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  1. #61
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    Wow I'm surprised people are blown away by this. I think the first was more original and her arms in this one, while less all over the place, could still be more graceful.
    Last edited by Jarrett; 12-15-2013 at 09:10 PM.

  2. #62
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    I have to admit I thought it was rather ordinary, having seen it live at the arena. Nothing special, but still (somewhat of) an upgrade over what she had before.

  3. #63

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    I like both programs.

  4. #64

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    Flove the dress, hope that stays.

  5. #65
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    Quote Originally Posted by Cheylana View Post
    I agree, but attitudes like that are why skaters like Gracie keep trying to skate to ballets and "soften" their skating. I hope they at least try to rework that freeskate, it doesn't suit her style at all.
    That's not why Gracie has been reworking her skating. She had no idea what to do with her arms other than windmill, her choreography was substandard, her packaging was juniorish. However, I did not want her to skate to lyrical programs, thinking that it's not her strong suit. I hoped for some powerful classical piano concerto music (I almost got my wish.) But she surprised me by skating this new SP beautifully.

    I think later, when Frank is more confident about Gracie's consistency (and she did fall twice in a show while skating her new SP last night), he will let her unleash her power and give it her all. Perhaps he thinks that part of the inconsistency problem is that GG skates too fast and is trying to slow her down for just a while. It worked for Carolina Kostner who'd enter her jumps at uncontrollable speeds. Also, Carolina is an example of a successful, non-princessy and non-overtly balletic skater who is successful, at least was, before this season and her back injury. So a style other than balletic can be found and perhaps still be found for Gracie. For now she is doing just fine and looks surprisingly natural at this. I was more surprised than most to see this much improvement so soon. She does have lots more "marinating" to do and at the end of this process she will be a force.
    "Nature is a damp, inconvenient sort of place where birds and animals wander about uncooked."

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  6. #66
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    Lynn Rutherford has been tweeting about today's press conference:

    Gold said about switch to new SP to Grieg's Piano Concerto Adagio: "Frank worried that the Gershwin SP might be too modern for the judges."

    https://twitter.com/LynnRutherford/s...30947490672640
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  7. #67

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    Yeah, that 1926 music is so modern.
    Charter member of the "We Always Believed in Ashley" Club and the "We Believe in Ricky" Club
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  8. #68

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    Quote Originally Posted by kwanfan1818 View Post
    "Frank worried that the Gershwin SP might be too modern for the judges."[/INDENT]
    I hope Frank is being masterfully snarky, because the alternative of this being true is too horrid to contemplate.

    Hey you kids, get off my lawn! In my day, we didn't have noise like that and call it music.....
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  9. #69
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    Compared to Tosca (1900), Swan Lake (1875-6), Carmen (1875), Rach 2 (1900-1), Scheherazade (1888), Sleeping Beauty (1889), Firebird (1910), and Four Seasons (1723), I guess it is, , just like works by Jiri Kylian from the 1990's are considered bleeding edge by ballet companies across the world.
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

  10. #70
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    a saw GG train at the Toyota Center with Frank Carroll and was blown away by her, so graceful, so powerful, so world class, etc. There may be a very short video clip of her practice, I am trying to get them to upload and share with you guys.
    "Nature is a damp, inconvenient sort of place where birds and animals wander about uncooked."

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  11. #71
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    Another of Lynn Rutherford's tweets:

    On her teleconf, @GraceEGold says her triple Lutz-triple toe combination has been "Red hot, as Frank [Carroll] would say."
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

  12. #72
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    The arm movements are good until she gets to the foot work. Like the choreo except for two spins done one after the other.

  13. #73
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    Quote Originally Posted by kwanfan1818 View Post
    Another of Lynn Rutherford's tweets:

    On her teleconf, @GraceEGold says her triple Lutz-triple toe combination has been "Red hot, as Frank [Carroll] would say."
    Gracie always lands her jumps in practice that's never been the problem. It's landing them in competition when it counts.

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    She may never be as great a competition skater as a practice skater, but one of the things that Carroll taught Kostner and Gold needed to learn is to be patient and not to rush the timing. The longer she jumps with these qualities, and the more that gets into muscle memory, the better.
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

  15. #75

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    Quote Originally Posted by Jammers View Post
    Gracie always lands her jumps in practice that's never been the problem. It's landing them in competition when it counts.
    I've heard she is very streaky in practice generally, but has been very strong in these last few weeks before Nationals.

  16. #76

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    Very good program. It has been well choreographed to the music, using the phrasing and nuances. There is also a lovely softness to her movement which I haven't seen before. So well done to her.

    As for criticising the jumps - well it was an exhibition with different lighting and smaller rink than what she is used to. It was not a competition program.
    When you are up to your arse in alligators it is difficult to remember you were only meant to be draining the swamp.

  17. #77

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    FTR, I refuse to believe Carroll taught Kostner anything.

    Also, Gold is not "always" good in practice. She was struggling in SLC before the senior B. When she's good, though, she's very, very good, which is why some of us are so excited by her.
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  18. #78
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    Gold was not struggling in Slc as I recall. She was spot on in practice, though her jumps were smaller

  19. #79
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    Quote Originally Posted by kwanfan1818 View Post
    Compared to Tosca (1900), Swan Lake (1875-6), Carmen (1875), Rach 2 (1900-1), Scheherazade (1888), Sleeping Beauty (1889), Firebird (1910), and Four Seasons (1723), I guess it is,
    Right. That must be why no skaters ever use more recent pieces, like "Otonal," "Requiem for a Dream," or "The Feeling Begins."

  20. #80
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    Quote Originally Posted by Wyliefan View Post
    Yeah, that 1926 music is so modern.
    Perhaps Frank meant the choreo more than the music itself?

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