Why Julia will win Olympic Gold
Julia—like small girl in French movie Ponette, like Katerina Gordyeva in ’88 Olympics, like Comaneci in 1976 gymnastics—lends gravity to a world of anything-goes, a world afflicted by short memory and advertised remorse, a world where artifice is celebrated. Julia’s flexible figures in skating support a sacrifice made by her. No one in figure skating world is this sacrificial with their figures. They are presentiments of affection by Julia. It is affection, the feeling we all have for what is familiar to us, simply because it *is* familiar. It is said that you can choose your friends but you cannot choose your family; affection is what we feel toward people, places, and things that are homey and available—and this is the exact feeling Julia is putting forth in both her short and long programs.
The jumps of Julia in both programs will be awarded more GOE because they are done when a terrible calm is hanging over the compassion: that corruption of innocence is indeed tragic. For the latter, she will be awarded additional PCS in Interpretation and Composition.
The spins of Julia are done to adduce a whirlwind to upset the complacency of the modern, and not just done for show and points. They are different and more complex—inwardly and outwardly, intrinsically and ex—than other skater’s spins.
It is a familiar observation, at least among bicyclists, that when you are coming downhill with an upward slope facing you the eye is somehow cheated, and you see the gradient of that upwards slope as much steeper that it really is. But almost always it exaggerates the extent of the protest, and when it gets to know better by you, you find it less transient than you thought. Such is the notion of Julia’s upper body, especially of the ingenuity in the arm movements.
The skating skill of Julia has her roots in the past, not unlike the female pupils of Tamara Moskvina, but Julia is alive still, and capable of startling initiatives. Julia transcends national boundaries with it, yet she has an uncanny knack of letting people realize their own national pride by burying it with her seamless transitions. Julia is authoritarian—in the auteur sense-- in her skating skill and transitions, but her own authority is hedged about with precedent, and she will not lose sight of human liberty like most other skaters.
These two Olympic programs of Julia will capture the heart and pulse of worldwide audience. Julia, when she is drawing heart on ice and pushing it to left side of chest, gives notice that she thinks not of the fun you will have, but of the virtues you will need from love. You see, even with divine love for child like Julia in short program, human love involve suffering in long program: hell, just witness Our Lord weeping over Jerusalem or before the tomb of Lazarus. But if the natural loves, as in Schindler’s List, are allowed to stand in the ultimate place that only the love of God can rightly hold, they will be distorted and destructive. The rivalry comes, not because we cherish these human loves too much, but because we do not love God enough. This love cannot be measured by emotional feelings but by the intention of the will, thus “You Don’t Give Up On Love” Julia’s short program. Judges-- for those who can take a metaphysical quality (in figure skating) or leave it alone, Yuna Kim is the skater for you; but if you want that metaphysical quality within an integral whole, Julia is for you. Undoubtedly, Julia will be the one.
Don't tell me what is for me or what is not for me. You are not me. Julia's skating is beautiful. That I agree with.
Plus, isn't she too young to enter 2014 Sochi?
Currently frozen as a popsicle
Julia was born June 5th, 1998. She's eligible by just under a month.
Originally Posted by junesong2
Skating is art, if you let it be.
LMAO, epic post. You're really going for it there.
It's great that she inspires such fandom. I do think she would be a deserving Olympic Champion. It all depends on the competition, of course. Her SP could use more development. I think the heart drawing on the ice is rubbish. The LP is a brilliant creation, though. If only the step sequence rules weren't so overbearing, so that she would have a little more time in the program for pure interpretation, rather than 10 seconds of unnecessary turns at the end of the rink.
Julia is a young skater, not yet the equivalent of an icon by Rublev, no matter how much you try to gild her.
She has great talent and upward potential, but she is still naive, in ways both good and bad.
IMHO, you are building her shrine too early.
(Have you been getting enough rest? Sleep deprivation can make you see interesting things, or at least make you think you can )
Seriously? There's no way she'll beat a remotely clean Yuna and I'm no fan of Yuna. The quality of her jumps and basic skating is on a completely different level. Julia's flexibility and spins are more impressive of course but her spins do tend to travel quite a bit. I do really like her FS this season as well and her presentation has really improved but she's still a work in progress. She does have a good chance of getting on the podium but declaring that she'll win gold is really a stretch. She isn't even guaranteed to make the Olympic team in the first place.
Yup - I'm with Jenny. Julia is something special but she's just not "there"yet for me. Now if we were talking about the 2018 Olympics....maybe. Unless she gets that dreaded growth that alot of young skaters go through that throws them off.
But after seeing Mao Asada's LP at NHK today - Yuna Kim is going to have some serious competition......
No, Julia is now. At no other point from now to Olympic will these programs matter more. Julia's naivete is certainly apt for the here&now. As I have said, the costumes, the music, the aesthetics, the technical elements of Julia, the rightness of tone in the skating nuances of Julia are tailor fit for the here&now, for these very programs. Julia at this very moment and these programs of Julia as this very moment will certainly prefigure at the apt conclusion at Sochi.
Originally Posted by Robeye
Like any other art, figure skating needs martyrs, so to speak. We don't need anymore careerists and entertainers and material opportunists. Figure skating needs a Rimbaud or Van Gogh, not a pop culture blogger. We need artisans / figures to further figure skating, NOT their teachers (Moskvina, Mishin, et al.) We need more Grinkov & Gordyevas, not Tarasovas. In Julia is imbued the grace of unpremeditated originality. The tone in both of her programs may become, especially toward the end of both, profoundly sad-- but never maudlin (martyrdom for any cause, for any of the arts, is never that); more often, however, there is manly resilience and irrefrangible hope in the most melancholy of non-adults. That is why Julia is the here&now.
Julia and the other Russian babies are very talented and are all likely to be around for some time. I am very impressed with them. However, I don't think they can win medals at Sochi yet. I will still put my bets on the 'old girls' for Sochi. The only way Julia or others can clinch a medal is all the old girls fumble and tumble.
Julia's skating is purer.
Originally Posted by jennyanydots
Julia's skating skills are truer and more diverse.
Julia's jumps reflect the brush strokes of conception, Yuna's jumps reflect mere points-garnering for the finite, for material gain, and not even through configuration of programs.
I have not seen new programs, but from what I judged from the past competitive career, Yuna's programs purport superficiality, unfalteringly "noble"-- nothing but aesthetics, nothing but symbols and poses, a proverbial wink here and there for component points, a mere master of the pose, a la Caliban from Wilde's Picture of Dorian Grey, a la Svetlana Khorkina in gymnastics. In both programs of Julia, the infinite is reflected in the finite; let me give you two examples of this very beautiful ambivalence: In short program of "You Don't Give Up On Love," Julia is skating like she is dreaming, dreaming of her love, and the skate is only in the head: the expression then becomes more tragically sad, more tragically saddening-- BUT she don't know why or how she should be so sad in a dream, so she puts on, intermittedly, a smile-- Julia slowly resembles a supernatural angel with a da Vinci smile. I am showing you a skater who dreams and skates from imagination. In Schindler's List, Julia contends with the world without, not the world within; therefore she skates with oblivion, NOT because she's naturally stoic she skates like this; she does not invent anything, that she has now neither imagination nor fantasy. You see, success is almost always the worst thing for mere artisans like Yuna Kim, not artist like Julia.
the Golden Era
your grammatical choice of words is giving me a headache
When did the board become Art Appreciation class?
Oh, wait. I'm American, so I'm one of those uncultured, country bumpkins that have no taste for music or literature. So of course, I'm totally ignorant to the artistic wonder that Julia is offering in her programs.
I do love Wong Kar Wai, though and could watch "In the Mood for Love" and "Chungking Express" all day long! That's cultural right? (Sorry wanted an excuse to reference my favorite movie director of all time...)
Speaking of which, I would love a skater to skate "Yumeji's Theme" from "In the Mood for Love"
Six Point Zero
We should start a new thread called "Is Julia the new Kaetlyn?" Every season at least one new skater gets overhyped. Last season Kaetlyn was supposed to beat Yuna at Worlds.