gymnastics talk and everywhere could be football team, the Colts. The convention was seen gymnastics paraphernalia.

The first highlight on the agenda was the housed in the same structure as the USGF offices, Indiana Convention Center and annual address of the Executive Director, Hoosier Dome.

Mike Jacki at the General Assembly. Jacki The Congress enjoyed its largest atten- yielded the podium to the USGF Controller dance ever, over 1200 came to see, hear and John Hewett who went into the details of learn. In addition, this year's Congress of- the financial outlook for the Federation. Refered the largest exhibit area yet with man- turning to the limelight, Jacki focused on ufacturers and suppliers offering products challenging the gymnastics community to

T

utilize the tremendous opportunity the Olympic Games has afforded them. "Our work has only just begun," Jacki said. " We all need to work hard to improve the quality of our sport."

Dr. Gerald George, USGF Director of Education and Safety, echoed the importance of each taking a r~sponsible part in creating and maintaining a safer environment for the athletes and coaches.

In addition to conducting organizational meetings from the coaches, judges and independant club sectors of the USGF, the Congress program included presentations from selected program areas. The USGF Junior Boy's Program Committee made several presentations from data collected concerning the competitive athletes. Dr. Robert McKelvain covered Teaching Relaxation and Imagery Skills to Gymnasts; Tom Gardner moderated an interpretation of the 1985-88 Junior Boy's Compulsories; PWI Cheetham and Hideo MizogucW presented findings from a Biomechanical study of boy's compulsory vault; Bill Sands from the University of Utah presented additional biomechanical material collected on female collegiate athletes; Women Committee members Delene Darst and Greta Treiber presented the new 1985-88 compulsory elements for the Women's Age Group Program.

USA FIG representative Jackie Fie presented a standing room only session on the new Code of Points - Women, followed by a question-answer period. Other women's sessions included a judging session with Cheryl Grace, the USGF Director of Special Events, and a session on the junior elite testing program, moderated by Steve Whitlock .. he men's program sessions were highlighted by a lecture demonstration of the new elite compulsories presented by Fred Turoff, Ken Allen, Jim Howard and Fred Roethlisberger. Mike Milidonis and USA FIG representative Bill Roetzheim presented a session on the new code of points.

The general sessions at Congress consisted of a session on Nutrition and Gymnas-

T

Scott Crouse (center) looks on at one of the sessions during the 1984 USGF Congress.

40

USA Gymnastics

Nonna Zabka pOints out facts to her attentive aUdience during her portion of the USGP Congress.

tics by professor and author Dr. Pat Eisenman; a NCAA rules interpretation by Thomas Yeager, assistant director of NCAA legislative Services; USGF Rule s Interpretation/International Eligibility presented by USGF attorney,Jack Swarbrick; a lecture demonstration on Power Tumbling and Trampoline Safety by Steve Elliott and George Hery; a Dance and Gymnastics session, covering the importance of dance basics in gymnastics by Toby Towson; and a developmental gymnastics session that covered teaching styles and skill development and how they relate to the early gymnast or preschooler, moderated by Siegfried Gerstung, and including presentations from Cliff Gauthier, Kathy Emra, Randy Pendergost Ron and Cheryl Ferris. Dr. Gerald George moderated a session on Legal Liability in Gymnastics, with attorney Brent Swanson, giving an overview of responsibility for the coach, judge, gymnast, meet director, and equipment companies.

Dr. Mark Rabinoff and Bruno Klaus also served on the panel for discussion.

There were several organizational "firsts" or semi "firsts" for the '84 Congress. Anticipating the largest attendance ever, this was the first time the program and activities were almost entirely conducted in a convention center, allowing more than adequate space for meetings. In addition, included in the Congress registration was a ticket to the McDonald's Gymnastics Medalist Tour, Friday evening at Market Square Arena. The Medalist Tour comprised of members of our Gold Medal Men's and Silver Medal Women's Olympic Teams concluded their four city tour with a sellout 16,000+ crowd in Indianapolis. The Indianapolis performance included a special addition to its cast of star studded performers. Former Nebraska State

George Hery (with Mike) and Steve Elliott teamed up for a lecture demonstration on power tumbling and trampoline safety.

USA Gymnastics

41

Pommel Horse Champion, Dick Cavett (probably more noted as an actor, scholar, television personality) made a rare appearance with the "Team" for an enthusiastic audience.

1984 USGF Congress-Rhythmic Gymnastics he one word which best sums up the Rhythmic Gymnastics portion of the 1984 USGF Congress is positive!

Within the past several years much progress has taken place in this discipline of gymnas-

T

tics in the United States which was extremely evident at Congress. The usual feelings of frustration are being replaced by accomplishments which are being carried out through a team effort all across the country.

The most major accomplishment for Rhythmic Gymnastics in the US is the brand new 1984-88 Age Group Compulsory Program. The materials for this include the fully illustrated manual which includes both individual and group routine exercises, music cassette tapes and VHS and Beta video tapes.

A 2 hour compulsory clinic was taught by the original choreographers of the routines; Marina Davidovich (rhythmic floor exercise), Nora Hitzel (rope), Monika Heilbut (ball) and Maria Bakos (ribbon). A lot of new faces were seen among the 50 participants at this clinic. Prospective new coaches were encouraged to participate directly on the carpet and learn from the choreographers what they would be teaching back at home through the videos.

A second participation clinic took place following the compulsory clinic. This dealt with the 'Basics of Rhythmic Gymnastics.'

The clinicians were Marina Davidovich (rhythmic floor exercise), Wendy Hilliard (rope) and Alia Svirsky (ribbon). As with the morning compulsory clinic, this session took place in the exhibition hall where the ceiling was over 35 feet high and therefore the usual problem of insufficient height was completely eliminated. There were over 65 participants at this clinic either participating directly out on the carpet or sitting along the sideline observing and taking notes. Positive once again is the word to describe the meeting of the State and Regional Directors. This session was conducted by former National RG Program Committee Director Andrea Schmid and had approximately 40 in atten-

November/December 1984 dance. Matters which were concerns at the 1983 USGF Congress have now been carried out and added to the ever expanding list of accomplishments for Rhythmic Gymnastics.

The prime example of this is the Rhythmic Plus membership package which enables a USGF member to join as both a Rhythmic and Women's Artistic Professional Member at a discounted rate.

One of the main focuses discussed at this meeting was emphasizing Rhythmic Gymnastics as a recreation program and getting it incorporated into all levels of physical education classes. It is through this angle, rather than Rhythmic Gymanstics as a competitive sport, that the much needed numbers of participants for this sport will be obtained. At this meeting all of the present Regional Directors introduced the State Directors in attendance from their regions. Each Regional Director also reported on the activities taking place within their regions, and made known the dates of some upcoming competitions and clinics. There was also the opportunity for the respective Regional and State Directors to meet, discuss ideas and tentatively put together the dates for the championship meets in that region.

Other Rhythmic Gymnastics sessions which took place at Congress included a Group Choreography lecture presented by Roza litvakova, coach of the second placing group routine at the 1984 RG Championships of the USA; a judges Updating session, including the administering of the judges exam by National judges Coordinating Committee Director Norma Zabka, and a Rhythmic Gymnastics for Tots session presented by 1984 Olympic Coach Alia Svirsky.

In her Group Choreography lecture Ms. Litvakova brought forth prime examples contradicting the belief that group routine is very difficult to teach. This session was geared toward very basic group activities, including both competitive and exhibition group routines. Litvakova stressed music as one of the key factors in group work, and usually music with an eight count is best.

Film excerpts showed at the conclusion of this lecture included thejapanese Men's National Group Team and the 1983 World Championship Groups from Bulgaria and the Soviet Union.

The judges Updating Session was geared toward the question "How to become a Rhythmic Gymnastics judge." The score requirements from the testing, as well as the number of required meets and years experience for the various levels of judging were explained. Progress has been made with the National judges Coordinating Committee which is now a functioning committee consisting of eight elected Regional judging Directors, the four Brevet judges in the United States and the National Program Committee Director. The following very important announcements were made at this meeting: ( 1.) The practical exam will be incorporated into the testing system in 1985, (2.) The ratings from the present cycle will be extended until September 1, 1985, and (3 .) Women's Artistic judges with a Class II and above rating will be eligible to be considered a Rhythmic State level judge if the average score of 75 percent or above is obtained in the Compulsory and Optional Rhythmic test.

The Rhythmic gymnastics session which drew the largest amount of participants was "Teaching Rhythmic Gymnastics to Tots."

Although the speaker Alia Svirsky is thOUght to be involved with rhythmic gymnastics only, her club teaches all three disciplines of gymnastics, and therefore her lecture was geared toward all club owners, not just rhythmic instructors. Svirsky emphasized what most club owners and coaches know; a tots program is not to be used for elite development purposes, but rather as a money maker for the business. Therefore it is necessary to prepare the classes be fun for the children. Throughout the lecture the following points were explained: 1. Children should be taught that the apparatus is their friend; 2. Music kids know and like should be utilized throughout the entire class; 3. The instructor should count with and for the children so that this very impor4..~OJlple of the booths at Congress, Below the tant skill becomes developed in them; ti1Dson representative braces for the 4. The instructor should never sit down o[l~lallght. ÂŁjUght) The women that adorned the during the class, as the youngsters reAlpna I'actor booth.

Dr. Gerald George (left) pose~ith a couple of his gymnastics compadres lJreg Marsden and Jerry Fontana. quire attention all of the time; 5. Both sides of the body should be worked with all movements; 6. Every class should be ended with a game which involves apparatus, so that the parents leave the club with a child who has enjoyed the class.

The recipient of the 1984 Rhythmic Gymnast of the Year was Olympian Michelle Berube, who had received this award in 1983 as well. The 1984 Rhythmic Coach of the Year award was presented to Olympic Coach Alia Svirsky. This was the third time she was bestowed with the distinguished honor.

The USGF would like to thank all of the

- --.--- --- - - - --,------------

I

November/December 1984 persons involved with the success of the Rhythmic Gymastics aspect of Congress. A special thank you is also extended to all of the speakers and gymnasts who served as demonstrators. )I'

USGF Congress Banquet t was quite a night of festivities as featured guests included all members of the 1984 Olympic squads, which was a big enough draw in itself. But added to this was the presence of actor, author and popular television talk show host Dick Cavett (see feature on page 44). Cavett, along with two-time O lympian and Olympic Gold medalistJinl Hartung, co-anchored as emcees during the banquet. In true sports championships style, Cavett "spotted" Hartung for the more difficult laughs. Olympic Games announcer and a familiar voice at many gymnastics events, Jan Clair shared the banquet responsibilities and kept the program moving. Jacki welcomed all in attendance and made the awards presentations.

The 1984 USGF Athletes of the Year were determined by a vote of their peers - fellow National Team Members. The Women's Artistic Athlete for 1984 is Mary Lou Retton; the Men's Athlete of the Year for 1984 is Peter Vidmar; and the 1984 Rhythmic Athlete of the Year is Michelle Berube. The Coaches of the Year, likewise, are determined by a vote of their peers. The honors this year went to the three Olympic Coaches, Don Peters for the Women's Coach, Abie Grossfeld for the Men's Coach

I

Julianne McNamara (below) and Bart Conner (right) sign their john Henry to the USGF's commemorative OlymPic poster,

and Alia Svirsky for the Rhythmic Coach.

The Service Awards are given to individuals as recognition and appreciation for outstanding contributions to gymnastics. There were five recipients for the 1984 Service Awards: Mas Watanabe in the area of Program Development Varina French in the area of judging and administration Jan Claire in the area of sports promotion Charles and Eleanor DuBois in the area of Coaching and Devotion to the Sport The USGF Master of Sport Award was awarded to Frank Bare.

The final awards were the inductees into the Gymastics Hall of Fame. The 1984 inductees are: Doris Fuchs Brause Dale Flansaas Kephart Dick Mulvihill Frank Bare 1984 Men's Olympic Gymnastics Team: Bart Conner Tim Daggett Mitch Gaylord Jim Hartung Scott Johnson Peter Vidmar Talent Contest It was new, fresh and, as it turned out, definitely wild. But the USGF decided to go with it and see where it ended up. The talent contest at the banquet, was definitely a great way to work off any frustrations dinner might have caused. Congress has a reputation of getting a bit ou t of hand and the winner of the contest and the proud owner of 81,000 Jim Unger from Omaha, Nebraska (where else) was definitely off the wall. His interpretation of the "Lone Gymnast" had all eyes simultaneously beliving and disbelieving his antics.

Peter Vidmar winces at the prospect oj signing another autograph.

Cavett, who was hosting the contest, tiptoed through the debris left by the "Lone Gymnast" to combine with late entry Scott Johnson in a loose rendition of "Tea-forTwo." Photographer Dave Black and his wife Susan placed third for their energetic Western Swing dance. Other prizes were donated by Fugazy International Travel, Bayly, Martin and Fay, Inc. and McDonald's,

--

November/December 1984

An Interview With Dick Cavett

Kindling Friendships And Exchanging War Stories

By Debbie Forsten unday, as the 1984 Congress weekend was drawing to a close, Dick Cavett mentioned forlornly to a fellow Nebraska Cornhusker, " you know, I feel as though the circus is leaving town, and they are leaving me behind." It was very sensitive and descriptive of the weekend ... not that Congress itself is like a circus; rather the feeling- all the people getting together for a long weekend, forming new friendships, rekindling of old and spending an intense three days of " gymnasticating " (gymnastics exchange)-left you with a kind oflet down afrer it was over. While our gymnastics practitioners spent most of their time in informational meetings, Dick spent his time in "Team" meetings with members of the men's and women's Olympic Teams, kindling friendships, exchanging "war" stories and I think card tricks.

After the Congress weekend, I had the opportunity to talk with Dick about gymnastics and his visit with us.

Q. For the benefit of the people who did not attend the USGF Congress banquet, could you please tell us about your involvement in gymnastics?

A. Well, as I recall, they were trying to start a gymnastics team at Lincoln High School, and they found an antiquated side horse stored somewhere in the cellar of the high school. It did not actually have a neck as I have lead some to believe. Phil Sprague,

S

Dick Cavett

(left) spots

Jim Hartung during the opening of the Congress banquet.

Cavett

teams with

Scott Johnson for a little Tea-far-Two soft shoe during the talent contest.

who is still involved in gymnastics, was our coach. We would get up at the crack of dawn and work out in an unheated gym on the mats and side horse. As we

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USA Gymnastics

November/December 1984 apparatus, including the flying rings and trampoline, since we are going back that far, everyone went to the more glamorous pieces of apparatus. But I stayed with side horse. Sprague said I was doing well on it, I guess I had a "flair" for it. I won the state meet twice. The terrible dilemma came in my senior year where the state meet coincided with the college boards; fortunately wiser winds prevailed. Had I not taken them I would not have gone to Yale and you would be talking to an empty phone. When they gave me an honorary Doctorate degree from the University of Nebraska, I had forgotten that I said in my speech 'there are things I love about coming back to Nebraska and I realize that I gave up certain good things in life by going east.' Then, I said, 'the thing that really pulls at my heart strings it that had I stayed here, I might have been Jim Hartung today.'. Word got back to Hartung and that was one of the first things he asked me about when I finally met him.

Q. What were some of your feelings about the weekend in Indianapolis?

A. I loved it. It revived all my memories of that god-awful agony of the nerves-walking out to your piece of apparatus in silence and knowing that in the next few seconds your entire year's work would either be down the tubes or flying gloriously.

Q. Did any of the intrinsic lessons learned in the cold high school gym in Lincoln help prepare you in some way for what you are doing now?

A. It taught me a lesson that I think I didn't necessarily put into practice-which was that extremely hard work at something does payoff. I have never worked on anything so hard before or after. The so called valuable lesson of athletics, that A) the work is its own reward and B) the hard work is gratifying and enhances your self image-all those corny things-are in fact true. When you win you feel like you have really ac-

complished something. I have won other things in my life and I thOUght 'that this was easy; they should not be rewarding me.' Like in running, they should give the medals to people who run marathons in five hours and come in last because it is much harder for them. It is easier for the winners. But things like Emmys and other things I have gotten have to do with a kind of talent rather than dedicated hard work-not that doing television isn't brutal, but working, working and working on something to perfect it is hard and good for your character.

Q. What do you think about Nebraska gymnastics now?

A. I feel very chauvinistic. After all those years of not paying much attention, I saw Hartung and Cahoy on a cable show from Las Vegas, and was stunned by how far gymnastics had come and even though I had read about it, I had not seen it. I remember thinking, gee, I wish I knew Jim Hartung and I wonder if he knows my name; kinda like I would meet Dr.J and Pete Maravich and they would say 'hey Dick' and I would think how do they know me, I am supposed to know them. I emceed a special for the Omaha Symphony and near the end they talked about heroes from the Summer Olympic Games, coordinated with slides and music.

When it ended, I could not help mentioning that 1/3 of the men's gold medal Olympic

Scott Johnson

Gymnastics Team were Cornhuskers. Hartung and Johnson got a patriotic chauvinistic ovation. I feel now as if I am an honorary team member if not their mascot.

Q. You indicated at the Congress banquet that you had conducted some independent research to see if athletes (gymnasts) could pick up tap dancing easier than non athletes?

A. That was light, but I was quite serious.

I know some very advanced stuff without knowing certain basic things. So I showed Mary Lou the basic Shim Sham and Scott a kind of advanced Tea for Two; and that is the only time a dancer or non-dancer has done the step the first time seeing it. It takes a tricky balance change. The remarkable foot and hand coordination that gymnasts have, amaze even dancers. The fact that Scott was able to even simulate-let alone actually do some of the steps with one quick two minute lesson was just remarkable.

At the conclusion, Dick mentioned he had recently been on the Merv Griffin Show. I managed to catch the show midwa y. I noticed his only lapel pin as I listened to the humorous verbal exchange. I strained to see the pin; surely .. . yes it was, his USGF gymnastics pin! Chauvanistically, I could not help feeling proud and appreciative to be likewise honorary or mascot member of the Dick Cavett team.

bOps off with his talent

contest prize.

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45

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