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#but very much fuck tutberidze
richkidcityfriends · 1 year
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The problem to me is that there’s no international body that either has jurisdiction or would be willing to otherwise exercise jurisdiction to investigate Team Tutberidze. Like WADA doesn’t have the power to request an investigation, WADA only has jurisdiction to request sanctions for a doping infraction against the athlete, as they have done it so many times before (although I don’t think CAS will uphold the four-year ban, because that’s excessively long by the standards generally imposed), not request a large inquiry into the coaches who doped the athlete. I don’t think there’s ever been a situation where an international sporting body like the IOC or even the ISU investigated a coaching team. I’d be curious if there was a case, but I do not recall any. Usually, the investigation happens by the specific sporting body in the home country: so the Russian Federation and also whatever anti-abuse agency in the if there is one. Because this specific involves doping, RUSADA has jurisdiction to start an inquiry. This whole case after all technically was supposed to be investigated by RUSADA, because RUSADA had jurisdiction. The problem to me is that the international sporting bodies basically have no power to do much else. Every time I’ve read about coaches being stripped of accreditation, it’s because the specific sporting body of the specific country in which the coach coaches students placed those sanctions. Partly because elite sport is so messed up, these international bodies are funded by the very countries who don’t want them getting too involved in their internal regulation of sporting culture, so here we are. Now we’re here and WADA cannot do anything other than request the sanctions against Kamila. Which really does make me sad that Eteri will get away with doping children, while the child who did not know that she was being doped will be sanctioned solely, but RUSADA and the Russian Skating Federation has to do something and investigate, which we know they won’t do. I do think that this should be a wake-up call that something needs to be done on the international level to regulate and investigate the abuse going on in individual countries, but as it stands, there’s nothing. It’s so sad to me that the people who doped and abused children will get away with it. Anyway sorry for rambling: I saw your post on this, and I just felt sad. It’s like children get abused in elite sport, and there’s no international governing body empowered to do anything about it. I honestly think elite sport is really messed up and problematic.
Yes exactly!! And you're so right that rusada isn't going to do anything because that would mean banning their star coach which is NEVER going to happen.
Still I don't want to let the isu off the hook because like. while they cannot investigate her they don't have to support her. They've obviously stopped now bc she's a Russian coach but we all know if the russians hadn't been banned they'd still be letting her away with murder. She's been known to be abusive for years but they still give her coach of the year award! It's horrifying. There's nothing to be done at the moment, but if she's still coaching when russians return to international competition I hope that she goes to jail the isu withdraws support or something, or at the very least that they stop giving her fucking awards.
Never apologise for rambling in my asks!! I love to get them and you're so right. Feel free to dm me if you ever want to talk x
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whotaughtyougrammar · 2 years
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For the last ask game: 9, 31, 43, or any question you particularly want to answer like the ‘who would you kill now that you have thought about it some more’
9) which do you prefer, hot coffee or cold coffee?
i like all coffees in all forms, if you offer me some i probably wouldn't turn it down but i definitely prefer it cold/iced with some sort of milk in it (my go to at the moment is oat milk, half and half if i want to treat myself) ☕
31) what type of music keeps you grounded?
probably classical music? i listened to it a lot as a kid so i find it very nostalgic and comforting, especially satie and chopin (both of these composers are technically romantic era, but I don't know anyone who actually wants to split hairs like that) but i really like philip glass also
43) what's your take on spicy foods?
i like it, but my spice tolerance is actually really low lmao, sriracha is about the level i like my food
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also i've thought about it some more and after rewatching the ladies' figure skating at the olympics
44) you get a free pass to kill anyone, who is it?
i would very much like to end eteri tutberidze's life subscription, fuck that heaux and what she's done to those kids
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stevegasnsip · 2 years
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I think it's gross how many people I've seen on twitter praising Kamila for "throwing" her skate today so the other girls could medal., because the point here is not whether or not the falls were intended, the point is we watched 3 teenagers who have very obviously been abused by their coaches reach a breaking point and it happened on international television. The point is the cameras didn't cut when any of them had a breakdown, and we got proof that no one really needed that no one cares for those 3 girls because not a single one of the people responsible for them moved an inch to comfort them. You're not supposed to sob hysterically when you win silver at the olympics, and you're not supposed to feel empty inside when you win gold. The conversation we should be having right now shouldn't be about if Kamila was unable to reach the impossible bar that was set for her, a 15 year old girl, on purpose or because the pressure put on her was simply too much for her to deal with. What we should be talking about is why it was allowed that the Russian Olympic Committee was created, since Russia was banned from the Olympics for doping in the first place. We should be talking about raising the minimum age for participation in the Olympics because no one should be using and abusing and discarding children for the sake of medals. We should be having conversations about banning coaches like Eteri Tutberidze who we know for a fact abuse their athletes and about creating safer environments for athletes. The sticking point shouldn't be whether or not you think Russia deserved to medal at all, it should be why the fuck did we all sit today and watch 3 incredibly talented athletes breaking down when they didn't have to, and why hasn't anyone done anything yet to stop this from happening again?
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woodwind-sensei · 5 years
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The Program Components: An In-Depth Look
 If you’re relatively new to the figure skating world, you’re probably confused as fuck about the program components. What do they mean? Where did they come from? Why are people complaining about the component marks for particular skaters? If you’re one of these people, this is the post for you.
After the judging fiasco that was the 2002 Winter Olympics, the ISU began measures to completely redo the judging system, which was the beginning of the end of the old 6.0 system that had long ruled over the sport. What emerged about a year later was what we know as the first iteration of the ISU Judging System; a new, open-ended scoring system where technical elements had base value points that were given bonuses/deductions for execution. Then the artistic impression mark was replaced what is known as program components: Skating Skills, Transitions, Performance, Composition, and Interpretation of the Music would be judged on a scale of 1-10, and combined to make a PC mark.
This post is going to be a very in-depth look at the program components. There have been many contentions to these marks in the past couple of seasons, so it’s paramount that, as fans, we educate ourselves so that we understand whether or not component marks actually make sense for a particular program or performance. 
Skating Skills
“Defined by overall cleanness and sureness, edge control and flow over the ice surface demonstrated by a command of the skating vocabulary (edges, turns, steps, etc.), the clarity of technique and the use of effortless power to accelerate and vary speed.” - ISU Handbook
Skating skills is the movement component. How well a skater moves across the ice and how they achieve speed and flow is fundamental to how a program is perceived. You could have amazing edges and multi-directional skating, but if you move slow as a snail, your skating skills could still use improvement, and your other submarks could be also affected (if you have judges who actually, ya know, judge).
If I had to point at any examples of skaters with skating skills, the one I immediately think of is Guillaume Cizeron (FRA). He moves across the ice effortlessly, and has such variety and beauty in every stroke and step. The Japanese skaters in general also embody everything that is good skating skills. Satoko Miyahara and Kaori Sakamoto are the two skaters that come to mind for me: they both have an amazing knee bend that allows them to dig into the ice and really create some powerful strokes. Then we have skaters like Alina Zagitova (RUS). She has some good skating qualities, but what sets her a little bit lower than, say, Sakamoto can be seen in their back crossovers: Kaori is so smooth when she does a back crossover, and can reach max speed without restricting the flow of her body (that’s where those good knees come in). But Alina’s crossovers are a lot more jagged in motion. Her feet move rather statically, and she tends to be high in the knee. This translates into her usage of her upper body in jumps, because she doesn’t get the natural spring into the air that a deeper knee bend could help with. 
Transitions
“The varied and purposeful use of intricate footwork, positions, movements and holds that link all elements.”
How do you connect the technical elements? Transitions is the mark that covers the in-between, “moves-in-the-field” (6.0 term) kinds of movements. The mark is based on variety and difficulty of movements before and after major elements. So, if a skater uses interesting entries and exits for all the jumps, or there is a seamless quality between all the elements, the Transitions mark should be high. There is also the opposite: a problem American singles skaters have is that they often “telegraph” their jumps, meaning that they will do close to no choreography and just hold a long edge before their jumps. Even if a choreographer gives them a program with built-in transitional content, you find that by the end of the season, these moments are often removed for the sake of the jumps.
This is the mark that I have the most issue with. Of all the criteria that the ISU gives for the transitions mark, the glaring omission is “movement that matches the music/phrasing”. Nowadays, transitional content is done for the mark, and there isn’t any care to really match it to the music (????). This is extremely evident in Eteri Turberidze’s skaters’ programs. Johnny Weir said about Alina Zagitova (RUS) at the 2018-19 GPF, “she’s been choreographed within an inch of her life.” And that’s why I hate her programs this year. The transitions and movements are distracting rather than enhancing or impressive. The movements are so crammed into the program, there is no time to breathe. An unfortunately, this is rewarded: Tutberidze skaters generally get a bump in the components scores, especially in this specific mark. There needs to be more relationship between the music and transitional content. The king of the transition mark is Yuzuru Hanyu (JPN). He is able to weave the elements into the program at any point, and there’s no telling when a jump or spin will begin. For example, watch his 2018 Olympics short program, and pay close attention to the triple axel. It comes out of a series of super hard steps capped off by a left-back-outside counter turn. The counter is one of the harder figures to use in front of a jump, and Yuzu does it with complete freedom.
Performance
“Involvement of the Skater/Pair/Couple physically, emotionally and intellectually as they deliver the intent of the music and composition.”
The mark that is easiest to understand at a base level, the Performance mark is about how the skater(s) perform on a specific competition and how they project past the board of the rink. How do they carry themselves on the ice? Are the movements clear, precise, and easy to read from the rafters? If it’s a pair or an Ice Dance team, are they in unison the whole way through? Do they move as one unit? These are contributing factors to how involved a performance is. Another key factor to this mark is audience response. Does the program illicit cheers, or leave an audience breathless and captivated? If there were skaters who are the complete rulers of the Performance mark, it’s Tessa Virtue and Scott Moir (CAN). They really move together, and engage the audience in a way that few skaters can. I personally believe Papadakis and Cizeron should have won the Olympics, but I can for sure see why Virtue and Moir came away with the gold: they knew how to draw the audience in, especially in the short dance. Javier Fernandez (ESP) also excelled in this particular component mark. He was the showman of the quadrennium, and was charming and engaging in any program he performed on competition ice.
Composition
“An intentionally developed and/or original arrangement of all types of movements according to the principles of musical phrase, space, pattern, and structure.”
This mark encompasses choreography. Does the movement presented cover the ice well? Are the patterns into and out of elements clean and interesting to watch? Is there a clear arc to the choreography? Is it original material? The last Olympic cycle was the catastrophe that was Backload City, Russia. A lot of Russian skaters began placing all their jumps in the second half of the program, which garnered a 10% bonus. As former ISU judge and co-creator of the Program Components Joe Inman put it, “the program is unbalanced.” Backloaded programs should have had reduced Composition marks in the previous system, which wasn’t the case. 
A good program composition evenly spreads out the technical elements, and reflects the personality of the skater. This season, my favorite program hands down is the short program from Satoko Miyahara. Known for her grace and subtleness on the ice, Lori Nichol did an absolutely amazing job bringing power to Satoko, while maintaining elegance, softness, and purity. It also helps that Satoko is one of the strongest skaters in the world in terms of pure skating skills: she is able to spin in both directions, which helps in both spins and step sequences, and is able to link very difficult steps together with ease. Every program she has done was full of variation and virtuosity.
Interpretation of the Music
“The personal, creative, and genuine translation of the rhythm, character and content of music to movement on ice.”
This component encompasses music and movement. If the other components slightly touched upon this important relationship, this final component mark has it in a stranglehold. There are some key things to think about here: does the movement match the pace of the music? Do the steps and strokes align with the emphasized beats/tempo of the music? Does the movement clearly express the emotion of the music? Does the skater match the program? This is another criticism of the Tutberidze camp. You could honestly take any Daniil G. choreography, mute the music, then put Yakkity Sax on, and the choreography would make just as much sense. The choreography is done for levels, not for presentation, which is what the components marks should be modeled for. 
  One of my favorite programs of recent years was Kaetlyn Osmond’s (CAN) 2017-18 short program to Edith Piaf songs. It’s sexy, age appropriate, and has a variety of beautiful movements that are tailored to the music. This season, though, has seen some great programs that use the music to enhance the skater’s qualities and strengths. Lim Eun-soo’s (KOR) short program this year is a complete stunner. Choreographer Jeffrey Buttle did a stellar job, interpreting the music of the movie Somewhere in Time, using it as a frame to make Eun-soo the consummate skater: powerful, yet delicate. Soft, yet strong. 
How [I think] The Components Relate to Each Other
A lot of what I’ve said so far seems like it overlaps. Sweetie, they were designed to overlap. If a skater doesn’t have a solid grasp on one component, chances are the other marks are questionable at best. The most obvious relationship is skating skills and transitions: without good skating skills, there is no chance in hell a skater can do interesting and varied transitional content. I keep on using Kaori Sakamoto as an example for skating skills/transitions, because she really is a skater who puts two and two together. Sonoko Nakano, her coach, makes her students practice figures like counters and rockers, so they understand how those steps function in their routines. The result is that Kaori has excellent knees, speed, and flow through almost any step. Take her entrance into her first triple-triple here. Only a few sweeping crossovers and some rockers and she is able to fly across the ice. Then there’s performance, composition, and interpretation of the music. They all convey the same thing: what is the program and what does the skater do it affect the audience? Let’s take a program like Virtue and Moir’s (CAN) Free Dance at the last Olympics: it’s a clear interpretation of Moulin Rouge with excellent carriage and a composition designed to bring the house down. That energy in Gangneung Ice Arena must have been so powerful. It leaps right off your TV screen and sucks you in. Even with a program like theirs, or something more nuanced and subtle like that of Gabriella Papadakis/Guilaume Cizeron (FRA), you can’t do them without good skating skills. Everything inevitably has to relate back to the skater’s athletic ability. If a skater cannot accomplish movement on the ice, the program is going to suffer indefinitely.
This analysis of the components is far from perfect. I’m not a trained skater myself, but I really wanted to understand as many of the steps and moves myself in order make sense of a lot of the programs. Hopefully this helps you learn more about the current judging system and why sometimes, fans will speak for or against certain marks that the judges give out.
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shasha-springs · 2 years
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BLOG POST #1: Two Words
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If she were to win the golden medal for her country, Kamila Valieva planned on thanking her skates, first and foremost.  The fifteen year old trusted them more than anything else in her control, and thought of them as her own little missiles that would propel her body into action at the start of each and every routine.  This is what Kamila thought to herself as she knelt before the locker room bench, letting droplets of an elixir fall underneath her tongue.  She was promised that the blue liquid would set the blood in her veins loose, give her heart and limbs all the time they wanted as she tore the ice rink apart- a white plane that remained smooth beneath her *raketas as she wove through teammates in competitions. Was there anything else left to worship?  Her coach.  Of course, Tutberidze was the goal- and by that, she meant impressing her.  Kamila understood how little time she had, how her judges and trainers and even the bodily functions that she took for granted would abandon her eventually, as soon as her metabolism slowed down and she stopped producing collagen- or whatever coach Tutberidze had said. When that did happen, all that would be left of Kamila is a husk, just like her coach.  The figure skater didn’t want to admit just how much she hated that woman, no matter how much of her success she owed to her.  She was mean, plain and simple.  A witch whose only gimmick was an interactive show-and-tell, a performance she always pulled off in the most cruel ways.  But the girl could forgive that, for that very witch gave her the elixir.  It all came back to the elixir, that pretty potion that kept Kamila skating, the fans cheering, and judges smiling.  While she performed, it would split her brain wide open and melt it slowly, while the residue leaked through her eyes and left rosy cheeks wet and cold.  That was fine, she told herself, since the tears would dry rather quickly- everything ran at full speed with the elixir by her side. Lithe bodies surrounded her alongside their familiar smells of sweat and spandex, while silly questions flooded her thoughts.  Can the back row see how hard I’m smiling right now?  Why are they on their phones? Why is her ponytail so loose? The girl knew in her heart that none of it really mattered, none of her musing helpful except for one, which she took as law:  
       “Right now, I am the liquid. And they have to pay attention to me.”  
       “What are you saying?” 
       “Hm?” Kamila turned her head.  Her teammate with the loose ponytail was staring at her.  She never bothered to remember her name, and so Kamila only felt it appropriate not to bother with a response.
It’s disgusting, really.  She was starting to come down from her frenzied elixir-induced stupor, and suddenly nothing felt the same.  Kamila did not hear her team’s results, did not try to read the faces of people in the arena like she had only minutes before.  The figure skater paused briefly in her hurry towards the locker room, right infront of a mirror.  She tore her eyes away almost immediately- Kamila felt like a stupid doll in all the stage-like makeup and glitter costumes, and chucked her skates across the floor upon reaching the locker room.  Fuck the skates.  Fuck Tutberidze. There was only one thing that could help her now, and it laid at the bottom of her bag in a perfect-blue flask.  
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