- Joined
- Nov 19, 2010
Derail.
Too late; that train has sailed.
Derail.
Oh, Chan will definitly get even better. I can see his improvement in terms of speed, edges (faster, bolder and more confident on the blades). And his 3A is getting more consistant as well. He doesn't need to add more technical jump this year, so he's focusing on the presentation side. I'm sure next year, we will see him trying a 4S or 4F. Who knows, if he's confident enough, he may add another 3A. It's step by step progress working toward Sochi.
Exactly, he's improved since last year and this year has consistently been improving as he becomes comfortable with his LP (I guess that can really apply to all competitors lol). I agree, with how's he's doing, he doesn't have to add more jumps, that can come for next season. I would love to eventually see a 2nd 3A from him since it seems to be coming along nicely, but I really really want him to keep working on his presentation and artistry. Not saying he doesn't have it, I adore watching him, but he's already come so far and I want more . That comes with experience and life and just gaining confidence though and you can already see that happening with him.
Muah SkateFiguring.Too late; that train has sailed.
Patrick and his team are also very good at identifying and fixing any weaknesses. Including the little things (like "starfish" hands). And they're doing that now when he's winning anyway.
And what exactly would Patrick "intentionaly" be doing by use of the so called star fish hands while skating to Phantom of the Opera? And Phantom of the Opera music hould not be skated to with so called "ballet hands?" Could you show us a clip of starfish hands? That is a new term for me.
I provided a link to some photos of his starfish hands in his Take Five. The post was removed from his Fan Fest thread and I'm not in the mood of finding the link again. As I mentioned in that post, they were kind of cute and artistic as well. Not all starfish gesture is bad. It depends on when and where to use it.you will see POTO is the only program where he used starfish hands.
Well, my prediction is similar but slightly different:1. Evgeni Plushenko. Somehow, they will manage to give him his medal in his home country. 2. Patrick Chan. Now, one of two things will happen here.
a. He will fall (as he often does, sadly), but this time it will actually work against him.
b. He won't fall, he'll actually deserve to win, and Canada will launch a protest. A second gold will be given, and next year the judging point system will be completely different.
I think the starfish hands were intentional. If you watch all Patrick's programs, you will see POTO is the only program where he used starfish hands. Phantom is not supposed to use ballet hands, after all.
Since you are the one who makes that assertion, the burden of proof lies upon you. Why not just go ahead and create a new thread for that? I would name it "Starfish Hands and Rose Wreaths".I can challenge anyone to take pix of any other male skaters, most of them would skate with similar hand gestures.
I can challenge anyone to take pix of any other male skaters, most of them would skate with similar hand gestures.
^RE:b. He won't fall, he'll actually deserve to win, and Canada will launch a protest. A second gold will be given, and next year the judging point system will be completely different.
butIt's funny how some people can always find a way to insult Canada and Chan.
As for Plushy, unless it's political judging, I don't think he has any chance.
"A good schoolboy who did his homework well," said another poster. But to be fair, Chan's artistry has greatly improved this season. Though he is not there yet, he is surely getting there by leaps and bounds. I will give him credit for that.It's clear that the skater is not thinking about the meaning of what those movements convey and the meaning of the music, but rather "this is how I was told to move so that's what I'm doing...".
"The greatest CoP evil of all: the Zamboni step sequence." (http://www.goldenskate.com/forum/showthread.php?35737-Figure-Skating-Pet-Peeves/page2).One thing that's notable to me is how many CoP footwork sequences would look better if they were broken into two separate sequences.
Well, the Short Program is no longer "Original", and the Long is not "Free", "Interpretive", or "Artistic". Now we have essentially two "Technical Programs", one short, the other long.The current rules are forcing skaters to be less musical and less creative.
That doesn't mean it is good form.
One thing that's notable to me is how many CoP footwork sequences would look better if they were broken into two separate sequences. Let's look at Patrick Chan's footwork sequence in his current Short Program:
http://www.youtube.com/watch?v=61VttCq5NSE&t=2m35s
Now this is brilliant footwork (perhaps the most accomplished of all-time technically), make no mistake about it, but it would actually be better choreographically as two separate entities. Look at how Patrick goes across nearly the whole ice surface on one foot. He then changes direction and goes about the ice in a rather odd pattern, what could most closely be described as circular footwork, in order to fit in all of the requirement movement before getting to the end of the rink.
Imagine if instead Patrick's one-foot sequence went all the way to the end of the rink and then he came around the corner a bit and did a truly circular footwork sequence. The lines and momentum of the movements would be so much cleaner and well-defined. Remember, until just recently, the Short Program had two footwork sequences for the Men. If the rules for footwork sequences were changed such that you can get the highest level without having to cram such a huge amount of steps and turns, it would allow for much more variety and creativity, while still allowing these huge mega-sequences of footwork if the skater wants to chain their 2 sequences together. And then imagine if the Long Programs gave skaters some choices in which technical elements they wanted to include and up to 3 footwork sequences were allowed. That too would allow for much more variety.
Let us also recall the rules for footwork during the 2004-2005 and 2005-2006 seasons of CoP. Not as much "busy work" was required and thus the footwork was FAR more pleasurable and musical and took up less time, allowing more time in the programs for other choreography, whilst still requiring very difficult movement to get the high scores. Take a look at the brilliance of these footwork sequences from Stephane Lambiel and Jeffrey Buttle:
http://www.youtube.com/watch?v=VNW4h2wTmak
http://www.youtube.com/watch?v=lSbTaxPgexA
That is how footwork sequences should be. Here is another example from before CoP, Yuka Sato:
http://www.youtube.com/watch?v=CZD_N4FY3B0&t=3m40s
Notice how she does a circular footwork sequence and then a straightline footwork sequence with phenomenal speed and clean lines. These are the choices that CoP programs need to allow. Skaters should not be required to do a single footwork sequence with so much content that it loses continuity and purpose. Shorter sequences should be the order of the day and, if you want a big extended period of footwork, then chain two footwork sequences together. If the SP went back to having 2 footwork sequences with less cumbersome rules, and up to 3 footwork sequences were allowed in Long Programs, things would be so much better. The current rules have given a "Choreography Step Sequence" to male programs, but ALL footwork sequences should be choreographic. Also, the current rules force the last step sequence of program to be that "Choreographic Sequence". Why should skaters not be able to do that kind of thing earlier in their programs (plus, it's predictable for people who know the rules)? So much variety and creativity and ability to draw in the audience is being lost.