1981_10 The Daily Collegian October 1981

              Redshirting; 'the five-year rule'
_      _ ^" .._..!_    /__»        -I    »__-_.     Tkla   __________
By Peter SeeH
Staff Writer
and helmet, the young
Standing on the sidelines at the end   enthusiasm of the mos
of a long line of players stood an in-    teammates.
dividual who obviously was dressed in-       Meet the 'redshirt*
appropriately for the occasion.
Although he lacked the shoulder pads
shared the
The governing body of college football, the NCAA, allows each football
player a maximum of four years of playing ball. An additional year of being on
the team, however, Is available to an
Individual who is willing to bypass any
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chance to play. This practice has been
termed redshirting.
At any time, except during the freshman y_ar,.a player may take the option
to practice wfth the team and do everything except play in the games without
losing a year of eligibility.
What this boils down to Is what many
football coaches call 'the five-year
rule.* If a player redshirts. he is entitled to five years of a football
scholarship from the time he enters college. The redshirt has been called the
lexicon of college football.
The reasons for redshirting vary from
individual to individual and from situation to situation. Often a promising
play, will choose to redshirt because
there are those further along In eligibility who are starting and would prevent the player from playing, thus losing a year of eligibility.
In many instance* a player becomes
injured. Instead of forfeiting a year of
playing, he also chooses to redshirt.
NCAA rules require transfer students
from four-year institutions to redshirt
during their first year at another college.
The decision to redshirt almost always comes after .an agreement between
the coach and the player. In 1978, freshmen were allowed to redshirt but the
practice was dropped that year after
some college teams were said to have
abused the option.
Three CSUF football players spoke on
their thoughts and feelings concerning redshirting. All three have or plan
to come In contact with the practice for
different reasons.
One of the players redshirted last
year, one is currently a redshirt and the
third is a freshman who plans to redshirt next year.
Rick Worman is a freshman who ranks
third among CSUF's five quarterbacks.
His chances of seeing much playing time
next year are slim since the two quarterbacks ahead of him will both be seniors
and have a great deal of experience.
Worman plans to redshirt next year
for this and a couple of other reasons.
He said that in doing so he will give
himself the opportunity to see some action he wouldn't have been able to see.
"I 'd like to redshirt because it would
give me another year to learn our complex system and another year to learn off
game films," said Worman. "Plus it'll
give me another year of school.*
The final decision will come from an
agreement between Worman and coach
J im Sweeney, said Worman.
•I'll wait until the beginning of next
season to see what our quarterback situation is like,' said Worman. 'What I'd
like to do is continue being the number
three quarterback in the 1982 season and
if I'm not needed because of ln|uries
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Dally OaHaglan-OetotMr 1 fl, 10*1/ Page 5
Music
By Bret Kofford
It was early 1979, in the depths of
another dreary Fresno winter. I was
lying on the floor, reading The Bee and
casually listening to KBOS, the only rock
station beamed ihto Fresno at the time.
Through the static of KBOS's long
distance signal, I remember hearing the
DJ, an allegedly witty guy whose name I
recall as Doctor Dave, saying something
along the lines of 'Well, here's something really weird for you. This is a band
called The Police, with a song called
Roxanne. Let me tell you again this is a
little strange, so be prepared.*
So old Dave started the record. Since
I thought Dave's taste in music generally sucked, I listened intently. The
musk started with a scratchy, tight
guitar playing choppy notes. A demented cackle rang out, followed by
reggae-style bass lines. I listened closer,
forgetting the morning paper. Then a
distractive high-pitched wall moaned the
words, "Roxanne, you don't have to put
on the red light."
I went and bought the record that
afternoon.
Of course, "Roxanne" went on to
Casey's Top-40 and The Police became
major stars. The first album, Outlandos,
de Amor, was followed by two more hit
albums, Regatta De Blanc and Zenyatta
Mondatta, which contained the hit songs
'Message In a Bottle,' (from the former), 'Da Do Do Do, Da Da Da Da' and
'Don't Stand So Close To Me' (from the
latter).
They made the cover of Rolling
Stone. And bassist-singer Sting even got
his marriage announced with his picture
printed in the 'Star Trades' section of
People magazine. Now that's stardom.
Ghosts In The Machine is the name of
the new Police LP. This record is the
least accessible of the four Police
releases. On their other records, the
songs were engaging; they jumped out
and grabbed you. But on Cheats In The
Machine,   the  tunes   are   more  com-
Police take one step forward
plicated. They take a little longer to get
This is because Gh_-ts In The Machine
is another step forward for a continually
advancing band. Each album has made a
progres. and this Police record delves
slightly in jazz, funk roots reggae and a
futuristic sound styles not heard on
previous Police 'discs. Keyboards and
horns are debuted on Ghosts In The
Machine, with mostly positive results,
particularly on their new single, 'Every
Little Thing She Does Is Magic*
The most important sign of continuing
maturation is the consistent improvement of lyrics on each album. On their
first two records, The Police mostly
addressed personal dilemmas ("The
Bed's Too Big Without You," "Be My
Girl, Sally,' 'Can't Stand Losing You,'
etc.). On the last two LP's, they've
made comments on global issues.
Zenyatta Mondatta concerned itself with
thoughtless dictators, world hunger and
the self-indulgent rich ('Too many
cameras and not enough food, this is
what we've seen,* from "Driven To
Tears*).
Of course they did concern themselves
with love and lust on a couple of occasions on Zenyatta Mondatta (what
good rock band doesn't?), and they do
again twice on Ghosts In The Machine.
But the rest of the lyrics are more
directed toward social commentary.
On the rousing song 'Rehumanize
Yourself" songwriter Sting tells the story
of an aimless young man who joins the
National Front, a rapidly growing racist,
fascist political party in England that
advocates sending West Indians back to
the West Indies, Pakistanis back to
Pakistan, Irish back to Ireland, Jews to
Israel, and soon.
Billy's joined the National Front
He always was a little runt
He's got his hand in the air
"One World' could be The Police's
tribute to John Lennon. Set in very roots
style reggae, the song has many of the
same lyrical characteristics as Lennon's
'Imagine.*
/ don't want to bring a sour note
But remember this before you go
We can all sink, or we can all float
Because we 're all in the same big boat
One world is enough, for all of us
The Police trademark *Eee-Oh's*
and 'Cha-Cha-Cha's* make a cameo
appearance here. They're still kind of
fun, but it might soon be time to leave
these old friends behind.
The musicianship on Ghosts In The
Machine is as expected: superior. Sting
on bass and Stewart Copeland on drums
are two of the best in modern music and
getting better with every album. Both
are true innovators and artists with their
instruments. And Sting's singing, well,
it's perfect. Andy Summers' role on
guitar has been gradually Increased
during the band's history, with the
reggae-based music The Police play,
which uses bass and drums as the key
instruments. Andy's assignment is
mostly to scratch along, which he's
good at. But he's also a pretty good
guitar man, and finally getting more of a.
chance to prove it.
Jean Roussel Is listed as they keyboardist and proves to be an enlightening addition to The Police's formerly
sparse sound. Someone plays horns on
the record, although no one's listed anywhere on the album cover. The horns are
arranged well, and more than noticeably, played brilliantly. So co-producers
The Police and Hugh Padgham should
probably get more credit than the
players themselves, anyway.
Unfortunately, this is not the most
enjoyable Police album. As they become
more skilled, some of the spontaniety
is being lost. Ghosts In The Machine is
their least danceable record yet, too,
and danceability was one of the keys to
their success (at least at parties I attend.
Put on a Police record and everybody
But it still has its danceable moments
and is spontaneous moments, overall
another exciting record. Songs like
'Omega Man,' 'Rehumanize Yourself,'
'Spirits In The Material World' and
'Every Little Thing She Does,' which
will be a huge hit, are The Polkx at
their best. And right now, there aren't
many better.
Short Cuts
The Specials - If you like The Police,
you might like The Specials. A similar
reggae-ish sound with British overtones.
The smash British hit 'Ghost Town*
(which was the rioters' theme song
during the British riots this summer) is
on the new three-song EP. The other two
songs are also entertaining with stinging
lyrics. Worth buying If you like this
sound, or maybe even if you don' t.
Tonight's show at the Star Palace wfth
The Motels should be scintillating.
The Motels, a talented power pop
band from Los Angeles, has released two
good records and established a reputation as a fine live band,
Martha Davis, the leader ot The
Motels, is acknowledged as one of rock's
leading ladies and is a very sultry songstress. Cultarist Tim McCovem is a
certified maniac on stage. So The Motels
alone are worth seeing, but they're
playing with The dams.
The Clams, currently Fresno's
hottest band, own a large and active
local following. They're on the edge of
breaking big as a national act. This could
be the last time they play locally as
an opening act.
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