ah forget it.
ah forget it.
Last edited by R.D.; 08-05-2010 at 08:27 PM.
Olys is not just another comp, but luck does play a small part. If the olys committee had not change the summer/ winter cycles e.g. having winter olys in 1992, and 1994, then 1996 should have been the yr for winter olys and is there any debate about who is the best skater in 1996?Michelle is/was a tremendous skater with no real weaknesses and many strengths. I'm glad for her that she's looking forward to wonderful new horizons. However, I still don't think of the Olympics as "just like any other competition"; and the majority who medal/win are not merely lucky.
Last edited by rtureck; 08-05-2010 at 10:41 PM.
If I could be a skater, I'd rather skate like Michelle than like either of the two ladies (impressive though they are) who beat her for the gold in 1998 and 2002. (No surprise there.) Someone on YouTube said that when Michelle skates, she holds your soul in her hands. You may not all agree with that (tastes differ), but a large number of people do react to her skating that way, including me. She seems to distill the emotion in the music in a way that few other singles skaters do.
By the way, I found a recording of the complete (four sections) Lyra Angelica on YouTube. What an enlightening experience for a skating fan. In its original state the piece is lovely, ethereal, but irather diffuse. Lori Nichol's edit of it (with a bit of Erik Satie thrown in somewhere in the middle) does an awesome job of shaping it to form a narrative. As Michelle was the ideal interpreter of Nichol's programs, Nichol was the perfect choreographer for such an artistic skater.
Ironically, for years I couldn't watch that program, because of the results in the '98 Olympics. But then I got the brilliant idea of watching the Nationals version, which is the best one anyway. Now it's one of my favorite of Michelle's programs. It's so subtle, complex, and rich.
I feel that Lipinski went into the Olympics with ideas for what her "artistry" would be and when she started nailing all her hard jumps it created something new and totally spontaneous which beat the planned artistry of what Kwan had. Now in US nationals 98 Kwan was so good she made her planned artistry seemed totally new and spontaneous and amazing but at the Olympics it kind of sat there but with Lipinski the raw happiness won the day in Presentation scores.
I was thinking about this conversation last night, and it occurred to me that one reason Michelle is such a standout in skating history is how much she's poured into competitions after she's been thrown off the horse at the Olympics. A lot of skaters can't get themselves motivated after such a disappointment. But Michelle won a World Championships within a year of each Olympics. That's pretty tenacious. In some ways, I stopped agonizing about the outcome of the 1998 Olympics when I realized that she might have stopped skating in 1998 if she'd had that Olympic gold. Can you imagine going without Red Violin, Song of the Black Swan, Aranjuez, and the other immortal post-1998 programs?
So Mathman, maybe that alternate universe isn't such a great place to be a Michelle fan. Maybe we're better off in this flawed timeline.