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Thread: Julia Lipnitskaia

  1. #61
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    http://www.youtube.com/watch?v=QyXLinn0SQM

    This is a cute interview that she did like right after she won Euros. Thought it was stupid that the interviewer, after saying that she was 15, asked if she was going to celebrate with champagne--- I know some countries have a lower age on alcohol than the US which is 21, but I'd think that at 15 it wouldn't be legal pretty much anywhere. But her reply was funny 'no, but maybe with a piece of cake'.

  2. #62
    Size 7 Knife Boots Sam-Skwantch's Avatar
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    Love how big her eyes get when she fully comprehends the champagne question. Even a 15 Yr old is smarter than most media people.

  3. #63
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    Julia on the cover of International Time Magazine: https://pbs.twimg.com/media/BfUGoS6CEAAsn17.jpg:large

  4. #64
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    Julia's short clip interview from returning to Moscow: http://www.youtube.com/watch?v=wFOBd...layer_embedded
    and video montage of the little girl in red dress from Ekaterinburg: http://www.youtube.com/watch?v=Ew8zU6GJR6k

  5. #65
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    Quote Originally Posted by sky_fly20 View Post
    Julia's short clip interview from returning to Moscow: http://www.youtube.com/watch?v=wFOBd...layer_embedded
    Can anyone please translate? Russian is interesting to listen to, but I have no clue what she's saying.

  6. #66
    Size 7 Knife Boots Sam-Skwantch's Avatar
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    Thank you skyfly_20!! You've provided a lot of Julia infotainment. I don't speak Russian either so any translation would help.

  7. #67
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    Hello everyone!
    Julia says:
    I don't allow myself to stop at this point. When people ask me: Do you realize you have become a European champion? I say: No, I don't. I don't really think about it. My primary task was to be chosen for the olympic team and now I'll be working for the OG.
    - Were you afraid that the judges wouldn't put you into 1st place here?
    - Yes, I was. I was afraid because I can make mistakes that can cost a lot. Here the judges were not permissive, I've seen the protokol and I can say the judges found a lot of wrong edges, underrotations, they paid attention to such mistakes. Athletes can lose their levels. It's very strict here.
    - Do you think the judges will close their eyes on Russian athletes' mistakes in our country (at home)?
    - I think their attitude will be the same as for ex., to the Japanese if the competition is in Japan. I think it's possible but the main thing is that we should skate clean and not give the judges any reason to find underotations and wrong edges.

  8. #68
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    @mermaid

  9. #69
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    Quote Originally Posted by mermaid View Post
    Hello everyone!
    Julia says:
    I don't allow myself to stop at this point. When people ask me: Do you realize you have become a European champion? I say: No, I don't. I don't really think about it. My primary task was to be chosen for the olympic team and now I'll be working for the OG.
    - Were you afraid that the judges wouldn't put you into 1st place here?
    - Yes, I was. I was afraid because I can make mistakes that can cost a lot. Here the judges were not permissive, I've seen the protokol and I can say the judges found a lot of wrong edges, underrotations, they paid attention to such mistakes. Athletes can lose their levels. It's very strict here.
    - Do you think the judges will close their eyes on Russian athletes' mistakes in our country (at home)?
    - I think their attitude will be the same as for ex., to the Japanese if the competition is in Japan. I think it's possible but the main thing is that we should skate clean and not give the judges any reason to find underotations and wrong edges.
    Thanks Mermaid!

    I have to say - the more I listen to her talk (okay - the translation of her talking, lol!) the more impressed I am. I have to say I am rooting for her to win OGM.

  10. #70
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    http://www.youtube.com/watch?v=5bWSgFnoCOk She is in Russian promo Ad

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  12. #72
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    First there was figure skating...then there was Julia.

    Beauty is ever the divine thing that the ancients esteemed. It is, they said, the flowering of virtue. Who can analyze the nameless charm which glances from one and another face and form? We are touched with emotions of tenderness, and even complacency, but we cannot find whereat this dainty emotion, this wandering gleam, point. It is destroyed for the imagination by any attempt to refer it to organization. The figure-skating of Julia never announces organization. Nor does it point to any relations of friendship or love that society knows and has, but, as it seems to me, to a quite unattainable sphere, to relations of transcendent delicacy and sweetness. The same fact may be observed in every work of the molding arts. The statue is then beautiful when it is passing out of criticism and can no longer be defined by compass and measuring wand, as figure-skating, but demands an active imagination to go with it and to say what it is in the act of doing. The hero of the sculptor, of the figure skater, is always represented in a transition *from* that which is representable to the senses, *to* that which is not. So the success is not attained when it lulls and satisfies, but when it astonishes and fires us with new endeavors after the unattainable, after the ideal—to make us inquire if there is some purer state of sensation and existence.

    It is profoundly true that small things do matter; yet it is in small things that we are always missing the opportunities which grace offers us. The figure-skating of Julia, like the life of the Little Flower, might have been given to our age merely to bring that lesson home; you feel that it is a miser with its grace. Everyone has had the experience of the happy occurrence—some fantastically accurate inflection or bit of punctuation, so like a moment in life we think it couldn’t happen again. The figure-skating of Julia is full of such moments that do happen. If one could seize and analyze these moments, one would see that they are made of simple virtues: constancy of articulation, musical fidelity and, simplest and rarest of all in figure-skating, moral commitment. For instance, Julia’s swaying arms are like the floating algae just above the bottom of the ocean’s floor; implicit in this is an inchoate disillusionment with the incommensurateness and transitoriness of feeling, explicit is a tender mystery. These are mutually dependent virtues, and they add up to what we have been accustomed to think as the Balanchine style in ballet—the conception of gestures, movement, and combinations from a series of head-on dialogues complementary to and coordinated with the dialogues of the music. The look of luscious detachment in those beautiful, unorthodox spin positions never fails to astonish me. Yet it is still she who consoles me.

    Julia has rescued figure skating from the curse of pseudo-ballet, pop musicality and theatrical know-how, and gives it back its flowing grace of movement. It looks very much as it might have looked during its artistic origins—which is right for the presexual world that figure skating invokes—and it is magically divested of the customary hard-sell performing style. Julia, on the ice, does not have an attitudinizing disposition as of a young woman straining to be mature—but of a young woman on the verge of Epiphany. So we have grace comes flooding through, like a rushing mighty wind, into the stagnant air of figure skating. Arise (the figure-skating of Julia says), make haste and come. Come away from the pettiness and the meanness of everyday life, from the grudges, the jealousies, the unhealed enmities that set your imagination astray. Come away from the cares and solicitudes about the morrow that seem so urgent, your heavy anxieties about the world’s future and your own, so short either of them and so uncertain. Come away into the wilderness of prayer, where you learn to live with the innermost part of your soul, with all your secret aspirations, with all the center of your hopes and cares, in that supernatural world which can be yours now, which must be your hereafter. Thereby, we can echo the sentiments of Moskvina regarding Julia: she is young of mind, light of foot, and strong enough of will (to carry this off). To be sure, all new movements are greeted with opposition; that is only human nature. As there is much action in the movement in the figure-skating of Julia, the action is delicately timed, so the effect is never one of monotony; this complexity and delicacy can be undervalued. In Julia, we have someone of our time, but not only for our time; someone with the technical proficiency, but also the imagination that such proficiency *must* subserve.

  13. #73
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    Oh dear lord. I think you've managed to out-creepy even yourself AYDIT.

  14. #74
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    Quote Originally Posted by tana View Post
    Welcome back, dear AYDIT! We really missed you!!! Post long & often and drive all of us bannas, plz.
    And you certainly don't have to tell him to make long posts, lol.

  15. #75
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    That was awesome. Do Gracie! Or Bobrova and Soloviev!

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