The interesting thing is that women's sports, including figure skating, is moving with determination in the direction of higher, faster, stronger, more smash-mouth, and not so much the pretty princess playing traditional gender stereotypes.I hadn't imagined that one, yet I'm afraid you're probably right. I don't think that we need more gender/orientation stereotypes in Figure Skating.
How is it 82.51 just for jumps, unless I'm missing something?
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I'm not quite suggesting an artistic program. 5 jumping passes by some of the quad boys we have today wouldn't be an artsy escape.When thus idea was floated a couple of years ago by the ISU, I, too, found the idea intriguing. Nothing came of it, and the suggestion seems to have been abandoned.
To be honest, I eventually came down on the negative side. For one thing, that is going backward in terms of the ideal of combining all skills together in a grand and glorious whole package.
The second objection is that if there were a "technical program" and an "artistic program" in the men's discipline, with separate "small medals." they would quickly become known as the Macho Prize and the Wimp Prize. or the "objective, measurable prize" and the "phony-baloney judges' pet / federation politics prize.."
For statistical purposes, look at Lazarev. 5 quads, good at everything else. At the competition that happened on the same day as GPF where the junior men only skated free skate, Lazarev and Fedotov skated against one another (as always). Fedotov had 4 quads, Lazarev -- 5, missing a combo, and Fedotov who has stronger SS than Lazarev won this match up. The video is here:
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Hay, that's a cool calculating tool. Thanks.How is it 82.51 just for jumps, unless I'm missing something?
Skating Scores: Latest Figure Skating Results, Scores, Rankings & Statistics
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At least for me, it turned out 99.07.
I am curious who those two skaters are. Mao skated this SP at worlds pretty well: https://www.youtube.com/watch?v=SmaOk-Skl5Y
Thank you, this skate is really beautiful yet I think it's disconnected from the music (in Interpretation). I believe that she wasn't "feeling" this program because of the music, this is why I suspect it to be the cause for the errors in Sochi.
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. Both interpretated their cuts well, and they wouldn't take a non- knowing Chopin viewer out of the program, let's be real. But as someone who doesn't know as much about Chopin as I should (I'm more of the Beethoven and Bach person), I don't think the mid part of Patricks free did him favours. The slow pacing of Prelude? (Etude? Anyways it's no 4 of something 
) does fit his calm, fluid style of skating, but the faster paced parts make his speed and quite big jumps stand out more, which is why I like those more.
I must confess that both your easy acceptance of that horrible cut in Patrick Chan's Chopin Medley and your refusal of the Ballade very clever, well done arrangement (further justified by the thicker touch, made to be played in a skating rink, which changed the appearance of the piece, just as Chopin would like to do by the way; and this one somehow precluding further development), gave me a poor opinion of your Chopinitude.
I don't know why you're coming back to provoke me with this "argument" but it doesn't do you credit, either personally or pianistically. Of course Chopin would rarely reuse a theme because they kept flowing in his mind, but I sincerely believe that to please such a genius had he really wished these themes, this is how he would have been arranged. (More probably he'd have composed something else and Yuzuru Hanyu would have been delighted.) Sorry for the prosopoeia.
That is surprising to hear. But people hate every program at first and then come around to like it, I think.
There is no "range" with which you can do something, and 'the next transitional content' can be anything.
I believe you're right in terms of ability in Skating Skills; if they're homogenous, I don't see how the skater would be unable to pull off a program worth at least 6 in Skating Skills. But scores are given, not to an ability the judges would know about the skater who's on the ice, but to what they exhibit of them in a program, and that's where a program with very little else than elements, has to be scored low in Skating Skills; because their demonstration is simply absent (or actually, in great part, not totally absent) from the skate. A known example is the difference between what Shoma Uno's Short and Free programs would have been "worth" in the 2021-2022 season. He had excellent Skating Skills rather shown in his Short Program (even with not that many Transitions) but Sholero was rather empty, so the scores wouldn't have had to rely on what he had shown in the Short, but on the little he was showing in a Free rather unfit to him. Or, some skaters start a season with low-stakes competition and deep edges, one-foot skating and all, then end it in the big championships with more difficult jumps but the rest on two flat skates.
What I mean't is how they'd be judged under IJS, I guess?
I'm falling prey to my own biases then, I guess. But the judges never really judge only what happens on the ice, right? Costumes, whether a skater is with coaching staff known for a style of skating, choreography done by certain people, with recognisable moves... doesn't all that play a part, even unconsciously?
Are you speaking of Debussy's Suite bergamasque which third movement is called Clair de Lune and is often chosen by skaters/teams for reasons unknown to me (except if they compete at the Lombardia Trophy), or of the Beethoven 14th Sonata which a rather infamous critic called Clair de Lune/Moonlight, but which Edwin Fisher and Andras Schiff have shown to be rather inspire by the theme of the scene of the murder of the Commendatore in Mozart's Don Giovanni?
