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The gold medal decisions in Lillehammer
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Dragonlady



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PostPosted: Sun Jul 11, 2010 3:45 am    Post subject: Reply with quote

chuckiem wrote:
Stojko skated his programs as well as he could, but he was basically a truck driver on the ice. He might as well have been skating to a metronome, because there was no musical interpretation or finesse to his skating. I wasn't exactly an Urmanov fan (hated his gloves!) but I thought he deserved the gold over Stojko. JMO.


According to Elvis, he is very artistic but the judges just don't understand his artistry. I think that Mishin said something nearly identical about Plushenko but he said the audiences and the judges don't get it.

For Elvis skating with outstretched arms, palms turned upward, constituted musical expression. You see this a lot in lower level skaters i.e. those who don't make it out of Qualifying.
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lambielfan26



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PostPosted: Sun Jul 11, 2010 11:07 am    Post subject: Reply with quote

Most times Elvis was overscored in presentation. He almost bullied the judges to overscore him with his constant complaints about his artistic marks with the press took and ran with.
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Dragonlady



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PostPosted: Sun Jul 11, 2010 3:59 pm    Post subject: Reply with quote

lambielfan26 wrote:
Most times Elvis was overscored in presentation. He almost bullied the judges to overscore him with his constant complaints about his artistic marks with the press took and ran with.


We saw the same thing with Tim Goebel when he was landing multiple quads in his programs. Tim's skating was worse than Stojko's with his hunched posture and weak non-jump elements. Tim's skating improved under Frank Carroll, but it was never worthy of the kinds of presentation marks he received while routinely landing two or three quads in a program.
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loveskating



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PostPosted: Wed Jul 14, 2010 3:29 pm    Post subject: Reply with quote

Culturegeek wrote:
Was there ever any debate about who deserved the bronze in pairs, or were Brasseur/Eisler pretty well accepted by crowds/"experts"? Youtubing the fourth place team (who's name escapes me now) I thought it would've been close.


Evgenia Shishkova / Vadim Naumov (reference: http://en.wikipedia.org/wiki/Figure_skating_at_the_1994_Winter_Olympics )

http://www.youtube.com/watch?v=ZmYtA9i3AcI

The only controversey I recall is that Shishkova expressed to Katia G. that she was upset that they came back, thought it was not fair. Katia did not like it at all.
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Dragonlady



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PostPosted: Thu Jul 15, 2010 5:23 pm    Post subject: Reply with quote

lambielfan26 wrote:
Most times Elvis was overscored in presentation. He almost bullied the judges to overscore him with his constant complaints about his artistic marks with the press took and ran with.


There are so many similarities between Elvis and Plushenko, from the over-reliance on jumps and a fairly lame idea of what constitutes a program. Plushenko has better basic skating, stretch and line which makes it a real shame that he never made any attempt to do more than jump, jump and jump some more.
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lambielfan26



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PostPosted: Thu Jul 15, 2010 11:47 pm    Post subject: Reply with quote

Dragonlady wrote:
lambielfan26 wrote:
Most times Elvis was overscored in presentation. He almost bullied the judges to overscore him with his constant complaints about his artistic marks with the press took and ran with.


There are so many similarities between Elvis and Plushenko, from the over-reliance on jumps and a fairly lame idea of what constitutes a program. Plushenko has better basic skating, stretch and line which makes it a real shame that he never made any attempt to do more than jump, jump and jump some more.


I dont think Plushenko can be blamed for his skating these days. He has had so many injuries, surgeries, and consider that with his age, it is amazing he could even return to eligible this year and do as well as he did. Even kwan did watered down programs with mostly just stroking between elements to preserve her hip in later years.

However his programs and choreography never lived up to his potential even when he was healthier, younger, and his prime. I dont think any skater coached by Mishin ever will. Yagudin would have never become a great artist had he not moved to the States and trained with Tarasova either I dont think.
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nowthen



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PostPosted: Fri Jul 16, 2010 2:00 am    Post subject: Reply with quote

LOL at the idea of someone with Olympic gold and two silvers wasting their talent!!! All because some people think his choreo was not hard enough? That is so crazy!!!!! Just because he didn't skate to the music you like skaters to skate to or do the moves you like skaters to do in choreo terms doesn't mean their whole career was a waste!! And you can't get anywhere without doing jumps anyway!!
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Dragonlady



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PostPosted: Fri Jul 16, 2010 2:54 am    Post subject: Reply with quote

nowthen wrote:
LOL at the idea of someone with Olympic gold and two silvers wasting their talent!!! All because some people think his choreo was not hard enough? That is so crazy!!!!! Just because he didn't skate to the music you like skaters to skate to or do the moves you like skaters to do in choreo terms doesn't mean their whole career was a waste!! And you can't get anywhere without doing jumps anyway!!


I know it seems ridiculous to suggest that Plushenko is a huge disappointment, but to many of us, he is. The guy has the best feet since Kurt Browning. When he was 16, I could hardly wait until he grew up and started doing real programs. It was something I looked forward to. It never happened.

It's not that his choreographer wasn't hard enough, it was that it was non-existant. There is no cohesive attempt to convey a concept, and those so-called attempts to do so (Nijinksy and Art of Man) were so badly done that it was clear that neither Mishin nor Plushenko had the first clue about anything other than jumps. This was clear in Plushenko's "point and wiggle" show programs.

Often Plushenko would chose movie music and then costume it like with sequins and swirls so that the costume bore no relation to the movie the music was drawn from. There was no attempt to tell a story, either choreographically or thematically. And he used the exact same program layout from year to year. This made it easier to learn the "new program". If your coach doesn't value music and choreography, what chance will the skater have to learn to value them? For those of us who love skating programs which are the "whole package", Plushenko was always a glass half full.

Yags was no better when he skated under Mishin. It was Tarasova who encouraged him to create characters and moments on the ice. She did the same with Kulik. Those programs live in memory and are some of the highlights of being a skating fan.

I strongly believe that technical skaters can add artistry quite easily, but the opposite is nearly impossible. Skaters who arrive on the scene as great artists, never seem to get it together technically, or at least not with any great consistency. Skaters who arrive with their technical arsenal all sorted out can add the artistic much more easily.

At 16, Plushenko already had an amazing technical arsenal and very dancey feet. We looked forward to seeing his finished polished presentation but it never changed. As long as Yags was around pushing him, he knew he needed more to beat him but once Yags was gone, Plushenko was just so much better than anyone else, he didn't need to progress or improve. He could keep on doing the same old, same old and that was always enough.

So yeah, I can't help but wonder what kind of skater Plushenko would have been if Yags had still been there to push him. Not to mention what amazing skating that continued rivalry would have produced.

Ditto Lipinski and Kwan, except that Kwan did go on to achieve her artistic potential and then some, giving us a legacy of performances which will live in memory for all who saw them.

Call me selfish, but that's what I wanted from someone as gifted as Plushenko.
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lambielfan26



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PostPosted: Fri Jul 16, 2010 7:39 am    Post subject: Reply with quote

Even with all his medals when people talk about the greatest skater ever they dont mention Plushenko as a feasible c hoice. They mention Yagudin of course, they mention Curry who was probably the greatest pure artist ever on ice, they mention Browning, many mention Dick Button as the greatest mens skater ever just because of how far ahead of his time technically he was. Plushenko gets left out of this discussion. And he really shouldnt be with his talent but it is because he did not maximize his talent inspite of all the events he won.
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Dragonlady



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PostPosted: Fri Jul 16, 2010 3:43 pm    Post subject: Reply with quote

Not just his talent, but his competitive record. Again this is very similar to Elvis Stojko and for similar reasons. Of course Evgeny is a better skater than Elvis and he does have line and extension, as well as flexibility, which is rare in a man. Plushenko could have been thought of as the greatest skater who ever lived instead of the most consistent.
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Eladola



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PostPosted: Sat Jul 17, 2010 5:09 am    Post subject: Reply with quote

Plushenko doesn't get mentioned when talking about the best skaters ?


That's a false statement if you ask me ,
And the Eurosport commentators to add another.

I mean everyone's aware of his "issues" by now , But you guys are
So
Over
Exaggerating the situation .

http://www.youtube.com/watch?v=XBa5WOz9-Ws

I can't think of many SP's that are as out there choreographically as this for instance , At the point in his career when they invested a little more in choreography they just approached his programs in a different way then how other skaters may approach .
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Dragonlady



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PostPosted: Sat Jul 17, 2010 6:43 am    Post subject: Reply with quote

Eladola wrote:
I can't think of many SP's that are as out there choreographically as this for instance , At the point in his career when they invested a little more in choreography they just approached his programs in a different way then how other skaters may approach .


Sorry but that choreography is an affront to one of the most beautiful pieces of music ever written. The entire first section is Plushenko stalking the jumps. Then he has a rest stop. The only nod he makes to the music is dramatic facial expressions and "spirit hands". There are no transitions, just stroking between the elements. The footwork sequences don't match the music and bear no relation to the tempo or the mood of the music. Recognizing that the program was created pre-CoP doesn't detract from the bareness of it all. See Yagudin's Winter from the previous season.

This program is the epitomy of what makes Plushenko's attempts at artistry so painful to watch.

I'm going to watch Shen & Zhao's Adagio now. That program beautifully expresses the music, the mood and the beauty of the piece.
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loveskating



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PostPosted: Sat Jul 17, 2010 1:11 pm    Post subject: Reply with quote

lambielfan26 wrote:
Even with all his medals when people talk about the greatest skater ever they dont mention Plushenko as a feasible c hoice. They mention Yagudin of course, they mention Curry who was probably the greatest pure artist ever on ice, they mention Browning, many mention Dick Button as the greatest mens skater ever just because of how far ahead of his time technically he was. Plushenko gets left out of this discussion. And he really shouldnt be with his talent but it is because he did not maximize his talent inspite of all the events he won.


I'd mention Kulik and they would too if not for politics and stupid ideologies -- but I would mention Plushenko among the great skaters --top ten, not top five. For me, Plushenko was a bravura skater, explosive and compelling, whose personality dominated more than his choreography. Live he was even better.

What bothers me more is that the view of "choreography" here is as ubiquitous as "arm flailing" and as undefined.

Frankly, IMHO, very little can be called great choreography. No choreography can save an inferior skater with intrinsic qualities that are not up to the level (for example, nothing Fumie Seguri ever did could allow her the choreography of an Alissa Cizny and Alissa's awful jumps destroyed her choreography). Certainly, as we all know, not all skates of the very same choreography are great, far from it.

Therefore, waaay too much is being made of choreography.
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Dragonlady



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PostPosted: Sat Jul 17, 2010 2:28 pm    Post subject: Reply with quote

loveskating wrote:
What bothers me more is that the view of "choreography" here is as ubiquitous as "arm flailing" and as undefined.


Choreography is not difficult to define, nor is arm flailing.

Choreography seemlessly combines movement and music, so that the movement interprets and enhances the mood or theme of the music. Good choreography is sensitive to the music and the movements appear to be dictated by the music.

Using an example that you would appreciate is Sasha Cohen's Malaguena SP. This program so captures the music that whenever I hear Malaguena, I immediately see Sasha's program, and deviations from the placements of elements in Tarasova's choreography just seems wrong to me.

And you're right: there is very little great choreography. Greatness is not easy to achieve. Furthermore, there are very few skaters capable of executing great choreography even if it were given to them. That is why Plushenko is such a disappointment regardless of his titles. This is a man who had the talent and the skills to execute great choreography. Instead he gave us "S-E-X Bomb".
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harvey



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PostPosted: Sat Jul 17, 2010 7:34 pm    Post subject: Reply with quote

I’m entranced by how the "Choreography" portion of this thread has evolved, and DL’s post about it being easy to define and then using Pleshenko’s exhibition number as a negative example. Shocked
For me (And I think for many others), Pleshenko’s “S-e-x Bomb” exhibition was one of the most entertaining (Although never in competition) “Choreographies” of all time. As much as was possible at that time for public consumption it (IMHO) epitomized a parody of “S-e-x appeal choreography” that seemed popular during that era, so I guess that in MY case at least the definition of what constitutes excellent choreography is STILL very much “Up in the Air” or at least in the eye of the beholder. Wink
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Eladola



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PostPosted: Sun Jul 18, 2010 2:06 am    Post subject: Reply with quote

What we have here is a difference of opinion ( to some extant at least ) ,
But there are some people who would go out of their skin to lable their opinion a Fact .
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lambielfan26



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PostPosted: Sun Jul 18, 2010 5:34 am    Post subject: Reply with quote

I didnt say Plushenko isnt considered one of the greatest skaters ever by many, but almost nobody considers him THE greatest skater ever. In fact hardly anyone considers him the greatest skater of his own generation over Yagudin even though Yagudin's career was cut short. And the reason for this is not lack of talent but because he did not fulfill his total potential as a skater.
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loveskating



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PostPosted: Mon Jul 19, 2010 12:24 am    Post subject: Reply with quote

Well, I don't think it is so easy unless you have a slam dunk like Bolero or Kalinka.

I thought Bareshnaya and Sik's City Lights was great choreography, but the judges did not like it and they had to ditch it, which reallly made me mad. As skated at COR, its one of the programs on my Ipod that I watch all the time. I absolutely adore it. Not surprisingly, I also adore Chaplin.

I thought Yagudin's Lawrence of Arabia was a masterpiece, and he skated it so well numerous times, but no one talks about it, and I thought Kwan's Red Violin as skated at 2000 Worlds was by far her best (except maybe for her 1998 SP version of Rach) and a lot of people even dislike it!

So I don't think its so easy at all.

Sometimes the skater him or herself is the show -- when I think of Plushenko, I don't have images of his choreography, like I do say with Kulik or Yagudin or Kurt Browning -- I think of some part of his skating, like that accelleration of more than half the rink into that quad, so gorgeous, so amazing, or seeing him live and how explosive all his jumps were, or his posture or his hair flying in the breeze he created. He wa a very special skater, not the type we will see often, a kind if in your face, "take no enemies" type skater and it was very very exciting to see him.
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Dragonlady



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PostPosted: Mon Jul 19, 2010 2:10 am    Post subject: Reply with quote

loveskating wrote:
quote snipped


I agree with all of your comments regarding choreography and programs. City Lights is by far my favourite pairs program of all time. I know that it lacked technical difficulty and that with the problems that Anton & Elena had with the S3T, the death spiral and the simplicity of their lifts, they couldn't win against Tristan & Isolde as choreographed by Lori Nichol and skated by Sale & Pelletier. It's still a beautiful program that expresses Chaplin wonderfully.

I also believe you're completely wrong about Yagudin's Lawrence of Arabia. Every year, I see some male skater or other skating to Lawrence in an exact knock-off of the costume Yags wore. None of these skaters are skaters you would have ever heard of but I've seen them at club shows, Jr. Worlds, JGP, Canadians. More than any of his other programs, this is the one young skaters look to, perhaps because it's his first collaberation with Tarasova and the least iconic of all of his skates.

His 1999 Worlds performance of Lawrence is one of my "guilty secret" programs because of the absolute perfection of his skate. Tarasova gave Yags a lot of great choreography during their time together: Lawrence, The Gladiator, Winter, Man in the Iron Mask, Overcome, Tosca. Yags was her perfect skater because he could execute anything she gave him.

For Kwan, my favourite program is Song of the Black Swan as skated at Worlds 2001. The Red Violin is my second favourite.
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siteadmin
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PostPosted: Thu Jul 29, 2010 5:03 pm    Post subject: Reply with quote

Please remember it is possible to disagree without being insulting..... And with the various types of people around here, slang and inside jokes tend to get lost in translation.
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