IMAO. Of course I know what happened in 2005 GPF. (I'm her fan after all). Yes, sometimes upsets do happen but it's not that common. All I am saying is that I think the current system is not fairer than the older system. You do remember upsets also happened under the older system. I mean Sarah Hughes? Also Oksana Baiul rise from a lesser-known to a teen phenom was pretty quick, so it also happened before. Well, I disagree. Just because they are judges and just because those are the rules doesn't mean they are fair. For every system, there will be supporters and opponents. And I just happen to be on the other side from you.
Por favor, that was addressed to janetfan and his ridiculous statement that in terms of achievements both Mao and Yuna combined don't come close to Michelle. He started it, not me.
What makes me sad is that we have to watch performances like this in such horrible quality. They should put this on Blu Ray discs, because it's awesome.
Brianjyw, here is a good example of how how being just a little off-kilter technically can prevent the choregraphy and interpretation from taking off.
This is Michelle Kwan's "Song of the Black Swan," as mentioned by RTureck above. First, her performance at Skate Canada earlier in the year. Nothing is really wrong with the performance, but it just doesn't sing. She slighly double-footed the loop, did only a triple-double instead of a triple-triple, not a clear outside edge on the Lutz como, she teetered and tottered a little in a transitional move, etc. Then, as Peggy Fleming remarks referring to a similar performance at Skate America, she had to abondon her choreography to throw in an extra triple at the end to make up for the lost content.
All of this made the music seem dreary and the performance kind of blah.
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http://www.youtube.com/watch?v=4m9B59_IWoA
She did, however, get 5.7s to 5.9s for the second mark -- no doubt in part because, well, she IS Michelle Kwan, after all. Plus, look how pretty she looks.
Now here is her performance of the same program in the Worlds qualifying round (sorry, the quality of the video is not as good.) At the very beginning of the tape you can hear the commentators refer to the fact that one of Michelle's skates is higher than the other. One of her blades broke off in warm-ups, and her Dad had to repair it as best he could with a huge 8 inch nail.
In this performance the security of her jump technique (she hit her triple-triple for one thing) carried over into all the transitions and moves in the field -- her Charlotte, spiral sequence, spins in both directions, and everytihing else. This allowed her to convey the feeling of serenty-overlying-tension that the music inspired. Michelle's on the ice, God's in his heaven, and all's right with the world! 6.0. :yes:
http://www.youtube.com/watch?v=TjRn9pjbOCc
Brianjyw, here is a good example of how how being just a little off-kilter technically can prevent the choregraphy and interpretation from taking off.
This is Michelle Kwan's "Song of the Black Swan," as mentioned by RTureck above. First, her performance at Skate Canada earlier in the year. Nothing is really wrong with the performance, but it just doesn't sing. She slighly double-footed the loop, did only a triple-double instead of a triple-triple, not a clear outside edge on the Lutz como, she teetered and tottered a little in a transitional move, etc. Then, as Peggy Fleming remarks referring to a similar performance at Skate America, she had to abondon her choreography to throw in an extra triple at the end to make up for the lost content.
All of this made the music seem dreary and the performance kind of blah.
http://www.youtube.com/watch?v=4m9B59_IWoA
She did, however, get 5.7s to 5.9s for the second mark -- no doubt in part because, well, she IS Michelle Kwan, after all. Plus, look how pretty she looks.
Now here is her performance of the same program in the Worlds qualifying round (sorry, the quality of the video is not as good.) At the very beginning of the tape you can hear the commentators refer to the fact that one of Michelle's skates is higher than the other. One of her blades broke off in warm-ups, and her Dad had to repair it as best he could with a huge 8 inch nail.
In this performance the security of her jump technique (she hit her triple-triple for one thing) carried over into all the transitions and moves in the field -- her Charlotte, spiral sequence, spins in both directions, and everytihing else. This allowed her to convey the feeling of serenty-overlying-tension that the music inspired. Michelle's on the ice, God's in his heaven, and all's right with the world! 6.0. :yes:
http://www.youtube.com/watch?v=TjRn9pjbOCc
Thank you for the post. I could see the difference. I noticed she improved upon a lot of things and added fine details to her program since the first competition for the program. I believe the first clip is done at the first competion of the season and the second one almost at the end of the season. No wonder she is a legend. A legend never fails to improve upon oneself.
I see Mao's program in the first clip and Yuna's in the second clip.
you wrote this for me???
