JFIFC    $ &%# #"(-90(*6+"#2D26;=@@@&0FKE>J9?@=C  =)#)==================================================" }!1AQa"q2#BR$3br %&'()*456789:CDEFGHIJSTUVWXYZcdefghijstuvwxyz w!1AQaq"2B #3Rbr $4%&'()*56789:CDEFGHIJSTUVWXYZcdefghijstuvwxyz ?JL{ 3j!ҎԂ&O t}(@ ʜ?/RMT( hJ8JQ)J? ;NJoҔ~(SGҜ?~T'G@ QQRzR˥)~TQQ@'J? @.~TR€~(R39=T_˥/қ{vN~fݎk#(H,lKJ6("cڴwj(r8VSE.dѬӥ.~+4bu ^$ғ_dӺ|҃Xgz8?xH^H.dgAW8|mr^|oa0\֎d>VtrZJs?%2(Aη?J Wkmf CTc.=&kX;⧂Y3 Yݟu|{Pgs~b1+n]2rsTOMlkisd_R'ڛ|ՋAܷҙ <@fTlT@AC3,0 X)rs;,21 EdJ2s|7 Žh'xO<0N2Z&;$Ҷ34yc?kbO5Zi5ͤ.G1ϥsDA)XͼXQU# %j"=m.K}Zq d؃Nh;c&05 hO ²on|~ykr&deX yFSxN71|G Lڨo.jZXv|g1MFVWi VC4r*Ԋ0iX.eiyه;CzzTq5A#XyEsgi:͌9fiE aN~uzX䷅bI9f n׻`JH1Ҋ\ QQS#vG;Xn biʹe>WMR !sUUH;*!T٨ #5Vg@_r2Œ>^2:uV02Qq+i"LgTWf !nAq - 2L ϗ@ٵ͝eWrULײ"P Ȋ@ȸcQXd2  0.%C;~5)$ж3!2lƘl. 5zfXtMF \,R#nx#SܵQafՀ ц#m  uW+9w{[pz/ST#.f G뻚MO/o8^Ո'i%v;dEt ;ԣ:r60%.>@s@n}([2J+_KЈ: b,WzV~AԐ{ t ʓ0zVz$3Th̵9&;N:mgòl`/U5 Z4,M=Aa xzSXFRk{kz6#Q2+eEHܯATp Q孊P!;֬Č8rˌcݸu6lϼ d!oVxG֬ݶ H]%kXw2$fH3 Џc*xiY'J;zKKӻ+. zb>7t)7ցֆ%ҖC+ RK|Qk&6CKme2sZ5nA=[[@<&uҥFXɒTo["^q[DHl|42 X 9$@2 >&Aci9B)>qTR\Rۘg$~V Ps`-J mvy&V夠SX#f?~Ag2E<)p,Np=k2=sT Z}XC*`j'I?(ڰ5V(OoJyd ,j ZKGqO&(U4SB0XfN*,M"_L [5|(ѹuV3R`q]>ƝuU9cPќ5m,NAlHs^=?CJI# (U|A bsϥp|ǷzZmdR ZsC =1PXgڐJjqk,0 eQ Z *ݱ؀RV<4?-B]JLK40ష`=j ;Ǩ ITIx?\m6ftҩˢP atU|@1鰀r9bnBSg u rY'-ik@X3'y)]#)WGY%Dmʎģ O5*ِ.rUn謌OB*bp 'V5[K -WSPIc+*mPÕ%/$C麋quKK82ȩD?h0yH< y U( ԙ@ahV߂? )c4YC@;9Jyh`7V?03Hmo G5*i@S}2ĵxKs<1Zd{i#^}VD 2IvB"!PZ7wOJ;xT9@3EbziWYsqIF*L 0u~(-!n9GֺN'(O!2~s1swٱ )Ou>YO])*\9<;U_o]X5a-z_z]Plx=V݆|?|&WALK5T@;U]ڋ Yv!9+& 9FsvQQ^x$<1u gF "7R7?֯jbT2rV@}sZh>@}iړ>4g}SNހz)1Aޘ.R~43@—>Z]ր.}T[i֓кYY%8c1OnFg޾xo7SWBDE]ٻ\R \?{\Ngef@?tɎ'WYD!ӡ.&-R1lV`j oKr7cwQFʪTL :Lۺm.NzguZgN?04n* e1]R~[sZu+WWObkx1SUsNݞisā?J\i'7?Z]!߉4=M0sE7p=,]\$cQ֠e30ÃҮnOJRyZ<@;J1Ku38MN,7c#cZ^y X`q]a};UK)v#$յ ق̘HEU8dFe;Xîv4UFI[ _nĶkWnF%pj[Nrp%dx5\1f^>\|3j~1d+oK8+Lo ](F;SS]Õ\lP7ܞ&8-o^ao!Ѫqr8ԛzW4eGCDG\o0O[(1tv|(p1ϭ4jLzF9 [/Xy1; ܴ/?z/^SHzLާnñĢKؽkP"T%$sI70xɩ GV'q==+#@VH4/zL2(%\mf9L 'Lx#pqֱunsaN*MGے&䷽^+#p8&EbՖyEPz޲ݴLٝ\lBO!>n٢ErQ0_ r5,TJrx&5$v[;ғ1QP!go^ԤJ˖d IBh:p;j[%$z1M0hͶD$yo:YCm4 A6)~ܘ!453-@ )HEϽU[vD *̍3ӭ4GiYWE<-u,iq}l<>CŸP=*Vvw@8 M4J""4)HwjlsT>Σcd}һxR$I:uD~VLW'H&HSOҺ=F)9p\{rryZ]H@z6] 3EwM^sH畛zdndr?8X\W4V:97D֫JcQ}glU5M2\{iiM 1`܇0W-%nFT!(;tDq0CT<=)*8l4 hRxWZ5 f8_NEF+)OaVXyd*&Iv{¹Mc>#ҥ7 8@ ʊGl@=R'sRôGh4BME0G G.g@ė$*=ٻcGګdctYvI#)$pZ)E+L)Rc4m;M&Z␎( ̇*Y}YXǗy8?Z´6f`m1,500:______1964__________1982<br>Mile:_______1965__________1982<br>3,000:______1986__________1975<br>5,000:______1964__________1979<br>10,000:_____1976__________1979<br>Marathon:___1973__________1984<br>e because it involves the pectorals, shoulders and triceps. For the lower body, one of the best exercises that work the hamstrings is the glute-ham raise.<br>The glute-ham raise begins as a standard back extension, the difference being that after the lower back becomes parallel to the floor, the athlete continues the movement by bending the knees. This additional movement involves the knee extension (bending) function of the hamstrings, whereas the first part of the exercise primarily works the hip extension function of the hamstrings. To perform this exercise comfortably, the machines used for this purpose have a rounded pad.<br>One person who helped popularized the glute-ham exercise was Bud Charniga, a weightlifter who in 1974 snatched 352 pounds, only five pounds off the American record in his bodyweight division. Charniga developed a homemade version of the glute-ham machine after reading an article in a 1971 issue of Strength and Health. Eight years later when he visited Russia, he found that every gym he visited had a glute-ham station, and that the exercise was an integral part of the training of Russian weightlifters.<br>Charniga's glute-ham bench consisted of a padded car seat nailed to a carpenter's bench. He plas only one jumper left before them, so they had to warm up in a hurry. They ended up jumping pretty well because the were great natural talents, but these were athletes who really didn't take care of their bodies, and you wonder what they could have done if they had taken better care of themselves."<br>A major portion of Amy's training is the Olympic lifts, but she also performs several auxiliary lifts for the lower back, abs and the upper body. "It's important to keep the upper body strong for coordination," says Amy. "At the takeoff you really have to move the upper body--you can't just be a limp noodle." She also says it's important for jumpers to perform specialized exercises for their ankles. "You get a lot of power from your feet, and if your ankles are hurting you're going to suffer. I do all kinds of ankle strengthening, such as picking up sand and running on the toes to strengthen the arches, surgical tubing exercises, and rocker boards--I work on my ankles a lot."<br>For younger jumpers, Amy believes in the importance of being exposed to a variety of sports. "You learn a lot through other sports and through competition. It's just like your academic studies--you need to become a student of your sport and learn all there is about it. The high jump takes a lot of technique, but you can't stop there. You need to learn the mechanics, the physics and the psychology of the jump to really succeed."<br>Amy has given quite a bit of thought to the psychology of sports and believes there are some truths behind the stereotypes about track and field athletes. She says that sprinters are confident, bordering on cocky; throwers are the jokers and are laid-back; pole vaulters are the daredevils, and distance runners tend to engage in strange ituals and habits that she feels border on "just plain weird." She also says that because ecathletes have an appreciation for all the events, they tend to make a lot of friends and, she adds, "have the nicest bodies."<br><br> <br>Posing for Perfection<br><br>Although her plate is full with athletics and studies, my does have a few outside interests, such as modeling. She is currently represented by Click, and Amy says the agency likes the idea that she is an athlete. <br>Although most women have a hard time getting modeling assignments because they're too short, Amy has the opposite problem because she's 6' 2" and the ideal height of a model is 5' 9". Her height makes her too tall for runway work and sometime