- Joined
- Mar 10, 2015
Exactly! Maybe an America souvenir?
Yulia Lipnitskaya
- Thread starter koatcue
- Start date
Exactly! Maybe an America souvenir?
- Joined
- Mar 10, 2015
- Joined
- Jan 12, 2015
I need an arcade game with Julia chasing flower girls around the rink with bouqet in her hand (1st lvl).
Next weapons - teddy bear (2nd lvl) and rainbow baseball bat (3rd lvl) plus hidden bonus level in K&C.
Game would be +18 obviously (extreme violence).
Next weapons - teddy bear (2nd lvl) and rainbow baseball bat (3rd lvl) plus hidden bonus level in K&C.
Game would be +18 obviously (extreme violence).
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now that you say, i want that too.
- Joined
- Dec 29, 2013
OMG!!! Yes .... I'll buy that video game. I think the bonus round should be that you have to perform one of her insane spins while a seemingly endless line of flower girls are trying to deliver flowers and knock her over. 
- Joined
- Mar 10, 2015
OMG!!! Yes .... I'll buy that video game. I think the bonus round should be that you have to perform one of her insane spins while a seemingly endless line of flower girls are trying to deliver flowers and knock her over.
There should be a "NO" power up that wipes out the wave of flower girls. And when you defeat a flower girl they drop Russia hats and you can spend them on different dresses. Max level dress is acid trip Elvis.
Is this like a Super Russian Wonderbaby knockoff of Super Mario Bros? In which case, who is going to be Luigi and who's the Princess that needs saving?
I nominate Liza for Luigi; throwing projectile flower crowns, and welding her pimp cane, plus a rainbow invincibility mumu to boot.
We need more characters!
- Joined
- Jan 12, 2015
- Joined
- Dec 29, 2013
Just watched latest TSL and want Julia to kick butts really bad.:sarcasm:
TSL should not be taken seriously ever
https://s-media-cache-ak0.pinimg.com/736x/da/ae/4a/daae4a5d15571204bc5bc0f7307ff694.jpg
Just watched latest TSL and want Julia to kick butts really bad.
Yeah, I don't mind them criticizing her skating, since they do that to everyone, but I wish they'd stop basically implying that she needs to retire or something. Here's hoping she has a great skate at SkAm! I wonder what they'll say then, actually, if she does lol. What do you say when someone who you wrote off as having technique too bad to jump at all has a great performance with jumps landed? Now hoping she lands her jumps just to see that.
- Joined
- Dec 25, 2012
TSL should not be taken seriously ever
https://s-media-cache-ak0.pinimg.com/736x/da/ae/4a/daae4a5d15571204bc5bc0f7307ff694.jpg
Yeah, I basically feel that they are like the skating forum posters-- just on youtube with a wide audience. They don't have an obligation to be objective or unbiased but they enjoy watching skating and they like to talk about it. --What they said about Rika too was patronizing and negative but she won't care, and I don't think Julia will care. Does anyone take them seriously?
I hope not. They keep dismissing Rika as not very special, but I wouldn't really be surprised at all if she made the GPF again this year, since she's so consistent (and with improved presentation!).
Buuuuut I still hope Yulia and Rika do great at their GP events so that TSL can eat their words.
- Joined
- Dec 29, 2013
I think there is a thread somewhere about TSL. Let's not give them the satisfaction of seeing us discuss them in this thread. 
Why on earth would you do that to yourself....LOL *kidding*....no judgement, people are free to watch whatever they want, it's all good. I've sat through more than enough episodes in the past to get an overall impression that they are fickle, catty and often quite nasty...even to their favourites (and/or those who were kind enough to give them interviews from their earlier days when less people were tuning in)....and that really says a lot. More often than not, 'compliments' are given in a mocking manner, and skaters/coaches are ridiculed at expense for entertainment value...I guess some may interpret this as snark, but for me there is a fine line between sporting journalism, and something that borders on E!+TMZ. I guess it is all about coverage and exposure in the end, but my question is: if there had been any decent or frequent coverage by any legitimate media network for skating in North America (like say in Japan or even Russia), do you think skater and coaches (whom they've often ridiculed in the past) would go anywhere near them?Just watched latest TSL and want Julia to kick butts really bad.
Rant over.
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- Joined
- Jan 12, 2015
The funniest thing is they basically agreed that Julia may "medal here and there" and skate for 10 more years, but yeah, not much more, like it was something degrading. 
How many other skaters they discuss for long hours in their show would dream about career like that?
Their whole present coverage of non-American ladies is very shallow and nonchalant imo.
How many other skaters they discuss for long hours in their show would dream about career like that?
Their whole present coverage of non-American ladies is very shallow and nonchalant imo.
- Joined
- Dec 29, 2013
I've found what I consider to be a serious flaw in the SP!!
I've been wondering what it is that has me cringing during the walk like an angel mix and I think I've figured it out. Watch right here and notice the clapping coming to a crashing halt. This isn't Julia's fault. The mix is out of rhythm at 2:05
https://youtu.be/HPbXXp01Xis?t=1m55s
As a musician I understand music structure quite well and what they've done is destroyed the 4/4 feel of the song here.
I'll attempt to write out what I mean:
Right when they cut back to the beginning of the cut for the second time(the walk like an angel line) there should be four more counts starting at the final note of the ...ba ba ba BAAAAAAH and ending around 2:07 then the Walk Like an Angel line should restart. In my head I hear the quartet style scale vocal or baseline that sounds like...ba ba ba baaaah then there should be a count of (2,3,4) then Walk Like an Angel should cut back in. They've cut it in at an odd time prior to the (2,3,4) count that really needs to be there and is destroying the rythym. It's quite clumsy and I'm surprised no one fixed it. I've spent nearly an hour adjusting media for my fan videos for a four second section like this. Sure it's time consuming but she deserves better!!!
I can try to edit it correctly with my video editor if that would help anyone but this is seriously an avoidable error that is causing the same effect on the program as a skipping needle on a record player would a dance floor.
Anyone agree or even able to follow my meaning here?
I've been wondering what it is that has me cringing during the walk like an angel mix and I think I've figured it out. Watch right here and notice the clapping coming to a crashing halt. This isn't Julia's fault. The mix is out of rhythm at 2:05
https://youtu.be/HPbXXp01Xis?t=1m55s
As a musician I understand music structure quite well and what they've done is destroyed the 4/4 feel of the song here.
I'll attempt to write out what I mean:
Right when they cut back to the beginning of the cut for the second time(the walk like an angel line) there should be four more counts starting at the final note of the ...ba ba ba BAAAAAAH and ending around 2:07 then the Walk Like an Angel line should restart. In my head I hear the quartet style scale vocal or baseline that sounds like...ba ba ba baaaah then there should be a count of (2,3,4) then Walk Like an Angel should cut back in. They've cut it in at an odd time prior to the (2,3,4) count that really needs to be there and is destroying the rythym. It's quite clumsy and I'm surprised no one fixed it. I've spent nearly an hour adjusting media for my fan videos for a four second section like this. Sure it's time consuming but she deserves better!!!
I can try to edit it correctly with my video editor if that would help anyone but this is seriously an avoidable error that is causing the same effect on the program as a skipping needle on a record player would a dance floor.
Anyone agree or even able to follow my meaning here?
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Two quick posts about Leningrad.
The music is typical Yulia. Piano, strings, in two alternating parts that contrast, very emotional. Thanks to the poor audio from the open skate, I discovered that Yulia has altered the end of Leningrad. In doing so she completely changes the message as composed by William Joseph. Listen to this video from 0:39 - :43, where both arms are raised (https://www.youtube.com/watch?v=cjvY2UoYU5M). We hear 3 notes, and can sing the 4th note that should come next, but doesn't. Those three notes are incomplete without the implied 4th note, they leave us hanging, this is musical tension signifying a suspended state. In William Joseph's version all four notes end the piece (listen to 4:09 - 4:13 from https://www.youtube.com/watch?v=OqGWArNp6lw) . We hear the three notes, then a pause, then the 4th note that completes the musical sequence. The three-note incomplete sequence is heard throughout Leningrad, and the final resolution is designed to eliminate tension and let us rest. Now listen to the way Yulia ends the music--without the final note. She leaves us suspended, she doesn't allow us to rest as did William Joseph. This is a very smart way to get across the idea that her yearning continues, that there is no end to her condition, whatever it is. This is a very important example of the sophistication that is present in Leningrad.
The music is typical Yulia. Piano, strings, in two alternating parts that contrast, very emotional. Thanks to the poor audio from the open skate, I discovered that Yulia has altered the end of Leningrad. In doing so she completely changes the message as composed by William Joseph. Listen to this video from 0:39 - :43, where both arms are raised (https://www.youtube.com/watch?v=cjvY2UoYU5M). We hear 3 notes, and can sing the 4th note that should come next, but doesn't. Those three notes are incomplete without the implied 4th note, they leave us hanging, this is musical tension signifying a suspended state. In William Joseph's version all four notes end the piece (listen to 4:09 - 4:13 from https://www.youtube.com/watch?v=OqGWArNp6lw) . We hear the three notes, then a pause, then the 4th note that completes the musical sequence. The three-note incomplete sequence is heard throughout Leningrad, and the final resolution is designed to eliminate tension and let us rest. Now listen to the way Yulia ends the music--without the final note. She leaves us suspended, she doesn't allow us to rest as did William Joseph. This is a very smart way to get across the idea that her yearning continues, that there is no end to her condition, whatever it is. This is a very important example of the sophistication that is present in Leningrad.
Leningrad is a huge step forward in terms of movement. Again, everything that follows is from https://www.youtube.com/watch?v=cjvY2UoYU5M . The movement to the first melody, ending at about 40 seconds in the video, is as eloquent as any dancing we are likely to see. The music is in sobs, each phrase is separated by a pause, as if to regain composure between the sobs. Notice how beautifully these pauses are integrated into motion. We don't feel the pauses as interruptions, she draws us in to the pain and sadness with characteristic Yulia- naturalness. Beautiful movement that naturally fits halting music is quite an achievement, but there is a lot more going on here. If we watch her movement, we will see about 6 distinct movements. Contrast this very deliberate set of movements with anything she has done before, or with the Elvis. Memorize them. Everything in Leningrad, with only a couple of minor exceptions, is based on these 6. We see them again and again, in different settings, slightly or sometimes greatly altered. The footwork (what a misleading term for Yulia) from 2:55 to about 3:30 is like a great cadenza, she combines the 6 basic movements on an emotional level never seen before. This is an incredible accomplishment. What we see is bound tightly by those 6 building blocks of movement, but what we feel seems without limit.
A most impressive example of a different kind is from 3:39 to 3:50. There is a sequence of 3 movements. First, arms in an L shape, followed by a stylized Bauer with one arm falling, followed by a spiral with one arm and one leg raised in a grand variation on the two-arms-raised from the basic set of movements, quickly followed by sequential arms falling also from the basic set of movements. These three spectacular movements are like a flashback to the original movement before 40 seconds in the video, a summary of that great introduction, and to the same halting, sobbing melody that we heard then.
So not only has Yulia presented a compact, emotional program, but she has given it structure. It is like a well-constructed paragraph, with introduction sentences, development sentences, and then summary sentences. Her program has the structure of a paragraph so that we can better see what she wants to say. This is a breakthrough. In the past her presentations often interpreted the music. In Leningrad she is completely focused on the message of the music. For me, this structure is even closer to a structure in music called sonata-allegro form. Sonata form provides structure by using three sections, exposition, development, recapitulation. Her program is a precise image of this musical structure. Her spins at the end can be considered a coda, a very common 4th part extension of the sonata form. Leningrad is an incredible accomplishment in terms of structure of movement. For the first time she focuses just on meaning, but without sacrificing musical content. Absolutely brilliant.
So what does it all mean? What do the basic movements refer to? I think that Yulia has made that clear. At the beginning she stands silent, at the end she extends her arm, slowly turning her palm upward. All the wonderful moments between describe this yearning, nothing more and nothing less.
A most impressive example of a different kind is from 3:39 to 3:50. There is a sequence of 3 movements. First, arms in an L shape, followed by a stylized Bauer with one arm falling, followed by a spiral with one arm and one leg raised in a grand variation on the two-arms-raised from the basic set of movements, quickly followed by sequential arms falling also from the basic set of movements. These three spectacular movements are like a flashback to the original movement before 40 seconds in the video, a summary of that great introduction, and to the same halting, sobbing melody that we heard then.
So not only has Yulia presented a compact, emotional program, but she has given it structure. It is like a well-constructed paragraph, with introduction sentences, development sentences, and then summary sentences. Her program has the structure of a paragraph so that we can better see what she wants to say. This is a breakthrough. In the past her presentations often interpreted the music. In Leningrad she is completely focused on the message of the music. For me, this structure is even closer to a structure in music called sonata-allegro form. Sonata form provides structure by using three sections, exposition, development, recapitulation. Her program is a precise image of this musical structure. Her spins at the end can be considered a coda, a very common 4th part extension of the sonata form. Leningrad is an incredible accomplishment in terms of structure of movement. For the first time she focuses just on meaning, but without sacrificing musical content. Absolutely brilliant.
So what does it all mean? What do the basic movements refer to? I think that Yulia has made that clear. At the beginning she stands silent, at the end she extends her arm, slowly turning her palm upward. All the wonderful moments between describe this yearning, nothing more and nothing less.
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It was also this way in the open skate. Didn't seem to bother her then. Appeared to be an amateurish job of editing, but apparently what they wanted.
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