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#and this would have been such a beautiful olympic programme too
goldenoreosclub · 2 years
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Mikhail Kolyada | The Nutcracker, Rostelecom Cup 2021
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shookspearewrites · 2 years
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Anon, thank you endlessly for this ask! As you may or may not know, my ducklings, I am a figure skater so requests of the boys + ice skating make me so unimaginably happy ^^ 
You may be excited to know that behind the scenes, I have been writing a big project about figure skating~ I can’t tell you guys too much yet but it is Ice Hockey player Theo x my figure skating OC Freda and includes pretty much all of the vampires doing ice sports! I think it’s real fun and cute and that Ice Hockey Theo is mega fine omg, I’m really excited to share it with you guys in the future (✿◡‿◡)
- JJ x
~~~~~~~~~~
Wolfgang Amadeus Mozart:
He just sits there, mouth hung slightly agape as he watches your figure twirl around on the screen of Sebastian’s smartphone. Something stirs in his heart watching the performance to Moonlight Sonata, the emotion in the skate and the music resonating within him. He’s never seen anything like it, anyone like you that has the ability to steal his breath away so effortlessly. 
Mozart finds your spins particularly spectacular and often asks Sebastian to show him clips of your skating whenever he needs some inspiration for his music. Of course, Sebastian happily obliges him and talks about your skating career with great detail, making Mozart even more impressed.
It takes you a little by surprise when he insists that you go on an ice skating date with him, even though it’s snowing outside and the only rink available is a little frozen over lake out in the forest, it shows you that he really does care for you under his cold exterior, you know, since he hates cold weather. 
You’ll have to hold his hands on the ice since he’s more than a little scared of falling, but Mozart has surprisingly good footwork. He does get distracted by watching you skate so elegantly though and has to sit himself down on the bank of the lake to admire you fully - He’s sure he’ll never see a sight more beautiful than you skating so perfectly with the backdrop of the wonderful winter surrounding you. And Wolfgang is certain that the snow looks almost dull and grey in comparison to your shine.
He’ll compose music especially for you to skate to, listening to all your thoughts on programmes and composing accordingly. 
Theodorus van Gogh:
Oh so his new little plaything is a twirl girl, how interesting.
He will secretly admire you as you flit around the mansion gracefully, his mind wandering and imagining how beautiful you’d look gliding along the ice.
When you invite the vampires to go skating with you, Theo is admittedly a little nervous about how you’ll perceive his skating but, he disguises his nerves with bravado - skating around with a confident smirk, teasing when he glides by you with speed, “C’mon on then, show us what you got, ijsprinses.”
As you gracefully skate around, effortlessly landing jumps and performing beautiful spins, Theo finds himself a little lost for words as he watches you. He will have to step off the ice and sit down with Sebas and a cup of coffee to properly take in your performance, in awe at your ability. “Seems like my hondje knows some tricks, huh?” Theo almost spits out his coffee when Sebastian replies, “I’d expect nothing less of an Olympic silver medallist.”
Theo is an excellent businessman, so don’t be too surprised when he somehow manages to rent out the city’s only rink for the whole day for you to practice on. He’ll sit rink side and watch you with adoration in his eyes and pride in his heart as you smile brighter than he’s ever seen. There aren’t many things Theo would take a day off of work for, but seeing you skate? He’d sacrifice the world for that.
Leonardo Da Vinci:
He certainly is excited to see you skate; he’s noticed how passionate you seem whenever you talk about skating so, he can’t wait to see you glow on the ice.
Leonardo is particularly impressed with the beautiful Biellmann spin you perform, smirking when he slides up to you and whispers in your ear, “Maybe we should put that flexibility of yours to good use in the bedroom, cara mia.”
He kinda skates to the beat of his own drum. He wants to learn all of the amazing moves you can pull off but knows that he doesn’t have the patience to learn the correct techniques - This results in him throwing himself into jumps with incorrect techniques and collecting a few bruises along the way. But even when he falls over, Leonardo just grins and tells you that he’s determined to be involved in your favourite activity, even if he isn’t great at it.
Leonardo notices every time you complain about how difficult it is to skate in your 1890s attire and he stores those comments in a little notebook of his along with designs for some skating dresses for you. He’s spoken at length with Sebas about your iconic routines and dresses from your time as a professional and spends a lot of time trying to design and piece together something you’d find both comfy and cute. He’ll gift you a beautiful red velvet skate dress that he designed “just because”, made by the best boutique in Paris especially for you and he always feels so proud when he watches you skate in it.
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rolling-thunder · 2 years
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Hey there! Do you have any asanoya fic recs?
I haven't read any asanoya fics in a while but here are some of my favourites
Vienna Waits For You by poulerslashes:  It was the day before Nishinoya Yuu's twenty-second birthday, and he had never been more convinced that he'd reached the end of the better part of his life. Rated: E
This Place in the Sky by Esselle: A boy named Asahi is sent to climb the tallest mountain to stop the raging tempests that have been plaguing the region. But instead of a furious deity, he finds another world in the sky, and someone to share it with. Rated: E
a type of personal solution by skylark:  His exhale comes from his diaphragm, an open-mouthed hiss that Asahi sometimes hears in the heartbeat-long pauses that occur during matches—a sound that says that Noya's body is moving on sheer instinct. Rated: E
Under the Radar by lilienpasse:  Two weeks after Asahi rejoins the team, Noya finds himself starting to slip during practice. Missed receives, floor burns, the whole nine yards. But when Tanaka points out the possible cause, Noya's hard-pressed to believe him. There's no way someone as dopey yet implausibly-competent as Asahi could be the cause of all his distress. After all, Noya doesn't worry about much beyond the court, and he certainly doesn't hold grudges. Right? Rated: M
No Harm, No Foul by Splashfree:  "The thing about Asahi, if Noya were pressed, is that he's huge." Not rated.
No Problem So Awful by poulerslashes:  Asahi spends a lot of time thinking about his teammate, but that’s not weird, right? Totally not weird. Except that it’s very weird and he’s probably a terrible person. Probably. Rated: M
Silica Sand by lilienpasse:  Overworked, over-stressed programmer Azumane Asahi works on the top floor of a Shinjuku skyscraper. Nervous around his coworkers and terrified of the long drop on the other side of the window, Asahi falls into a miserable routine, only to have it broken one day by a simple message on the outside of the glass. Rated: G
But World Enough, And Time by poulerslashes:  There are only so many minutes in each of Nishinoya's afternoons with Asahi. He's determined to use every one. Rated: E
Setting Aside Your Pride and Your Prejudice by  @mamacrowsugawara:  Nishinoya Yuu experiences love at first sight at the library. Azumane Asahi is excited to think that another Japanese person has heard of Jane Austen. Through a series of lies and café meetups the two begin to learn more about each other. And fall for each other too. Rated: T
Qué Syrah Syrah by LoudLucy:  Asahi wants to be a Master Sommelier. It's the highest honor in wine service, and the certification would allow him to live the life he's always envisioned for himself. Too bad the certification test is notorious for being the world's most difficult. The Wine Tasting AU. Rated: M
Ten Tips to Seduce Your Man (At Christmas) by poulerslashes: Asahi was in love, Nishinoya was beautiful, and Asahi gets desperate and follows terrible advice from a magazine, against his better judgement. Rated: M
Out of the ordinary by mysecretfanmoments:  Yuu has been gently crushing on the beautiful guy with the motorcycle for ages. There have been a lot of fantasies—but none of them included finally getting Motorcycle Guy back to his place only to have him babble "I don't normally do this" over and over. Rated: M
Don't Take Love Off the Table Yet by chromyrose:  When Nishinoya comes out as bisexual, Asahi ends up being more bothered by the tarnish to his reputation than Nishinoya himself. But when Asahi goes too far defending his teammate, unspoken emotions come spilling out. Rated: T
Whatever Gods May Be by buttonstuck:  Azumane Asahi has no psychic powers. Nishinoya Yuu wishes he didn't. (Incomplete but worth the read) Rated:M
Days Like These by jibrailis:  An Olympics homecoming for Nishinoya. Rated:E
I'd Like You Anyway:  Yū believes in soulmates, but that doesn’t mean he believes in them. Rated: T
Let me tell you what I've been thinking: Homework is the last thing on Nishinoya's mind. Why would it be at the front, when Asahi is Right There and smells the way he does and keeps pushing his hair behind his ears like that. Really, it's just unfair. Rated: E
here are a couple of my fics if you're interested
A Bisexual Awakening: Nishinoya Yuu has a gay awakening. Well, technically a bisexual awakening. Accidentally intruding on Asahi in the shower may have had something to do with it.
A Not-So-Failed Confession: As far as confessions went, Nishinoya supposed his could have gone worse. It also could have gone a lot better.
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yuzusorbet · 4 years
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Continuing Kikuchi-sensei's book 'Strongly, beautifully,....'
Chapter 3
3.4  Looking at deviations of the torso 3.5  Icing as a recovery method (not translating these 2 sections;  I may come back to do them after I have done the parts that interest me most.)
3.6  Experiencing the world's stage as trainer
The season after Sochi Olympics, that is, 2014-15 season.  It was hard for Yuzuru to get into good condition.  The 1st competition, Finlandia Trophy, he withdrew because of back pain.  Yuzuru was in Canada and I did not know of his injury.  I only knew about it from the news.
But, one week before GP series Cup of China, held in November 2014 in Shanghai, I received a message on my smartphone.
"Sensei, can you come to the competition in Shanghai please?" "Didn't you say that the Canadian trainer will accompany you?" I replied.   After a while, "Sensei, come to Shanghai and do treatment for me please....?"
Because in the previous season, he had told me, "For competitions in Japan, please may I have your care, but for overseas competitions, the trainer in Canada will go with me, is that alright?"  Perhaps he felt a sense of guilt.  He was probably fiddling with Pooh-san's ear and hesitating for some time before sending the message.
"Alright, I understand. I will be there," I replied.  I cancelled all my plans for the week ahead and went to Shanghai.
After a long absence, when I touched his legs, I felt the confirmation of his evolution, and also, in my heart, I felt some sense of relief that I could do treatment for Yuzuru again.
2014 December, GP series NHK Trophy in Osaka.  Yuzuru, far from ideal condition, headed for competition.  His short programme was only 78.01,  and with scores lower than any he had in recent time, he finished in 4th place.  He managed to qualify for the GP Final in Barcelona which was for only the top skaters of the GP series.
Right after NHK Trophy was over, Yuzuru came to my hotel room.
"Sensei, can you also come with me for the Final?" he said. "Oh?  For Europe, the other sensei (Canada) will go with you, didn't you say that?"  I was also being mean. "But, sensei,........" his eyes made the plea. "Ah, seems like it's unavoidable, shall I go to Spain and see Sagrada Familia as well?"
In this way, I was called back to be Yuzuru's personal trainer.From then on, for competitions in Japan and overseas, support for Yuzuru was done by me.  Well, to him, I think it's because he has known me since he was little, and calling me "sensei, sensei" is easy and comfortable.  But to me, it became a major event that happened in my life.
3.7 PyeongChang Olympic season, starts
2017-18 season, also an Olympic season.  First competition, Autumn Classic, Yuzuru had a world record score of 112.72 for his short programme, breaking the previous record which was held by himself.  The media, in anticipation of a 2nd Olympic gold, saw it as a good start towards PyeongChang Olympics, but......
After Autumn Classic, I met Yuzuru;  his body that had been loaded with training, headed for competition at GP series Rostelecom Cup, could not be said to be in very good condition.
That not-ideal condition indicated the pressure of a 2nd Olympic win.  In summer, he was pushing himself hard and the body was very overworked.  The thoughts of 'must win' put a great burden on his legs.  Putting multiple quadruple jumps into his programme layout was extremely demanding on the ankles.
I thought it was not so hard to win at PyeongChang Olympics if he maintained the level of record-breaking 2015-16 NHK Trophy and GPF.   It seems his coaches also told him "you don't have to overdo it to that extent".
But, Yuzuru thoroughly pushes himself hard.  "Not doing it, is not me" he says and continues to practise so that he can raise the level.  Even if someone said "stop!" he would still continue to skate.
The Olympics becoming a heavy burden, there was not a single word of this from Yuzuru's mouth.  He did not show it even in his behaviour.  But when I touched his legs, I knew.  To what extent was the harsh training  he had put in.
For Yuzuru who has an overabundance of fighting spirit, I felt a sense of uneasiness.  Unfortunately, my premonition came true.  2017 November, GP series NHK Trophy in Osaka, during official practice, he fell on a quad lutz.  The ligaments  of his right foot were damaged.
After he was injured, we were talking and joking and laughing.  If we did not keep the mood cheerful, Yuzuru would be too pitiful.  When he fell, I knew it was a serious injury.  If it was the usual sprain, my treatment could help in some way.  But not this time.  Yuzuru had to withdraw from NHK Trophy.  The trainer from Canada and a doctor took care of him and I returned to Sendai.
A long recovery period was needed for his foot.  He was absent for Japan nationals.  He remained in Toronto, undergoing treatment, and prepared for the Olympics.  I could not be at peace.  The condition of his injury, I only knew about it from the news, as usual. 
It was about a month and a half before PyeongChang Olympics.  Yuzuru's father, holding a form for registering the size of sportswear and blazer for the Japanese delegation, came to my clinic.  Same as 4 years ago for Sochi Olympics.  "How is Yuzuru?"  I asked, but Yuzuru's father only smiled and nodded, as he always does.
But it was definite that Yuzuru would compete at the Olympics.  What I could do was, no matter what the situation, to send him into the rink in the best condition.  And I was ready.
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3.8  Do carefully one by one
The free skate at PyeongChang was at an earlier timing than the usual competitions, and the practice started from 8.25am.  Without getting all worked up like at Sochi, I could face it calmly this time.  That morning, the taping for him was completed at first try.
Yuzuru did not say anything.  Of course, his foot could not be said to be in very good condition.  My role was to help him get the ideal feeling that he wanted in his legs and I believe it went very well.  Warming-up also had no problems.
Supporting Yuzuru's beautiful performances are his well-trained body and senses.  Elegant jumps and spins are created by his steady torso and ability to sense tiny differences.  These are important for flowing movements.  That is why Yuzuru is always concerned about the training of the torso and any deviations.
And so, about one year before PyeongChang Olympics, torso awareness training was introduced into the warm-up schedule.  There was a video showing Yuzuru sitting on a bucket with wheels and moving around;  that was one of it.  People who saw it may have thought,  "What is he playing?"
That is a custom-made product, a bucket-shaped chair fitted with wheels used for wheelchair basketball.  To move around freely on it, one has to be very conscious of the transverse abdominal muscles that surround the abdomen, the erector spinae muscles that support the spine, and other such parts of the torso;  it is a training device.  It is well-known that the balance ball is effective for conditioning the torso. However, it is not enough for a torso that supports the flowing movements of figure skating.  Quadruple jumps do not go directly above the head.  They go forward 3 to 4 metres while rotating.  And so, (thinking) can't we condition the torso while moving forward, backward, left and right, this bucket-chair was developed.
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Usually I would say "next, bucket", and Yuzuru would sit on it and move around, like writing the character "ハ"   (t/n. this is number 8 in kanji).  At the warm-up of the short programme, he jokingly said, "Sensei, I've become good at this."  For the free skate warm-up, even though I did not give the instruction, he himself went to sit on it and started moving around quietly.  What he did was exactly the same as how I had pictured it in my mind.
As he often says, "When I am focused, I know very clearly what I need to do."
The last part of warm-up was always, still in gym shoes, jumping straight up with rotations on the spot.  Doing this, one will know if there is any shift in the body's axis. 
At this time, I once again felt "this guy is incredible..." and got goosebumps all over.
In the tension, there must have been countless times of feeling almost crushed by the considerable pressure.  Nevertheless, he spent his days pushing himself hard, and studying and researching all that he could.  And raise himself higher, refine his skills, brutally overwork his body......  4 years of it, for the sake of this moment.
Perfectly conditioned.  To Yuzuru who was heading to the middle of the rink for his free skate, the only thing I could do was to say, "(You're) alright, so just do carefully one by one."   But I don't know if he heard me.
[end of chapter 3]
[some sentences are left out or summarised]
Translated by me from this Japanese book by Akira Kikuchi: https://www.amazon.co.jp/%E5%BC%B7%E%… (please consider buying it, if you can)
(photos: searched from internet)
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artificialqueens · 3 years
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Love is a Dog From Hell, 1/5 (Rosnali) - Mattels
is it really that complicated that denali wants to be the best? all signs from the figure-skating gods seem to point to yes. (especially with her decidedly adult and mature hatred of coach rosé, who keeps wearing those god awful skin-tight ski-pants.)
aka denali’s a figure skating coach, rosé’s a ski coach; the rest is history
https://archiveofourown.org/works/29861322/chapters/73479360
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November is sacred to Denali.
Although she’s a full-time figure-skating coach year round, boasting a full clientele of Olympic level students alongside a waiting list that seems to be growing by the year, November always manages to remind her why she started teaching to begin with.
Bonneville Academy, despite Denali considering its title of ‘academy’ being a stretch, has managed to wedge itself into her life, year after year. She spends six months of her year in Chicago, teaching private lessons to overenthusiastic and grossly rich teenagers, but from November through to April, she spends in Utah, working with the students to tighten their quadruple lutzes and receiving a paycheck that leaves her feeling pretty comfortable until the next November.
Although the school is technically a legitimate boarding school, offering fairly okay-quality education alongside the best training in the country all year, a lot of the students only attend for the ski season, unable or unwilling to fund a whole year.
Or maybe, Denali considers with a smile, nobody wants to live in the middle of nowhere, locked away in the mountains like a fucking yeti.
Michelle Visage, school director, emails Denali every year about working for them full-time, but every year Denali finds herself unable to leave Chicago behind. She loves her cozy city life, thank you very much. Living alone in her uptown apartment has yet to be beaten, even with the promise of the best skating facilities money can buy.
Half of the kids who attend don’t even realise how lucky they are, she finds herself thinking as her rental car starts the ascent to the school. It’s a long drive, the journey from Salt Lake to Bonneville is deliberately out of most peoples’ way, ensuring the cleanest snow and freshest powder for its plethora of skiers and snowboarders. She’d definitely have killed for something like this when she was still training.
The school is specialised, known for its premium winter sports programme raved about by former Olympians and their coaches. Everything is fully equipped, facilities and machines inside the camp always sparkling new and top of the line; huge dance studios with scary Russian ballet teachers to help her skaters achieve their best on the ice; big gyms and personal trainers; meals specially catered and designed to build muscle and strengthen bones.
It’s also really fucking expensive; Denali sees the checks on Michelle’s desk with their seemingly endless zeroes, given by mothers determined to boast that their little Sally went to Bonneville! But the elusive RuPaul, who Denali knows funds the school, but has never seen or heard much about, hands out plenty of scholarships to kids she deems talented and hard-working enough to thrive.
Denali’s car turns the corner, giving her a view of Bonneville’s ski slopes. She spots a couple of instructors already at the top of the chairlifts, riding down the mountain in neat lines as they enjoy the start of what’s looking to be a beautiful season. It’s still early, but it’s snowing heavily, Denali’s windscreen wipers working hard to keep the snowflakes off her windscreen.
As Denali pulls up to their entrance, she spots a couple of other employees hanging around outside, boisterous laughter coming from their conversations. They’re all old-timers, Denali is sure one or two of them have worked at the school since its opening in the late nineties.
She immediately spots the inky black mullet that belongs to Mik, one of the snowboarding coaches for the younger kids. She’s standing alone, narrow back pressed up against a red bricked wall as she smokes a cigarette, flicking ash off of the end into the thin layer of snow below her feet.
She gets out of her car, passing her keys over to the valet Michelle hires unnecessarily every year, always insisting, rather pointedly if you ask Denali, who seems to consistently be at the receiving end of the seemingly never-ending gripe, that she knows that someone’ll fuck up her parking arrangement, Denali.
It’s a fair point– Denali would never be bothered to follow Michelle’s colour-coordinated and meticulously planned spreadsheet, in which she’s grouped all the instructors of the same sport together in the carpark, as if it matters to anyone which spot they have.
The valet takes her bags too, which she’s perpetually grateful for; her suitcases are almost always overweight in the airport, despite taking three of her big ones with her. They’ll take them down to her room for her too, as if she’s staying in a nice hotel, not just a ridiculously boujee school.
Mik spots her, dropping the cigarette she was smoking and stubbing it against her chunky boots, jogging over to catch Denali in a tight hug. “Hey slut!”
Denali laughs, embracing her. “Nice to see you too, Mickey.”
Mik shrugs, letting her go with a smile. “You know you missed me, don’t even try it.” Denali rolls her eyes but can’t deny it, grinning when Mik wraps an arm around her shoulders.
“Denali Foxx!” Michelle greets her loudly, ticking her name off on a clipboard. “Usual room,” she says, fishing a key out of her pocket and passing it to Denali.
“Roomies!” Mik says, laughing with an eye-roll when Denali pretends to shover her fingers down her throat complete with exaggerated gagging sounds.
Denali’s always grateful to room with Mik, the rooms are a slightly awkward size– too big to stay in alone, a little too small for two people. Mik works at the school year round, and Denali knows she’s equally grateful to have someone to share with, forever complaining about how empty it feels when she’s by herself with two beds.
“Almost everyone else is already on the slopes,” Michelle notes, turning around so she can point out people on the mountain behind them. “You’ve got a couple days until the kids are allowed out, so better make the most of it.”
The school is laid out like a small village, boys on one side and girls on another, divided in almost everything except meals, which they have in the dining hall all together. The dorms are split into age, six buildings facing parallel to one another in a large U-shape, each with attached communal bathrooms and showers for the students. The buildings are all deliberately short so you can gape at Utah’s mountains practically anywhere on campus.
“I’ve been waiting for you to go out,” Mik says, grabbing Denali’s hand between her cold fingers, trying to drag her down the asphalt leading to the sports instructors’ rooming in the centre of the U.
The academics take place a couple miles down the road in a big building that actually looks like a school, which Michelle swears helps the students to stay focused, but Denali can’t say she’s totally convinced. She’s seen them get off the bus after school, racing one another to be the first in the chairlift queue.
“I really don’t want to go.” Denali whines, but lets Mik tug her down the path regardless. She’s not the best snowboarder even on her best days, and Mik always wants to take her down the especially mogul-ly runs, zipping in between trees and dodging ice patches that are still missing snow.
“Yes you do!” She says, practically skipping down the road. “There’s only a couple of us here anyways, and the kids aren’t allowed to carve up the snow yet– it’ll be fun!”
Denali rolls her eyes, with a sigh. “I’m only doing green runs!”
“Only red runs? Perfect!”
“No, fuck, come on Mik,” she huffs, her breath coming out in sharp puffs in the cold air. “I’m out of practice, this isn’t fair.”
Mik looks at her, shrugging her narrow shoulders, “how’s that my issue, gorge?”
She groans loudly as they approach the staff building, letting Mik lead the way to their room, unlocking the door with her own key.
Mik keeps their room uncharacteristically clean, especially in comparison to her wardrobe filled with clothes piled up on the bottom rather than on their hangers. Denali is pleased to see her blue suitcases on the side of the room Mik’s left for her, both her skating and snowboard boot bags by the end of her bed.
Mik talks aimlessly about the year so far as Denali changes out of her oversized shirt and equally oversized jeans combo. She rifles through her suitcases, half listening to the other girl, searching for her snow-pants and a hoodie, adhering to Mik’s advice to forgo her ski-jacket as it’s still early in the season and sunny enough, despite the snowfall.
She makes her help her lace up her boots properly, watching Mik’s skilled hands tightening them in record time. “Are you borrowing a board?” She asks.
“Mm,” Denali confirms, “are they ready?”
“You can literally borrow mine,” Mik squints up at her from her kneeling position, “we’re like, basically the same height.”
Denali scoffs at this, arching one of her dark eyebrows. “No fucking way am I borrowing one of yours, they’re all deathtraps.”
“They’re literally normal boards.”
“No, they’re all weirdly thin and flexible, I’ll literally break my neck.”
Mik frowns, “ok, first of all, rude. Second of all, I’ll have you know my boards are perfectly safe–”
“–did you or did you not snap one in half last year?”
“That was one time!”
“And that’s one time too many, doll.” Denali says, leaning down to tuck the laces into the tongue of her boot, pulling down her pants so they rest over the top. She reaches out a palm, helping Mik up from her kneeling position. “Get ready and I’ll meet you by the chairlift, okay?”
Mik rolls her eyes, reaching into Denali’s suitcase to attach her goggles to her helmet, passing it over with her gloves tucked neatly inside, as she would with her ten year-olds. Denali yells a thanks over her shoulder as she leaves, weaving her way out of their building to run down to their small ski shop.
☆☆☆☆☆
Humiliatingly enough, Mik makes Denali carry her snowboard with her on the chairlift, refusing to let her sit with one foot strapped in like a normal person would.
“You’re gonna knock your teeth out,” she laughs when Denali complains loudly about it. “Like fully splat, bitch.”
“I know how to ride a chairlift, thank you very much.” Denali grumbles, clutching her board tightly in her arms and sitting down. Mik reaches behind them, pulling down the safety bar, which Denali rests her feet on.
“Can’t have any casualties on day one, gorge.”
“The only casualty will be from me wringing your skinny little neck out when you push me down the mountain, you fucking bitch.” She groans, looking at the run below them.
There’s a pack of skiers weaving their way down tightly together under the poles of the lift. She can already see the deep valleys of moguls, even with her terrible eyesight. One of them looks up at their chair, waving at them with a grin.
Denali squints and she can see it’s Tayce, one of the newer instructors at the school. They had made fast friends last year, gossiping together about who hooked up with who over Thanksgiving– no, no, no, it’s clearly Brooklyn and Vanessa, they keep eyeing each other up–, which of their kids were likely to actually make the Olympic team– all of mine, thank you very much, Taycey–, who they might fuck given the chance– have you not seen A’Whora in the physio suite? I’d let her curb-stomp my neck– et cetera, et cetera.
“Everyone else is coming up tonight and tomorrow,” Mik remarks, waving over-exaggeratedly waving down to Tayce like she’s in a pantomime. “Tayce is like the only bitch I can stand here, as of currently”
“ As of currently? I’m here, as of currently! ”
“My point still stands, gorge.”
“After this run can you join up with them?” Denali groans, “Tayce’ll go super-speed with you. And she’ll let you harass her without breaking your nose.”
Mik laughs, “I don’t go that fast, bitch.”
“Have you ever seen that Disney movie Bolt ? Y’know the one with that dog who runs like, full speed of light? They could do a live-action version with you as the dog.”
“Woof!”
Denali’s face cracks into a grin as she rolls her eyes, “I’m serious! One minute you’re next to me, the next you’re–” she slides her gloved hands together in a forward motion “–zip . And then I’m the idiot who can’t get down.
“I’d never leave you!” Mik gasps, clapping a palm to her chest. “How dare you, fucking bitch.”
Denali scoffs loudly in response. Every year Mik tries to bully her into doing a couple runs together, and every year without fail Denali obliges, only to find herself stuck at the top of a mountain, Mik nowhere in sight.
“Head,” Mik announces, reminding Denali to duck her head so Mik can raise the safety bar, as they start to approach the end of the lift. Mik lines herself up to the drop-off, riding around the corner smoothly, giggling as Denali has to jog to keep up.
They both sit down to strap in, Mik tightening Denali’s bindings for her and pulling her up with a roll of her eyes.
“See you at the bottom?” Mik asks. Before Denali can answer, she’s slipped off, whooping as she hits a bump and flies upwards, grabbing the nose of her board as she hits the jump.
“So much for never leaving me, I guess,” Denali grumbles, carefully edging herself down the slopes with big sweeping S-shaped turns, she knows Mik will laugh at her about later, reminding her how her ten year-olds could easily out-board her.
Uh yeah, I’d fucking hope so, Denali thinks to herself, curving around onto the toe-edge of her board. Otherwise this’d be the biggest waste of money like, uh, ever.
The air that whips around her is cool, blowing snowflakes into her dark hair, but she doesn’t feel cold, happy in her thick sweatshirt and pants. Her feet are desperate to be unlatched from the board, feeling slightly unnatural to be locked in. She’s much more in her element spraying ice as she nails a complicated spin, she knows Mik would eat ass on.
Yeah, she thinks, fuck you and your ten year-olds, Mickey.
☆☆☆☆☆
“Michelle’s put the board up,” Tayce says in the late afternoon, sticking her head around Denali and Mik’s door propped open by a snowboard boot.
Denali looks up from the book she’s reading, comfortably curled up on her bed with her mandatory evening uniform of thick fluffy socks and sweats on. Mik, on the other hand, is still in her lycra leggings and hoodie, having made no effort to change since coming back, much to Denali’s disgust.
“Well?” Tayce asks in annoyance, cocking her hip, “you coming or what?”
Mik groans, rolling off of her bed and moving to stand next to Tayce in their doorway, bare feet on the cold linoleum. Denali carefully places her bookmark in her book, grabbing a pair of Nike slides– sponsored, thank you very much– and begrudgingly walking down the corridor to their big common room.
The Board– with an optional trademarked symbol from Mik– as it’s been aptly dubbed, is a large whiteboard divided neatly (by the increasingly anal Michelle) into a leaderboard. The top ten coaches are listed top to bottom, ordering the number of world title holders they’ve coached at Bonneville, bonus points being allotted to those whose kids win gold, and double points if the title being held was Olympian.
Michelle says it builds healthy competition. Denali says it builds a desire to Tonya Harding every other bitch in this place. Tomayto, tomahto.
Denali hadn’t even been on The Board, until she had returned three seasons ago with the last World Skating Championships under her belt, managing to land three podium spots. She proudly boasted for months to anyone that looked like they might listen that her girls had swept the categories, winning medals across the ladies’ single event, ice dance and pair skating.
Despite her allure of confidence, she knows she only made it up there because Michelle insists on starting fresh each year. She tries to tell them that she’s giving the new coaches a chance, but everyone knows it’s to keep egos in check.
Egos like mother-fucking Rosé McCorkell’s, who’s placed first on The Board two years running.
First as in one spot ahead of Denali’s second, first. First as in gloating in Denali’s face every opportunity she gets (and rest be assured, every opportunity means every opportunity ), first. First as in deliberately sabotaging Denali’s skaters, first– well, at least in Denali’s eyes.
Okay, whatever, yes it could have been a coincidence that one of her front runners’ sole came unglued from the attached blade on the morning of Nationals a year ago. And yeah, sure, maybe Rosé was like, several states away from the incident. And okay, yes, she still came in first after the whole thing, so it’s not it even really mattered after all. But Denali just knows Rosé had something to do with it, that bitch.
“Who’s on top of the pyramid this year?” Mik sing-songs when they approach The Board. Denali instinctively works her way through their photos from the bottom to the top, clapping Tayce lightly on the back when she sees her smack-dab in the centre.
She isn’t nervous; she knows she did well this year, the girls she had coached in the previous season competing in nationally-recognised competitions, pictures of them grinning up on their podiums, flowers in sequinned arms, emailed to her and the school. And it’s not even like it matters.
Her photo stands in line with another, both placed side-by-side at the top of the leaderboard. She can hear Mik mumble an oh shit, with a laugh as she realises that Denali is tied with Rosé at the top.
Okay, so maybe it matters a little bit.
Rosé’s photo looks down at her. She’s wearing her obnoxious signature pink ski jacket, her name embroidered into it in a sparkly silver thread. Her equally obnoxiouly signature curly pink hair has been tied up in a messy ponytail, and she stares at Denali with a big fucking grin on her face.
Denali wants to rip down the laminated photo, putting it into a paper shredder and watch as Rosé’s dumb face gets torn into ribbons.
“Healthy competition huh?” Tayce remarks, wrapping a long arm around Denali’s shoulders. “The cheek, the nerve, the audacity and the gumption, mama.”
“You have got to be fucking kidding me.” A voice groans, Denali turns around and is met by the woman of the hour. Rosé looks her up and down, irritation flickering in her green eyes. “Stepping your shit up, this season ice princess?”
Denali arches an eyebrow in response. “Evidently, McCorkell.”
Rosé smiles at her, all pearly white teeth Denali is pretty sure are veneers– well, at least that’s the rumour she and Tayce started last year as a laugh.
All of a sudden, she feels like a shark’s prey, a minnow trapped inside the great white’s tank. Rosé doesn’t have to say anything for Denali to know that she’s going to be in for a tough season.
Better get that hammer ready, she thinks to herself, I am not the Nancy Kerrigan of this competition, bitch.
tags: rosé, denali foxx, gottmik, rosnali, rivals to lovers, coach au, figure skating au, skiing au, lesbian au, love is a dog from hell, mattels
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November is sacred to Denali.
Although she’s a full-time figure-skating coach year round, boasting a full clientele of Olympic level students alongside a waiting list that seems to be growing by the year, November always manages to remind her why she started teaching to begin with.
Bonneville Academy, despite Denali considering its title of ‘academy’ being a stretch, has managed to wedge itself into her life, year after year. She spends six months of her year in Chicago, teaching private lessons to overenthusiastic and grossly rich teenagers, but from November through to April, she spends in Utah, working with the students to tighten their quadruple lutzes and receiving a paycheck that leaves her feeling pretty comfortable until the next November.
Although the school is technically a legitimate boarding school, offering fairly okay-quality education alongside the best training in the country all year, a lot of the students only attend for the ski season, unable or unwilling to fund a whole year.
Or maybe, Denali considers with a smile, nobody wants to live in the middle of nowhere, locked away in the mountains like a fucking yeti.
Michelle Visage, school director, emails Denali every year about working for them full-time, but every year Denali finds herself unable to leave Chicago behind. She loves her cozy city life, thank you very much. Living alone in her uptown apartment has yet to be beaten, even with the promise of the best skating facilities money can buy.
Half of the kids who attend don’t even realise how lucky they are, she finds herself thinking as her rental car starts the ascent to the school. It’s a long drive, the journey from Salt Lake to Bonneville is deliberately out of most peoples’ way, ensuring the cleanest snow and freshest powder for its plethora of skiers and snowboarders. She’d definitely have killed for something like this when she was still training.
The school is specialised, known for its premium winter sports programme raved about by former Olympians and their coaches. Everything is fully equipped, facilities and machines inside the camp always sparkling new and top of the line; huge dance studios with scary Russian ballet teachers to help her skaters achieve their best on the ice; big gyms and personal trainers; meals specially catered and designed to build muscle and strengthen bones.
It’s also really fucking expensive; Denali sees the checks on Michelle’s desk with their seemingly endless zeroes, given by mothers determined to boast that their little Sally went to Bonneville! But the elusive RuPaul, who Denali knows funds the school, but has never seen or heard much about, hands out plenty of scholarships to kids she deems talented and hard-working enough to thrive.
Denali’s car turns the corner, giving her a view of Bonneville’s ski slopes. She spots a couple of instructors already at the top of the chairlifts, riding down the mountain in neat lines as they enjoy the start of what’s looking to be a beautiful season. It’s still early, but it’s snowing heavily, Denali’s windscreen wipers working hard to keep the snowflakes off her windscreen.
As Denali pulls up to their entrance, she spots a couple of other employees hanging around outside, boisterous laughter coming from their conversations. They’re all old-timers, Denali is sure one or two of them have worked at the school since its opening in the late nineties.
She immediately spots the inky black mullet that belongs to Mik, one of the snowboarding coaches for the younger kids. She’s standing alone, narrow back pressed up against a red bricked wall as she smokes a cigarette, flicking ash off of the end into the thin layer of snow below her feet.
She gets out of her car, passing her keys over to the valet Michelle hires unnecessarily every year, always insisting, rather pointedly if you ask Denali, who seems to consistently be at the receiving end of the seemingly never-ending gripe, that she knows that someone’ll fuck up her parking arrangement, Denali.
It’s a fair point– Denali would never be bothered to follow Michelle’s colour-coordinated and meticulously planned spreadsheet, in which she’s grouped all the instructors of the same sport together in the carpark, as if it matters to anyone which spot they have.
The valet takes her bags too, which she’s perpetually grateful for; her suitcases are almost always overweight in the airport, despite taking three of her big ones with her. They’ll take them down to her room for her too, as if she’s staying in a nice hotel, not just a ridiculously boujee school.
Mik spots her, dropping the cigarette she was smoking and stubbing it against her chunky boots, jogging over to catch Denali in a tight hug. “Hey slut!”
Denali laughs, embracing her. “Nice to see you too, Mickey.”
Mik shrugs, letting her go with a smile. “You know you missed me, don’t even try it.” Denali rolls her eyes but can’t deny it, grinning when Mik wraps an arm around her shoulders.
“Denali Foxx!” Michelle greets her loudly, ticking her name off on a clipboard. “Usual room,” she says, fishing a key out of her pocket and passing it to Denali.
“Roomies!” Mik says, laughing with an eye-roll when Denali pretends to shover her fingers down her throat complete with exaggerated gagging sounds.
Denali’s always grateful to room with Mik, the rooms are a slightly awkward size– too big to stay in alone, a little too small for two people. Mik works at the school year round, and Denali knows she’s equally grateful to have someone to share with, forever complaining about how empty it feels when she’s by herself with two beds.
“Almost everyone else is already on the slopes,” Michelle notes, turning around so she can point out people on the mountain behind them. “You’ve got a couple days until the kids are allowed out, so better make the most of it.”
The school is laid out like a small village, boys on one side and girls on another, divided in almost everything except meals, which they have in the dining hall all together. The dorms are split into age, six buildings facing parallel to one another in a large U-shape, each with attached communal bathrooms and showers for the students. The buildings are all deliberately short so you can gape at Utah’s mountains practically anywhere on campus.
“I’ve been waiting for you to go out,” Mik says, grabbing Denali’s hand between her cold fingers, trying to drag her down the asphalt leading to the sports instructors’ rooming in the centre of the U.
The academics take place a couple miles down the road in a big building that actually looks like a school, which Michelle swears helps the students to stay focused, but Denali can’t say she’s totally convinced. She’s seen them get off the bus after school, racing one another to be the first in the chairlift que.
“I really don’t want to go.” Denali whines, but lets Mik tug her down the path regardless. She’s not the best snowboarder even on her best days, and Mik always wants to take her down the especially mogul-ly runs, zipping in between trees and dodging ice patches that are still missing snow.
“Yes you do!” She says, practically skipping down the road. “There’s only a couple of us here anyways, and the kids aren’t allowed to carve up the snow yet– it’ll be fun!”
Denali rolls her eyes, with a sigh. “I’m only doing green runs!”
“Only red runs? Perfect!”
“No, fuck, come on Mik,” she huffs, her breath coming out in sharp puffs in the cold air. “I’m out of practice, this isn’t fair.”
Mik looks at her, shrugging her narrow shoulders, “how’s that my issue, gorge?”
She groans loudly as they approach the staff building, letting Mik lead the way to their room, unlocking the door with her own key.
Mik keeps their room uncharacteristically clean, especially in comparison to her wardrobe filled with clothes piled up on the bottom rather than on their hangers. Denali is pleased to see her blue suitcases on the side of the room Mik’s left for her, both her skating and snowboard boot bags by the end of her bed.
Mik talks aimlessly about the year so far as Denali changes out of her oversized shirt and equally oversized jeans combo. She rifles through her suitcases, half listening to the other girl, searching for her snow-pants and a hoodie, adhering to Mik’s advice to forgo her ski-jacket as it’s still early in the season and sunny enough, despite the snowfall.
She makes her help her lace up her boots properly, watching Mik’s skilled hands tightening them in record time. “Are you borrowing a board?” She asks.
“Mm,” Denali confirms, “are they ready?”
“You can literally borrow mine,” Mik squints up at her from her kneeling position, “we’re like, basically the same height.”
Denali scoffs at this, arching one of her dark eyebrows. “No fucking way am I borrowing one of yours, they’re all deathtraps.”
“They’re literally normal boards.”
“No, they’re all weirdly thin and flexible, I’ll literally break my neck.”
Mik frowns, “ok, first of all, rude. Second of all, I’ll have you know my boards are perfectly safe–”
“–didn’t you snap one in half last year?”
“That was one time!”
“And that’s one time too many, doll.” Denali says, leaning down to tuck the laces into the tongue of her boot, pulling down her pants so they rest over the top. She reaches out a palm, helping Mik up from her kneeling position. “Get ready and I’ll meet you by the chairlift, okay?”
Mik rolls her eyes, reaching into Denali’s suitcase to attach her goggles to her helmet, passing it over with her gloves tucked neatly inside, as she would with her ten year-olds. Denali yells a thanks over her shoulder as she leaves, weaving her way out of their building to run down to their small ski shop.
☆☆☆☆☆
Humiliatingly enough, Mik makes Denali carry her snowboard with her on the chairlift, refusing to let her sit with one foot strapped in like a normal person would.
“You’re gonna knock your teeth out,” she laughs when Denali complains loudly about it. “Like fully, splat, bitch.”
“I know how to ride a chairlift, thank you very much.” Denali grumbles, clutching her board tightly in her arms and sitting down. Mik reaches behind them, pulling down the safety bar, which Denali rests her feet on.
“Can’t have any casualties on day one, gorge.”
“The only casualty will be from me wringing your skinny little neck out when you push me down the mountain, you fucking bitch.” She groans, looking at the run below them.
There’s a pack of skiers weaving their way down tightly together under the poles of the lift. She can already see the deep valleys of moguls, even with her terrible eyesight. One of them looks up at their chair, waving at them with a grin.
Denali squints and she can see it’s Tayce, one of the newer instructors at the school. They had made fast friends last year, gossiping together about who hooked up with who over Thanksgiving– no, no, no, it’s clearly Brooklyn and Vanessa, they keep eyeing each other up–, which of their kids were likely to actually make the Olympic team– all of mine, thank you very much, Taycey–, who they might fuck given the chance– have you not seen A’Whora in the physio suite? I’d let her curb-stomp my neck– et cetera, et cetera.
“Everyone else is coming up tonight and tomorrow,” Mik remarks, waving over-exaggeratedly waving down to Tayce like she’s in a pantomime. “Tayce is like the only bitch I can stand here, as of currently”
“As of currently? I’m here, as of currently!”
“My point still stands, gorge.”
“After this run can you join up with them?” Denali groans, “Tayce’ll go super-speed with you. And she’ll let you harass her without breaking your nose.”
Mik laughs, “I don’t go that fast, bitch.”
“Have you ever seen that Disney movie Bolt? Y’know the one with that dog who runs like, full speed of light? They could do a live-action version with you as the dog.”
“Woof!”
Denali’s face cracks into a grin as she rolls her eyes, “I’m serious! One minute you’re next to me, the next you’re–” she slides her gloved hands together in a forward motion “–zip. And then I’m the idiot who can’t get down.
“I’d never leave you!” Mik gasps, clapping a palm to her chest. “How dare you, fucking bitch.”
Denali scoffs loudly in response. Every year Mik tries to bully her into doing a couple runs together, and every year without fail Denali obliges, only to find herself stuck at the top of a mountain, Mik nowhere in sight.
“Head,” Mik announces, reminding Denali to duck her head so Mik can raise the safety bar, as they start to approach the end of the lift. Mik lines herself up to the drop-off, riding around the corner smoothly, giggling as Denali has to jog to keep up.
They both sit down to strap in, Mik tightening Denali’s bindings for her and pulling her up with a roll of her eyes.
“See you at the bottom?” Mik asks. Before Denali can answer, she’s slipped off, whooping as she hits a bump and flies upwards, grabbing the nose of her board as she hits the jump.
“So much for never leaving me, I guess,” Denali grumbles, carefully edging herself down the slopes with big sweeping S-shaped turns, she knows Mik will laugh at her about later, reminding her how her ten year-olds could easily out-board her.
Uh yeah, I’d fucking hope so, Denali thinks to herself, curving around onto the toe-edge of her board. Otherwise this’d be the biggest waste of money like, uh, ever.
The air that whips around her is cool, blowing snowflakes into her dark hair, but she doesn’t feel cold, happy in her thick sweatshirt and pants. Her feet are desperate to be unlatched from the board, feeling slightly unnatural to be locked in. She’s much more in her element spraying ice as she nails a complicated spin, she knows Mik would eat ass on.
Yeah, she thinks, fuck you and your ten year-olds, Mickey.
☆☆☆☆☆
“Michelle’s put the board up,” Tayce says in the late afternoon, sticking her head around Denali and Mik’s door propped open by a snowboard boot.
Denali looks up from the book she’s reading, comfortably curled up on her bed with her mandatory evening uniform of thick fluffy socks and sweats on. Mik, on the other hand, is still in her lycra leggings and hoodie, having made no effort to change since coming back, much to Denali’s disgust.
“Well?” Tayce asks in annoyance, cocking her hip, “you coming or what?”
Mik groans, rolling off of her bed and moving to stand next to Tayce in their doorway, bare feet on the cold linoleum. Denali carefully places her bookmark in her book, grabbing a pair of Nike slides– sponsored, thank you very much– and begrudgingly walking down the corridor to their big common room.
The Board– with an optional trademarked symbol from Mik– as it’s been aptly dubbed, is a large whiteboard divided neatly (by the increasingly anal Michelle) into a leaderboard. The top ten coaches are listed top to bottom, ordering the number of world title holders they’ve coached at Bonneville, bonus points being allotted to those whose kids win gold, and double points if the title being held was Olympian.
Michelle says it builds healthy competition. Denali says it builds a desire to Tonya Harding every other bitch in this place. Tomayto, tomahto.
Denali hadn’t even been on The Board, until she had returned three seasons ago with the last World Skating Championships under her belt, managing to land three podium spots. She proudly boasted for months to anyone that looked like they might listen that her girls had swept the categories, winning medals across the ladies’ single event, ice dance and pair skating.
Despite her allure of confidence, she knows she only made it up there because Michelle insists on starting fresh each year. She tries to tell them that she’s giving the new coaches a chance, but everyone knows it’s to keep egos in check.
Egos like mother-fucking Rosé McCorkell’s, who’s placed first on the board two years running.
First as in one spot ahead of Denali’s second, first. First as in gloating in Denali’s face every opportunity she gets (and rest be assured, every opportunity means every opportunity), first. First as in deliberately sabotaging Denali’s skaters, first– well, at least in Denali’s eyes.
Okay, whatever, yes it could have been a coincidence that one of her front runners’ sole came unglued from the attached blade on the morning of Nationals a year ago. And yeah, sure, maybe Rosé was like, several states away from the incident. And okay, yes, she still came in first after the whole thing, so it’s not it even really mattered after all. But Denali just knows Rosé had something to do with it, that bitch.
“Who’s on top of the pyramid this year?” Mik sing-songs when they approach The Board. Denali instinctively works her way through their photos from the bottom to the top, clapping Tayce lightly on the back when she sees her smack-dab in the centre.
She isn’t nervous; she knows she did well this year, the girls she had coached in the previous season competing in nationally-recognised competitions, pictures of them grinning up on their podiums, flowers in sequinned arms, emailed to her and the school. And it’s not even like it matters.
Her photo stands in line with another, both at the top of the leaderboard. She can hear Mik mumble an oh shit, with a laugh as she realises that Denali is tied with Rosé at the top.
Okay, so maybe it matters a little bit.
Rosé’s photo looks down at her. She’s wearing her obnoxious signature pink ski jacket, her name embroidered into it in a sparkly silver thread. Her equally obnoxiouly signature curly pink hair has been tied up in a messy ponytail, and she stares at Denali with a big fucking grin on her face.
Denali wants to rip down the laminated photo, putting it into a paper shredder and watch as Rosé’s dumb face gets torn into ribbons.
“Healthy competition huh?” Tayce remarks, wrapping a long arm around Denali’s shoulders. “The cheek, the nerve, the audacity and the gumption, mama.”
“You have got to be fucking kidding me.” A voice groans, Denali turns around and is met by the woman of the hour. Rosé looks her up and down, irritation flickering in her green eyes. “Stepping your shit up, this season ice princess?”
Denali arches an eyebrow in response. “Evidently, McCorkell.”
Rosé smiles at her, all pearly white teeth Denali is pretty sure are veneers– well, at least that’s the rumour she and Tayce started last year as a laugh.
All of a sudden, she feels like a shark’s prey, a minnow trapped inside the great white’s tank. Rosé doesn’t have to say anything for Denali to know that she’s going to be in for a tough season.
Better get that hammer ready, she thinks to herself, I am not the Nancy Kerrigan of this competition, bitch.
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fonmythenmetz · 4 years
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My atsuhina/msby-stan take for what happened after msby vs adlers match.
Hinata wanted to join Asas for the world championship, right.
Atsumu figured that Hinata’s ‘hunger’ was pushing him forward, to go further, to climb higher; he was frustrated and angry - same goes for Sakusa and Bokuto and the others, just maybe not as intense as in Atsumu’s case - (and he couldn’t really explain why, maybe because Hinata didn’t see them as good enough players? They all worked their hardest), so before Hinata’s departure he made another promise - something along “if you’re struggling to fight with the best and play with the best, then I’ll make this place the top of the world and you’ll come back”. That’s why his phrase in Olympic roster (2020) is “i will become number 1”. By the way, when the Japanese volleyball season started, jackals were absolute beasts (maybe they shared Atsumu’s feelings). In the olympic team interview (2021) Kageyama - who doesn’t even play in Japan anymore, he’s an international player now - says: “Results-wise, I’m still behind Atsumu-san”. Since there’re only 2 setters in the national team, there’s no one better then these two. So by 2021 Atsumu is #1 Japan setter.
Hinata is ready to go to Brazil for the second half of the season (2019/2020) with the best recommendations from Volleyball Association, but then pandemic happens.
I assume that japanese olympic team in haikyuu is formed according to generations (there was no one younger/older then them, only Hinata’s ‘generation’: previous third, second and first years), so the next olympic roster will consist of another generation; after 2021, coach Hibaridai and his colleagues saw no profit in investing in Hinata.
However, coach Foster and coach Banjou did not approve this, so they concluded a truce (for a short period of time! They’re rivals after all.
Spoiler: they grew fond of each other and want to be friends, but they’re both awkward, and coach Foster talks in his own language (a mix of English & kansai-ben & pantomime) which only msby can fully understand). Together they find a friend of a friend of the Asas’ head coach. Somehow with the help of google translate and Hinata they arrange a partnership programme between Black Jackals and Asas. Kuroo gets enthusiastic about it, so when the quarantine is over, msby flies for their first practice match with Asas São Paulo. It’s august 2020.
When they arrive, it’s late night; Atsumu locks himself in a hotel room, conflicted about how he feels - he can’t decide if he’s angry at Hinata for underestimating him and not acknowledging his life-long struggle, or happy that they will play the practice match together - well. He likes playing with Hinata. What’s wrong with that? It’s not like he missed him or anything. It’s about volleyball, alright?
Hinata has high school flashbacks; he remembers what Takeda-sensei said - “it is all about volleyball”, and he wonders where volleyball even ends. In Karasuno his closest friends were also his teammates, and all their activities were focused on volleyball. Karasuno - and rivalry with Kageyama - taught him to never look back, always look up and never slow down - because he had nothing but his jump and speed, and if he ever allowed a pause, he’d be defeated and left behind completely alone. Msby is the polar opposite of Karasuno. Sure, they stick to their diets; but on cheat days they are the main cheaters in the world and eat whatever gods send them. They are unorganized and every day with them is a blockbuster. They get into fights with neighbors’ dogs, they steal chopsticks from Osamu’s to build a miniature Skytree. They’re lazy and laid-back, they don’t do plans - it’s a principle. They have other jobs. But they’re passionate about volleyball, and when the moment comes, they always give their best shot. Hinata wonders if this, what he feels towards them, is solely about volleyball and great teamwork. Wait a minute. Maybe Karasuno was also not only for volleyball?..
Anyway, the more he thinks about this team, the more attached he feels, and it is suffocating.
He has to be free, he cannot allow to be restricted, or he’ll be left behind and forgotten. He knows that. Everybody said that - “you’re only good because of Kageyama”, “if not for your jump, you would never even sniff the ball”.
He doesn’t have to read the language of Atsumu-san’s tosses: this one is fast and close to the net - “smash them!”, a high one, drawing a beautiful arc - “play as you want”, tentative, with the warmth of his fingertips still on the leather - “let’s take it slow, their blockers are good...”, and that laser accurate, flash-fast, faster then ever - “go wild!” Everybody on the team can understand it - their ability to unite and read each other’s mind is almost paranormal, or animalistic, like they’re a pack of wolves communicating through scents and touches and small noises and grunts, on and off the court. Hinata wants them to win together, then go home and watch an episode of the Office, or do yoga, or play twister, or maybe even yoga twister (Omi-senpai always wins), then tuck his head under Inunaki-san’s elbow and beg him to caress his hair, almost feeling a pair of tall jackal’s ears atop of his own head, quivering from pleasure and support and acknowledgement, expressed in their unique inner fashion.
However, if he stays with msby, he won’t move forward. He’ll be overpowered and defeated, he’ll lose recommendations and his chance to play as many matches as he wants. Just like Karasuno, msby is a step in his development. When there’s a chance, he must go further.
So Hinata sits in the hotel lobby and thinks his strange thoughts, and there’s a delivery guy with a huge green bag waiting for someone. He’s in his early twenties and is stupidly tall, and judging by the sounds coming from his little tablet, he is watching a volleyball match. Hinata peeks at the screen and freezes: it’s a close-up of Omi-senpai. It’s a game that he doesn’t remember; well, after signing a contract with Asas he didn’t watch many of the Jackals’ games, focused more on South American League.
“Musubi Black Jackals”, - the guy explains, Japanese syllables clumsy on his tongue, noticing his awkward and almost starved glances. - “Antes do covid.”
Apparently, it’s Jackals’ last match before the quarantine. Hinata sits and silently watches. He is amazed to the core and maybe scared of them.
It’s almost five in the morning when Meian crawls out of his hotel room. There’s Oliver sprawled on the floor, futon miserably stuffed under his left knee, like a cloud that fails to cover Telamon’s body. He probably likes futons way too much for someone who can’t ask in Japanese where is the closest toilet. Meian sneaks into the street and looks for a vending machine. He remembers seeing one in the evening.
There it is. There’s also a man crouching before it, taking out his purchase. Meian politely stops several feet away and waits for his turn. The man does not move away. He looks like he’s fishing for something inside the vending machine. He’s rather tall and has an awful hairstyle.
The man looks at him, visibly irritated, and moves his hand. That is when Meian realises.
- Yer stuck? - he asks, then remembers that he is in damned Brazil where folk speaks damned Portuguese. The guy gives him a deadpan look. Meian looks up - there’s a beautiful can of cucumber flavored soda staring right at him, and he isn’t a quitter. Maybe Hirugami could quit here, but he’s a captain of Jackals and he gets his soda when he wants it. Fifteen minutes later he’s sweating like after a good game, having been waiving his hands and giving directions like a pro adjuster at Shibuya Crossing. The guy is free now. He pulls out a can of guarana drink and even smirks at him in a gesture of prickly gratitude, though it cannot fully hide the humiliation of being caught with your hand stuck in a vendine machine at five in the morning. Meian throws in money, watches his cucumber soda gracefully plop down, stuffs his arm in the drawer and tries to pull out. He’s stuck. The guy watches him from the side, leaning on the wall with his left shoulder, and Meian tries to act like he knows what he’s doing. Why hasn’t this bonehead left anyway?
After another fifteen minutes they’re both tired and both free. Meian clenches the can in his fist, refusing to look at the guy, but they simultaneously nod in a sense of solidarity before parting ways.
Later this day he wonders what kind of wicked fortune is that, standing in the centre of Asas’ main court and looking straight in the bonehead’s eyes. He’s introduced as the Asas’ captain.
Inunaki suspiciously glances at him.
- Have you two met before? - He asks with a hint of politeness, but there’s that ‘lie to me now and I’ll tell your pups that you drink cucumber soda at five in the morning” subtext. Kotarou, Omi-chan and Shouyo stand right here, so the threat is very much real.
- No, - he lies anyway, and everybody on the court knows he’s lying, including Inunaki, Kotarou, Omi-chan and Shouyo, and maybe even the Asas’ captain with his stupid blondie hairstyle.
- He drank cucumber soda at five in the morning, - Thomas says. Omi-Chan and Shouyo both snort, but Kotarou, the marvelous oldest pup, launches at him and whines: “Where did you get one??”
Asas’ players watch them from the sidelines. They’re already amazed and irritated, and Meian can’t wait for it.
Of course it doesn’t work as a one-time thing. Of course Shouyo is accepted. One day Meian walks in on Inunaki, Thomas and the Asas’ middle blockers singing Funky Town in their hotel room (outsiders are not allowed in hotel rooms. How did two guys over 6’5” even get here unnoticed?). When it’s time to leave, Asas’ captain - his name is Paulo, talk about coincidences - insults him in Portuguese for five minutes straight and tells him to get lost already.
- Let go of my sleeve then, - Meian says. Sometimes he thinks they have the same telepathy that Shouyo and Omi-chan share, because after two weeks of hunting for crabs and practicing volleyball and playing on the beach he can tell if Paulo talks shit about him. Apparently, it goes both ways.
- Release my jacket first, - Paulo says (Meian supposes he says it - he’s still not good at Portuguese, except maybe for curses). - Cucumber soda tastes like shit, - Paulo adds in a very very bad Japanese. Meian is nearly flustered, because the bonehead must have asked Jackals how to say that and then has been practicing. He grabs him in a headlock.
- Listen here, - he makes a serious face, - if Shouyo gets as much as a scratch, or complains about ya being an asshole, I personally come here to kick yer in the head. Understood?
There’s no point in worrying about Shouyo, though. He’s already made friends with everybody in Asas, especially with that tall libero boy who works in delivery. He stands there in the airport lobby with his new teammates, visibly forcing the corners of his mouth upwards. He’s clinging to Omi-chan’s sleeve like his life depends on it. Atsumu looks anywhere but at him.
- Atsumu-san, - Shouyo suddenly says, - I’m watching you. I won’t skip a single match, I promise.
Atsumu flinches and freezes in place.
- O-okay, - he declares, frowning.
- Watch us, - Bokuto corrects him, hugging his number one disciple one last time before the airport stuff snaps and shouts all of their names through speakers. That’s a brilliant departure show.
When Jackals win the championship, no one is surprised. Paulo has the decency to make an “omg, really?” face only because Meian can’t hit him through videochat. Asas are also terrifically strong. It’s late spring, Brasil Superliga is not over yet, so they fly to Rio, occupying Asas’ gym and playing on the beach and going to watch games for free. (When coach Foster and coach Preto finally met, they knocked over a trolley with suitcases running to hug each other like a pair of middle schoolers.) (So did Shouyo and the msby.)
Apparently Shouyo feels better now; he’s almost run out of sunscreen and worked on whatever complicated issues he had, so he’s ready to come back. Atsumu looks like he’s already won Olympics. So do Bokuto and Sakusa and the others, and maybe they missed him a little, or maybe they missed him very very fucking much.
One day (it’s a good day, it’s sunny and hot and there’s a wonderful fat thundercloud crawling at Copacabana from the seaside) a group of tall Spanish tourists occupy the beach courts. They argue and bicker and throw sand at each other. One of them accidentally catches a ball to the head (what the heck was he doing on this court anyway? Bokkun and Atsumu were in the middle of the game against Heitor and Carlos). Now they’re all arguing. They have no idea what the Spanish guys are saying because they don’t know Spanish, and still they somehow agree on a match. Atsumu hits five service aces, which is very sexy of him, and it seems that the Spanish setter (who hits four service aces) is not immune to a good server’s charm. After the match (Bokuatsu get 21 against 13, the Spanish wing spiker moved like a fish in the sand) he approaches the net, adjusting his flashy sunglasses, and tries to introduce himself in not-very-fluent Portuguese. His name is Oikawa and he is from Japan. Where are you guys from? - he asks. - Are you professionals or something?
This is how the whole Argentinian team Club Atletico (2020/2021 Argentinian championship silver medal - the year before covid they got first place) ends up in the Asas’ gym. Coach Blanco and coach Preto are old rivals, and they challenge each other to an arm wrestling competition, but then somebody jokes about holding hands (it was coach Foster) and they suggest volleyball instead. They schedule a practice match. It’d be impolite to leave msby outside of the party, so there’ll be three practice matches between Black Jackals (with Shouyo this time. Finally), Asas São Paulo and Club Atletico. All of them are high-ranked teams. It’d be so cool if they could get involved with each other more often, - someone says (it’s coach Foster). Nobody seems opposed to the idea, especially Shouyo, Sakusa, Bokuto, Atsumu, Oikawa and Oliver Barnes, who are already playing air hockey in the Argentinians’ hotel. How did they even get there? Anyways, Oliver wins and gets a huge hazelnut ice cream for his cheat day. In the evening, after defeating Heitor and Carlos (again) and losing to Santos and Fernandez (again), they shower in the beach stalls. The stalls don’t really have anything resembling doors, so one has to hold a big towel or something, guarding the way, while the other gets to shower. Shouyo asks Inunaki-san to hold a towel for him. “Sure”, - Inunaki-san says, and then catches Atsumu: “Sugar, could you please hold this? I want to help Adriah and Paulo with dinner”. Atsumu does not refuse - he’s not that busy and he has no idea who is inside the stall. After Inunaki-san leaves, he takes a glance over the towel.
Ten minutes later Oikawa approaches him with a huge alien-themed towel in hands.
- Are you okay? - He asks with uncharacteristic concern, because Atsumu looks like he has been simmered on the surface of this ugly beach shower stall, and - are those tears? So Oikawa calls out to whoever is showering there, assuming that Atsumu is just tired and maybe has got sunburn all over his body.
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consistofthestrange · 3 years
Text
Matteo Piano's special summer: "My life is a dirt road."
By Di Roberto Zucca, 23/10/2021
Milan is special. This is the adjective that Matteo Piano has decided to dedicate to the city he has chosen and to the team, Allianz Milano, to which he is bound for the fifth season in a row, confirming his role as captain:
“It is a city that has given me so much, that I discover as time goes by, and in which I live like in few other places. Powervolley is a home, a family to which I feel particularly attached, which has given me some important seasons and with which I have chosen to be here again this season.”
“My life has been a dirt road...”
“A phrase by Irene Grandi that I rewrote this summer and that belongs to my path. I like dirt roads, those where a racing bike or a pair of flip-flops are not enough to walk. But that you have to live intensely, and in which you have to sweat every step you take.”
Two months ago he came back from Tokyo. Is that what you meant?
“I enjoyed Tokyo. I had already done an Olympics and I knew what I was going to face. So I tried to experience emotions and feel comfortable with the five circles and the whole context around me. When I entered the field for the first time I understood that it was a gift, and that was the spirit that accompanied me throughout the adventure.”
That spirit is the result of a process he undertook with Cecilia Morini, his therapist. It's being ready for anything, in any situation in your career.
“I don't know if I'm ready for anything. I have certainly learned not to chase away everything that has happened in a negative sense, but to live it and accept it for what it is or what it has been. Then maybe I'm someone who, by living life very intensely, has understood exactly how big each negative moment can be.”
After returning from the Olympics, he decided to go on a trip to Italy by himself.
“I'm usually a foreigner. After Tokyo, however, I needed to take a break and leave to stay in my own country, in places that are not very touristy and far from the hustle and bustle. I visited Abruzzo, Puglia, Molise. I saw some beautiful places, met some equally beautiful people, and enjoyed what weeks of land and sea gave me back.”
And above all, what the people gave you back.
“An affection and a gentleness came back to me that really touched me. Certain human encounters enrich and strengthen you. But above all, I am deeply grateful for certain encounters. I think it is one of the most beautiful parts of my work.”
His work has also been a dirt road. Franco Baresi wrote that injuries made him a better player...
“They are events that everyone experiences in an intimate way. And that help you make sense of the rest of your career. For me too, I think the injuries have served to improve some aspects of the mental toughness of my work. They have not been easy, I think of the injury I suffered during the lockdown, when in addition to the willpower to recover, you needed a greater maturity to understand the moment and to live well the return.”
For Baresi, the closeness of the family was important.
“Fundamental. In my case I also talk about it in the book. I was lucky enough to find the family that I often tell, photograph and share. This summer I needed to find myself among the people who really love me, to try to be present again after this umpteenth trip.”
Many of your colleagues at the end of the journey are sought out by television. Would you consider the idea of a broadcast or a reality show?
“Look, I don't even have a television set. Moreover, I could never take part in television programmes such as reality shows, Dancing with the Stars or similar things. These are things and contexts that don't belong to me.”
I thought about his radio experience. Not even the MTV veejay, a bit 90s?
“Oh yes, all my life. I enjoy being on the radio, it's another context. I can express ideas, talk about myself and my career in a certain way, or talk about the music I listen to.”
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travel-voyages · 3 years
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The Lusitania, shown here on its arrival to New York City in 1907, was one of the ships which launched the modern era of leisure cruising
 The Monster Ships That Changed How We Travel
The beauty salons, swimming pools and even wireless communications of today’s huge cruise ships all got their start with the “floating palaces” of a century ago. BBC FutureKat Long
When the world’s then-largest ocean liner embarked on its first transatlantic voyage in September 1907, thousands of spectators gathered at the docks of Liverpool to watch. “She presented an impressive picture as she left, with her mighty funnels and brilliant illumination,” wrote one reporter. Cunard’s RMS Lusitania had been outfitted with a new type of engine that differed from that of its rivals – and would go on to break the speed record for the fastest ocean crossing not once, but twice.
Between 1850 and 1900, three British passenger lines – Cunard, Inman and White Star – dominated transatlantic travel. Toward the end of the century, as increasing numbers of emigrants sought passage to the US and a growing class of Gilded Age travellers demanded speed and luxury, corporate rivalry intensified. Pressure from other European lines forced the British companies to add amenities like swimming pools and restaurants.
Not unlike today's rivalries between, say, aircraft manufacturers like Airbus and Boeing, each raced to make its ocean liners the largest, fastest and most opulent. In the process, they launched the modern age of leisure cruising – and developed innovations and technologies that continue to be used on cruise ships today.
Comfort Class
In the mid-19th Century, there were two main players. Inman’s inaugural steamship, launched in 1850, made it the first major British line to replace traditional side-mounted paddlewheels with a screw propeller – an apparatus with fixed blades turning on a central axis. With the added speed and fuel efficiency this brought, plus a sleek iron hull that was more durable than wood, Inman established itself as a company unafraid to try new technology for faster crossings.
 ‘For safety and comfort, take the old reliable Cunard Line’, reads this advertisement from around 1875. Credit: Alamy.
Inman’s main rival, Cunard, focused on safety instead. “The Cunard way was to let competitors introduce new-fangled technology and let them deal with the setbacks,” says Michael Gallagher, Cunard’s company historian. “Once that technology had proved itself, only then would Cunard consider using it.”
But Cunard risked being left behind both by Inman and by a new rival which burst onto the scene in 1870 – the White Star line’s splashy debut included five huge ocean liners, dubbed “floating hotels”. Their flagship, RMS Oceanic, launched in 1871 and had efficient compound engines that burned just 58 tonnes of coal per day, compared with 110 tonnes consumed by Inman’s ships. That gave White Star the budget to invest in comfort.
The contrast with Cunard was stark. “Where Oceanic had bathtubs, Cunard offered a basin; where Oceanic had central heating, Cunard offered stoves; and where Oceanic had lavatories, Cunard managed with chamber pots,” says Gallagher. Architects for Oceanic also moved first-class cabins to mid-ship for less rocking on the waves.
In the 1880s and 1890s, each of White Star’s new ships captured the Blue Riband, an unofficial accolade which recognises the passenger liner able to make the fastest average speed on a westbound Atlantic crossing. In answer, Inman built SS City of New York and SS City of Paris. The City of Paris won the Blue Riband several times thanks to its expensive but fuel-efficient triple-expansion engines and twin screw propellers. The innovation was a first for an ocean liner, and meant that if one propeller broke, the other could compensate – finally ending the need for auxiliary sails. This suddenly freed up a lot more space on deck that would later be put to good use by providing luxury facilities for their passengers.
 In 1888, Inman introduced ships which no longer required auxiliary sails, giving ocean liners a similar look to the one they have today. Credit: Alamy.
Cunard, meanwhile, ventured into the new world of telecommunications by installing the first Marconi wireless stations, which allowed radio operators to transmit messages at sea, on its sister ships RMS Lucania and RMS Campania. First-class passengers could even book European hotels by wireless before reaching port.
“Connectivity was just as important to passengers in the past as it is today,” says William Roka, historian and public programmes manager at South Street Seaport Museum in New York City.
In 1897, Germany entered the fray. Shipping company Norddeutscher Lloyd unveiled its colossal Kaiser Wilhelm der Grosse – which shocked its rivals by taking the Blue Riband from Britain after 52 years. Another German liner, the SS Amerika, wowed its well-heeled guests by introducing the first à la carte restaurant at sea: the Ritz-Carlton, brainchild of Paris hotelier Cesar Ritz and renowned chef Auguste Escoffier. It allowed guests to order meals at their leisure and dine with their friends rather than attend rigidly scheduled seatings – a forerunner of the kind of freestyle dining seen on today’s cruise ships.
 The freestyle dining seen on today’s cruise ships dates back to 1905. Credit: Alamy.
To complicate matters, American banking tycoon JP Morgan was buying up smaller companies to create a US-based shipping-and-railroad monopoly. In 1901, White Star became his biggest acquisition. Inman, too, now was US-owned, having been bought by an American company in 1893. Suddenly, the battles weren’t only in the boardrooms: building the world’s top ocean liners was now a point of national pride.
With the help of a £2.6 million government loan (equivalent to more than £261 million today), Britain’s Cunard line launched the massive twins RMS Lusitania and RMS Mauretania. Both had the first steam turbine engines of any superliner. To reach its sustained speed of 25 knots (46.25 km/h), the Lusitania had “68 additional furnaces, six more boilers, 52,000 sq ft of heating surface, and an increase of 30,000 horsepower,” reported the New York Times. “If turbines had not been employed, at least three 20,000-horsepower engines would have been necessary.”
White Star fought back with RMS Olympic, RMS Titanic and HMHS Britannic. Like the Lusitania and Mauretania, White Star’s trio would feature double hulls and watertight bulkheads. With standard reciprocating engines, they were slower than the Cunarders, but surpassed them in size and elegance. The Olympic and another White Star liner, the Adriatic, even debuted the first indoor swimming pools at sea. A first-class passenger “may indulge in Turkish and electric baths, take recreation in the gymnasium or [with] a squash racket or divert himself in the swimming pond,” marvelled one newspaper.
“It was fun for the first-class passengers to send postcards back home saying, ‘Writing to you from the deck of the world’s biggest ship, wish you were here,’” says historian William H Miller Jr.
 First introduced on ocean liners more than 100 years ago, gymnasiums – shown here on Cunard’s Berengaria around 1930 – remain a staple of cruise ships today. Credit: Alamy.
History changed course when Titanic hit an iceberg on 14 April 1912 and sank on her first transatlantic voyage. As a result of the tragedy, safety regulations were updated to require lifeboat berths for every passenger and 24-hour radio surveillance (rules which are still in place).
But there were more challenges to come. World War One broke out in 1914 and European governments requisitioned liners for war service. Then a German submarine torpedoed Lusitania off the coast of Ireland on 7 May 1915, killing more than a thousand of those on board.
Cruising On
Despite a post-war liner-building boom, US anti-immigration laws reduced the number of transatlantic emigrants – the liners’ bread and butter – in the 1920s.
“Ships only made money when there were passengers aboard,” says David Perry, a maritime historian. “The companies needed to do something to stay afloat, so they created the tourists.”
Cunard modernised the aging Mauretania to burn oil instead of coal (most liners were converted to burn oil after World War One), painted its dark hull white to reflect the sunlight and sent her to the tropics as the first cruise ship catering to the new class of passengers: US vacationers who wanted a holiday at sea, replete with the nostalgic glamour of yesteryear. “Cruising offered a way for steamship companies to keep using their older transatlantic vessels and [make] additional revenue,” says Roka.
 Cunard modernised the Mauretania and gave it a white hull, as shown in this 1930s illustration. Credit: Alamy.
After the Depression forced a struggling Cunard and White Star to merge, the new Cunard-White Star built the immense RMS Queen Mary and RMS Queen Elizabeth. To compete with German, American and French liners, designers ratcheted up the creature comforts, like air-conditioning and private bathrooms in every stateroom. The Italian liners Conte de Savoia and Rex featured the first outdoor swimming pools “with real sand around them to make it look beachy – completely over the top,” Perry says. By 1957, more people crossed the Atlantic by ship than ever before.
But by the following year, jet passengers outnumbered them.
“Cunard said flying was a fad,” Miller says. “But if, like the company slogan said, ‘Getting there is half the fun’, then getting there faster was a lot more fun.”
 Despite Cunard’s best efforts, by the late 1950s more people were flying than taking ships to their destinations. Credit: Alamy.
Air travel and high operating costs doomed most transatlantic liners by the 1970s – only Cunard’s RMS Queen Mary 2 makes regular transatlantic crossings now.
Even so, cruising itself grew more popular over the ensuing decades. And not only does the idea of leisure cruising stem from these early days of competition, but so do many of the specific features of today’s massive ships.
Today’s vessels still feature oil-burning engines, though the power and propulsion systems are much more sophisticated. Modern perks like barbershops and beauty salons, freestyle dining, pools and libraries all were introduced on the original “floating palaces.” Even internet communication has its roots in the wireless rooms aboard the great ocean liners.
But the most important similarity may be the most basic.
“The feeling of the deck under your feet is the same,” says Perry. “That’s the transformative power of a voyage at sea.”
https://getpocket.com/explore/item/the-monster-ships-that-changed-how-we-travel
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The Quest to Find—and Save—the World’s Most Famous Shipwreck
Aboard the Giant Sand-Sucking Ships That China Uses to Reshape the World
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mythgirlimagines · 4 years
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DR2 characters with the DR1 casts talents!
I put these in a random generator and may I just say I love the idea of Biker Gang Leader Sonia
Ultimate Imposter (Idol):
He always worked really hard towards his goal, and he made it!
He doesn’t worry about his image too much; it’s part of him, but it’s great as is.
His music is one of a kind, and is really good. He got a good-sized following early on.
Teruteru Hanamura (Gambler):
Teruteru knew which bets were smart to place, both in gambling and real life.
His actions were always strategic; he hardly did anything without thinking about it first.
Of course, that did not include flirting with many people.
Mahiru Koizumi (Fanfic Creator):
Since she started posting, she was one of the biggest names in fanfiction.
While she loves what she does, she hates that fanfiction has the stereotype of being just NSFW things.
But when she’s writing her fanfics, she can’t help but fall in love with the source material again.
Peko Pekoyama (Fashionista):
It started as a sort of hobby of hers, but soon her fashion blog gained a pretty big following.
Mostly she stayed on the more comfortable trends, but she’s been known to invent some of her own.
It’s not a huge deal to her; street fashion especially was just something that she loved.
Ibuki Mioda (Detective):
She’s the kind of detective that finds the humor in that one detective vine.
In all seriousness, she has a tremendous eye for detail, and has great hearing as well.
She’s solved a lot of cases that may not have been solved otherwise, and she’s proud of it!
Hiyoko Saionji (Moral Compass):
Nobody would guess that she was the Ultimate Moral Compass.
Her attitude was a bit sour, but she always made sure everyone followed the rules.
She also made sure that the unfair rules were broken, though, because otherwise it wouldn’t be just.
Mikan Tsumiki (Lucky Student):
A lot of the time, she doesn’t feel very lucky, given her clumsiness.
It’s more like she’s a bad luck magnet, since she doesn’t have much good luck.
Maybe it’s there, but if it is, it’s very few and far between instances.
Nekomaru Nidai (Soldier):
Nekomaru was one of the most loyal people you could meet.
He’s wonderful at following directions from higher-ups, and always delivers.
While he seems serious a lot of the time, he can let loose when he wants to when he’s not on active duty.
Gundham Tanaka (Swimmer):
Swimming was something that Gundham was always a natural at.
He was an Olympic hopeful, and that was the goal he always trained towards.
Of course, some of it he believed was hydrokinesis, but who was to say?
Nagito Komaeda (Baseball Star):
He didn’t really think he was that good. Baseball was just something he enjoyed.
There was nothing like the rush of stepping up to bat, or pitching for someone he knew would likely hit it.
Winning was a whole other amazing feeling, one he was glad to share with his team.
Chiaki Nanami (Clairvoyant):
A lot of her clairvoyance is being able to predict the endings of stories or certain events in people’s lives.
Her predictions are nearly always trustworthy, though to her they seem shaky at best.
She’s surprised herself a lot with her accuracy.
Hajime Hinata (Literary Prodigy):
Hajime had been writing for as long as he could remember.
Sci-fi and dystopian novels were his forte, something he liked worldbuilding.
His characters all had a small piece of him in them. They were just enjoyable to write.
Akane Owari (Affluent Progeny):
Her family was big and she was supposed to act like a lady, but that didn’t mean she liked to.
She knows how to sneak away from situations she doesn’t want to be in.
However, she’s also a lot more intelligent than people give her credit for.
Fuyuhiko Kuzuryu (Martial Artist):
Martial arts had always given him something to focus his energy on, something productive he could do.
Not to mention, the feeling of working out by practicing felt pretty darn good.
Working his way up in the world in strength helped him forget about his short stature.
Sonia Nevermind (Biker Gang Leader):
She started her gang as a way to keep the streets of Novoselic safe.
They seem intimidating- her especially, in a beauty-that-kills way- but they’re a bunch of sweethearts if you’re a good person.
She doesn’t tolerate anyone treating any of her friends or innocent bystanders horribly.
Kazuichi Souda (Programmer):
He started reprogramming some of his toys when he was little, and his interest grew from there.
One of his secrets, though, is that he can’t often read his own code. He just has to trust that it’s right.
But his projects are still really big, impressive ones. AI development is something he’s always dreamed of.
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S1.e1 || Danger Force Season: 1 , Episode: 1 || (Full)-Episodes
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S1.e1 || Danger Force Season: 1 , Episode: 1 || (Full)-Episodes
Watch [Danger Force] “Season 1” : Episode 1 (S1E1) Exclusively on Disney+! ⚜ Enjoy watching! Watch Full Episode Online Complete! ⚜P.L.A.Y ►► https://123movies.nextflixtv.com/tv/99583-1-1/danger-force.html
⚜‘Danger Force’ Se1 Ep1: ‘Late Night Ned’⚜ From the producers of “Laguna Beach” comes Danger Force, the ultimate summer series that follows a group of young adults confronting issues of love, heartbreak and looming adulthood. As these friends spend the summer together in their beautiful hometown, they come of age while trying to figure out who they are and want they want to be. The promo suggests that this new antagonist has something to do with the connection that leads to the flashbacks. Danger Force is leaning into flashbacks more and more throughout its final season. On Danger Force Season 1 Episode 7, “New Season,” there was a flashback to a quiet moment between Echo and Bellamy. This tactic may work in the show’s favor if it is able to move the audience, and the story doesn’t get lost in translation. Final seasons are perfect for flashbacks, callbacks, and so on. Danger Force hasn’t been able to dig into much of this because so many of the characters are spread out on too many planets, and all of those planets have their Disney+ issues. It’s a complicated web that’s only at the very beginning of becoming clearer now that Clarke and her team are on Bardo. That being said, Danger Force Season 1 Episode 1, “Late Night Ned,” looks like it’s giving us some answers about how things got to be the way they are, but it’s doing so through the introduction of new faces in a familiar place. With Sanctum, Bardo, and all of their respective habitants, it’s difficult to think about getting to know even more characters this far into a show’s final season. Hopefully, Danger Force can pull off this story in a way that directly serves the main characters without adding another planet and too many new faces to an already long list. Are you Curious about what’s on the coming next on Episode 1 : Late Night Ned | Click on the Link that we provide here to watch The Full Show of this Late Night Ned! ⚜Thank you for visit our official page and officially streaming partner of lot of TV Network Show all over the World on “Ontvs.best & official.streaDisney+-movie.com” this is our new websites that you can visit through the article that we publish here. We provide the best streaming exclusively Online everywhere, anywhere, and at anytime. During this Quarantine is the best to keep yourself to stay safe and work at home, study at home, to safe more life and to stop spreading of the Covid-1. We work together for the world And we are here concern about that, so we provide to you all the entertainment show to fill your free time and watch streaming of the Series and Show that you like full and completely free! We update it Daily and you can also request through our website, we wanted to say thanks for your Support and We also hope that we can always make you satisfy with our streaming!⚜
Danger Force Danger Force 1x1 Danger Force S1E1 Danger Force Cast Danger Force Premiere Danger Force Disney+ Danger Force Eps. 1 Danger Force Season 1 Danger Force Episode 1 Danger Force Late Night Ned Danger Force New Season Danger Force Full Episodes Danger Force Watch Online Danger Force Season 1 Episode 1 Watch Danger Force Season 1 Episode 1 Online ⚜LIKE AND SHARE✬ TO YOUR SOCIAL MEDIA : ⚜VK: https://Vk.com/ ⚜TWITTER :https://twitter.com/ ⚜FACEBOOK : https://www.facebook.com/ ⚜INSTAGRAM : https://www.instagram.com/ A television show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. 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kolmogorov-is-sad · 5 years
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Otoñal by Raúl di Blasio. Ice watercolor of Yuzuru Hanyu.
Yuzuru Hanyu’s 2018/2019 season SP analysis by Yulena translation. Source: pt1, pt2.
“The origins of my skating come from Russia. For that reason, I want very much to deliver a strong performance here. Both tomorrow’s and today’s programs have a connection to Russia. [Tatiana] Tarasova helped to choreograph the original “Otoñal” program. I am very grateful to the person who created the choreography and watched me standing, and also [Natalia] Bestemianova and [Igor] Bobrin, who had helped me with choreography for the “Romeo and Juliet” program. I am overwhelmed with emotions just because such people have awarded me with standing ovation. I saw Tarasova as I approached the jump, and Bobrin was in the guest seat of the arena clapping on his feet. Thank you very much” © 
                                                 –  interview after the SP at Rostelecom Cup 2018
Musical arrangement of the 2018/2019 season’s short program for two-time Olympic champion Yuzuru Hanyu is one of the piano piece by Raúl Di Blasio. Both of his programs this season go back to his origins and the starting point of Yuzuru’s career, to his childhood dreams. They are also an immense tribute to the skaters he’s considered his idols since his early days - Johnny Weir and Evgeni Plushenko.
According to Yuzuru’s own words Johnny Weir’s “Otoñal” is one of the programs that left the greatest impressions on him in his skating life. 
“The arm positions during spins, the softness of expressions, the way to pick up nuances and move to music, landing positions and so on, it was the music of the programme that led me to perform with attention to each of these details.”   
 –  Public practice in Toronto,  30.08.2018
Having seen Johnny’s performance as a child Yuzuru listened to this music while imitating his idol and dreamed of creating his own program.
“I was stunned by his neutral androgynous beauty that he as a man could present, that was his main charm. At that time, I couldn’t see and evaluate jumps by GOE right away, but the smoothness on the landings, beautiful positions on the exits, precision of jumps placement to the music – all that was made meticulously. First of all the landing. And that smoothness. Of course, all those things captured my attention. I clearly remember how I wanted to jump and skate just like that.”
  –  Public practice in Toronto, 30.08.2018
The choreographer for the new short program once again was Jeffrey Buttle. From Brian Orsers’ book “Team Brian”:  
"Yuzuru has incredible creative chemistry with Jeffrey Buttle and Shae-Lynn Bourne. You may say that it eould be hard for him to work with anyone other than those two. Yuzuru has his own jump entries that fit the way he moves, and comfortable timing of choreography is very important for him. Even his quads flow out of steps, he keeps an image of the perfect form in terms if speed, that step and curve angle in his head. He needs a choreographer who could share his attention to details, so unique for the skater of his level.” 
When Jeffrey learnt the name of the composition he first of all ask about Yuzuru’s associations with the music. He answered: “Something like reflection.” “Otoñal” means “autumnal” in Spanish.  Autumn as a memory from the past and reflection on the passing time, dreams and origins. That was the chosen theme for the choreography of the program, from the starting to final poses.
“And for him, Autumn is sort of a time of the year for reflection and about looking back. Almost a time of nostalgia? And I think it was so appropriate given what he accomplished and everything that happened last year. Choreography itself begins with… for me when I think of nostalgia, I think of looking through an old family photo album, so the very first movement is him opening that album.”
         –  Jeffrey Buttle, interview after Public practice in Toronto 30.08.2018 
The main idea of the composition lies in the travel in time and calling (обращении к ) to the personal story in figure skating. In the starting pose according to the Jeffrey’s idea Yuzuru opens the album with memories of the past. And so the skating choreography, musical and compositional structures of the program, distribution of the elements all go back to the origins and show great respect to the people that had influenced Yuzuru’s path.
The content of the program includes two quad jumps, one executed in the combinayion wioth the triple toe loop and a triple axel: 4S, 3A // 4T+3T, FCSp, CSSp, StSq, CCoSp.
The choreographic structure (composition) of the program was evolving during the first three competitions of the season.  
 1. The structure of the program has been changed that stood out as uncommon and unusuala and uncharacteristic for Yuzuru positioning of all the jumping passes back-to-back in the single block. That was a decision taken by Yuzuru and Jeffrey together because that distribution would allow to incorporate jumping and not-jumping elements (step sequence and spins) most harmonically in the musical structure. The jumps from the entry to the exit are executed one after another (bam-bam-bam ©), then comes a soft musical transition to two spins and the emotional explosion of the step sequence at the end of the program. “[...] Stillness versus the tempestuousness of the steps.” ©
In the first half of the program with gentle subtle music the jumps are done effortlessly softly and smoothly, when the emotions are expressed with the second half via the spins and sequence.
Originally the center element of the program – 4T+3T combination – was planned in the first half. But “it is all meaningless unless it allows to win.” © So after the very first competition of the season (ACI 2018) sports competitiveness and desire to win took over, and the combination was moved to the second half of the program.
This change brought corrections to the original choreography and composition: the entry to the 4S became more complex, the transition between two spins and sequence changed, and new skating transitions were added between the 3A and the 4T+3T entry. Before the Rostelecom Cup 2018 the entry to the triple axel also changed and new transitions between triple axel and combo were added once again.
Despite the move of the combo to the second half the jumping passes remained in one block that the most intricate skating choreography in between the elements and on the entries/exits mode possible. The notorious strategy of Yuzuru is based on the idea that the jumps are one of the performance parts. If they are done perfectly the program gains better fluidity and continuity of the movement from one element to another, and seems complete. More than that, Yuzuru is set to present the program in such a manner that the sound of the take-off and the landing themselves would enhance the выразительность of the quite musical intonations. 
“Also, the sound — shu! —of the edge when taking off, the sound — pa! — of the landing. I want to make [this program] such that even these sounds can be felt, as a part of the expression.”
                                       –   interview for Figure Skating Life vol 15 (10.10.2018) 
  2. Positions of the jumps and spins changed in the pattern of the program, with the latter becoming more multidimentional. The quad salchow (together with the trajectory of the entry) have been moved to the right part of the rink. Compared to the previous short program (Chopin Ballade №1) the triple axel and the combination placement changed. Th eboloved axel now is executed on the trajectory along the long board of the judging panel with additional chic, the combo went from right to the left side from the judges’ perspective. The camel spin went to the left side, the sit spin with the change of foot – very close to the left short board, and the final spin – to the center of the ice rink.
  3. Due to the placement changes after the ACI there also came the changes in the structure of the step sequence, it became shorted by 4s and the complicated steps and turns counting to the levels of difficulty became more “packed” together.
   4. Some of the difficult variations of the basic positions in the sit spin and the combination spin counting to the levels of the corresponding spins were changed. With that the variations are not just executed to earn the levels but also to choreographically enhance the interpretation of the music with precise and flashy accents with hands movements. The distinguishing qualities of Yuzuru’s programs is the prevailing skating choreography as the principal mean of interpretation; the continuous flow with various connecting elements and steps contributes to the wholeness and creates multiple dimension to the composition. This is accompanied with the special choreography of diverse upper body and arm movements. And the unity of both the skating transitions and the space choreography throughout the program makes the unity of the music and the skater’s performance stand out. It expresses the intonations and reflects the changes oh the tempo and the nuances of the phrasing. .
With the changes of the composition after the first competition came the changes of the arrangement of the music.
Right after the ACI 2018 Yuzu contacted sound producer Keiji Yano asking him to make corrections to Otoñal for the purpose of moving the combo. It is a known story that Yano-san has rearranged the track for SEIMEI more than 30 times following Yuzuru’s requests. This time he also confessed: “His orders were precise as usual. This time too, [his instructions] were detailed, as always. It was a test of my skills.” At the beginning of October Yuzuru received the new arrangement and started to training according to it.
Musical structure of the program and its collaboration with the composition:
Intro
(from the starting pose to the beginning of the combo entry (transitions – entry – 4S - exit – transitions – entry – 3A – exit – transitions). 
The program starts with some low piano harmonies turning into gentle and quite intonations at the beginning of the new phrase. This transition is choreographically translated with Ina Bauer and highlighted by the smooth lines and movements of the skater. This part is based upon two melodic phrases (like nostalgia and look back into the past).
Development 
(transitions – entry – 4T+3T – exit – FCSp – transitions – CSSp) 
Transition between two musical parts is highlighted with a series of twizzles. The combo entry coincides with separated abrupt low accords. Emotional tone and intensity grow stronger throughout the whole entry and reach the highest point at the moment of combination with both jumps landed on the beats. The transition from exit to the camel spin separates the two musical phrases. The new one has a contrast of intonations. And the momentary transition evokes images of the grim autumn sky with simmering clouds suddenly broken by a ray of sunshine, of nature coming alive under this warm light. But surely “everyone will see something different” ©. The phrase ends with another set of low accords at the transition to the sit spin with change of foot.
Culmination 
(StSq - CCoSp) 
This is the most passionate and emotional musical part with strings introduction  at the beginning of the StSq. The dynamism of the music increases and results in more energy and expanded scope of the movements during the step sequence execution. At the end of the sequence the strings die out and the final combination spin is set to the piano part that has a smooth transition to the ending pose and concludes the program in a beautiful way. All three music parts are intricately tied with the choreographic structure and create an integral image of the program, in which the music is not born by the fingertips on the piano keys but comes to life with the blades touch on the ice. Each musical phrase is accompanied with amazingly arranged choreographic accents. 
The elements and skating transitions connection to the musical phrases comes as follows:
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The starting pose with elegant turn of head to the side of extended arm as the call to the past and reminiscence of the bygone days. 
The begining of the program consists of melody in five low separeted harmonies with piano accords. There is a turn on the first accord and a movement of both arms on the second harmony in the posing.
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A LFO waltz three turn with accentuated lobe of the exit and a crossed step RBI/LBO on the beat (third accord), direction change forward, running step, chasse LFI/RFO and direction change right on the note (forth accord), lingering and accentuated crossover and two more crossovers on the final fifth harmony. Delicate and slightly reversed choreography of this part is connected to the laconism of the musical phrase. Then Yuzuru softly stands in the Ina Bauer (with elegant arms movement) that unites the first part to the second and also marks the beginning the solo 4S entry: accentuated waltz three turn LFO at the start of the phrase – backward power three turn RBO – inside spread eagle – RBO backward power three turn – 4S.
The element in the while fit the music phrase and in its length: a difficult entry to the jump, an exit after the landing and skating transitions right after are all executed in three measures of the musical phrase. The first measure starts with the entry steps and ends with soft and almost silent landing; the exit into counter - Ina Bauer for the second measure; skating transitions after the exit of the jump fit the third and final measure. Holding closer to the notes ©
The difficult exit from the landing lobe to the RBO counter (such exit from the quadruple jump in the only one in the field of men singles) with smooth transition into the inside Ina Bauer. Then comes direction change forward, LFO three-turn, LBI/RBI broad step with both arms movement on accent at the end of the measure. Softness of the piano sounds during transition to the Bauer is choreographically enhanced with graceful turn of the head and arms going down smoothly.
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The accentuated crossover (with prolonged exit lobe), crossover, RBI/LBO chasse and to the fading sounds of the music Yuzuru goes into the outside spread eagle. This long SE set is executed with emphasis on the soft movement up of the head and the right arm that highlight the laconism and gentleness of barely audible sound on the verge of two musical phrases.
“He can make the most pregnant pause nothing moment be so memorable [...]”                                       
                                                          –   David Wilson, Japan TImes 21.08.2018
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The beginning of the new musical phrase is marked with elegant change of edge in the spread eagle with arms softly going up on the note. The following skating transitions, difficult entry to the triple axel, the jump itself and the difficult entry are all in harmony with the musical structure: LBI/RBO chasse and accentuated RBO choctaw, change of foot, RFO/RFI change of edge, RFI swing mohawk, accentuated LBI/RBO chasse with right arm soft moving as if touching the piano keys and a crossover at the end of the measure. 
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The entry to the 3A fits the second measure of the phrase: RBO choctaw – RBO/LBI crossed step – LBI/LBO change of edge – LBO/RBI crossed step – LBO counter at the end. The jump has a difficult exit on the lobe of exit – RBO twizzle – RFI three-turn – mini-Bauer – that fits the extension of the musical rhyme. Holding closer to the notes ©
His triple axel is not just a jump. It’s art. An element perfectly integrated in the choreographic pattern of the program and presented as organic ending of the skating on the entry and natural premise to the skating on the exit. It is remarkable that the skating transition after the landing is executed in two motions with inartificial pause (on the three-turn between a twizzle and a Bauer) at the end of the phrase to the fading music. Such an absolute harmony in movements is hard to put into words. It is complete fusion with the music, when the rhyme of the steps and turns on the entry/exit and the jump itself matche the music beats.
“Hanyu’s triple axel is a jump of an outstanding beauty with natural and effortless timing.” ©  Elvis Stojko
The exit of the triple axel precedes a transition of steps and turns musically inserted in the additional measure: crossover, LBO choctaw, accentuated RFI bracket, RBO/RBI change of edge, RBI/LBI broad step going into posing, crossover. Smoothness of this transition execution set to the final musical phrase of the first part demonstrates excellent interplay of movements and blade and the music.
The second part starts with musical phrase of changing intonation that is choreographically expressed with a series of twizzles and skating transition: crossover with accentuates arm movements – LBO choctaw - crossover -Jackson (composition step). Musical tone changes with increase in intensity and accentuated piano accords coming in at the start of combination jump entry, the change marked with arms movement. Skating transitions on the entry are following the increasing dynamics and executed in accordance with such. The combination itself takes a special place in the composition of the program; it highlights the intonations of the phrase precisely. Holding closer to the notes. ©
Direction change forward – LFO three-turn with great flow and body and free leg move on the exit – inside besti squat –  crossover with direction change forward – LFO counter - LBO/RBI crossed step – direction change forward – LFO three-turn – 4T+3T.
“He studied all the phases of the jumps in every detail and does them in one breath.” ©  Kurt Browning
This combination was executed [at Rostelecom Cup 2018] just ten meters away from me and was truly impressive, both light and powerful, fitting the general mood of the program. Yuzuru flied by the boards in a whirlwind and practically slammed a spread eagle on the exit in to the ice as if in a statement: “I’m Yuzuru Hanyu, I’m strong, I’m confident, and I crave for victory.”
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A direction change forward and a FCSp entry are executed to the change of musical intonation at the start of the new phrase. This new musical theme is choreographically presented with a block of two spins and a skating transition in between. This is the most graceful and the airiest part of the program especially contrasting with the combination jump. Light and elegant touch of color in the music watercolors…
Features of difficulty of the spin:
Difficult entry (arabian)
Difficult camel variation (upper);
Difficult variation of the sideway camel spin (catchfoot) «ring»;
8 turns without a change of position («ring»)
The difficult variation of the basic position execution is perfect.
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The spin is wonderfully fit the musical structure of the program: –  the Arabian jump on the entry highlights the change of phrases and intonations; –  the landing of the Arabian is placed right on the start of the beginning of the new phrase; –  the change to the difficult variation of the camel spin “ring”  at the start of the second mesure and the execution of the variation in two measures; –  exit from the spin highlight the start of the next measure.
Intricate hands gestures in the difficult variation positions throughout the spin enhance the musical accents: –  arms being raising and fists clenched at the end with subsequent arms movement down with palms unclenched to the accent at the end of the measure; –  undulating soft up and down movement of the left arm in the “ring” position with hand reaching out at last right to the accent; –  almost indistinguishable gentle movement of the left hand then elegantly going down that highlights the beginning of the next measure.   
The end of this measure has very musical exit out of the spin with smooth and soft movements of both arms and head. Skating transition before the sit spin with change of foot fits in the next measure: exquisite bracket step going into lightest toe steps with direction change and half-dropped arms – as if running through the piano keys © This stunningly musical and delicate transition between the spins is one of my personal favorite moments of the program.
The sit spin with change of foot (CSSp) execution enhances the change of mood and highlights built-up of the emotional intensity as the culmination draws closer. Features of difficulty:
difficult entry  - “windmill” (illusion spin);
jump in the spin without change of foot (flying sit spin);
change of foot (from right to left);
difficult variation of the sit spin (sit sideways);
difficult variation (sit behind).
The maximum number of features of difficulty the sit with change of foot can receive for spinning on one foot equals two. This condition is fulfilled: two positions are executed on the right foot and another two – on the left. Thus the spin receives level 4. The spin is excellently inserted in the musical canvas of the program, the execution growing more dynamic in accordance with the music changing: –  difficult entry to the spin is executed right on the start of the piano passage accompanied with low piano accords at the end of the second part; –  “spinning” into the basic sit position on the passage; –  accentuated jump in the spin and the change of foot;
Melodic accents in the spin come with arms and hands movements in difficult variations of the basic positions and precise choreographic features: –  touch of both hands to the face in the basic sit spin position on the note; –  accentuated right hand touch to the cheek in the difficult body position of the “sit sideways” variation that influences the balance; –  right hand movement on the resounding low accord during the difficult variation “sit backwards”.
Yuzuru completely controlled all the space of the Megasport Arena. And the audience seemed to feel that as one, and responded with thunderous applause on the last two positions of the spin. Yuzuru wasn’t skating the program, he was telling his story. It seemed that music was emerging from the blades meeting the ice and his hands moving softly, as Yuzuru dissolved in the performance. During the program mood changed from quiet melancholy of the first half to passions raging on the combination jumps and then to the overwhelming happiness of the step sequence. How proudly did Yuzuru toss his head bursting into the sequence with a radiant smile! He skated like there was no tomorrow, giving his all to this performance, and involuntary tears came streaming down my cheeks. Ow happy, inspired and free he was at that moment! I haven’t seen enough of that ©
The Step Sequence
Toe steps L/R/LFI, broad step LFI/RFI, twizzle RFI ccw (2 turns), three-turn RFI ccw, turning choreographic movement (steps) of 720 degrees ccw, chasse LBI/RBO, choctaw RBO ccw, choctaw LFI cw, half flip cw, mohawk LFI cw, twizzle RBI cw (2 turns), half flip RFI cw, mohawk LFI, twizzle RBI cw (2 turns) - rocker RBI cw - counter RFI cw - crossed step RBO/LBI, change of edge LBI/LBO, crossed step RBO/LBI, change of edge LBI/LBO, choctaw LBO cw, broad step RFI/LFI, mohawk LFI cw, hydroblade (right on the final of the musical phrase), one-foot axel (in which Yuzuru basically flies up at the beginning of the new musical phrase), chasse LBI/RBO, mohawk RBO, crossed step LFO/RFI, bracket RFI cw, cross roll RBO/LBO, lobe LBO with free leg swing, loop RBI cw, falling leaf cw, bracket LFI ccw, crossed step LBO/RBI, direction change forward, rocker LFO ccw – counter LBO ccw – loop LFO ccw.
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Scheme of the Step Sequence
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Table of difficult turns and steps of the StSq:
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Features of difficulty of the StSq:
Following turns and steps are cunted towards the features: two clean choctaws (cw and ccw), two rockers (cw and ccw) two counters (cw and ccw), two brackets (cw and ccw), two twizzles (cw and ccw), two loops (cw and ccw). All in all 12 difficult steps and turns.
All 6 types of difficult steps and turns are executes in both directions (clock-wise and counter clock-wise), that satisfies complexity criteria, maximum level of the StSq is 4.
Rotations in either direction (left and right) with full body rotation covering at least 1/3 of the pattern in total for each rotational direction (see scheme). Feature counted.
Use of body movements for at least 1/3 of the pattern (arms, head, thighs and upper body work is definitely enough). Feature counted. 
Two different combinations of 3 difficult turns on different feet (first on the right, second on the left). Both are executed with a clear rhyme within the sequence. Feature counted. 
Thus all four features are counted towards 4 level of difficulty.
The element as a whole is wonderfully implemented in the musical canvas. The timing and scale of elements (e.g. hydroblade, one-foot axel, Ina Bauer) compliment the rhyme and beats. Every step and elements also enhance the precision of interpretation and highlight the phrasing. The same can be stated about the choreographic accents during the execution that fit the rhythmic pattern: steps and turns at the start and the combination of hydroblade and one-foot axel executed on the change of phrases, the second combination of three difficult turns that coincides with the end of the phrase, the change of foot right after the final loop at the end of the measure and distinguishing the end of the sequence. Movements suit the mood and style of the music and also become a mean of interpretation. The final combination spin CCoSp is entered through the “traveling came” at the beginning of the new musical phrase to highlight wave-like changing intonations of the final part. Features of difficulty of the spin: Camel spin
change of edge in the camel spin from inside to the outside;
difficult non-basic position;
Change of foot (from left to right)
difficult variation of the sit spin (sit forward “a-la Johnny”)
difficult variation of the upright spin (“scratch spin”).
In the combination spin all the three basic positions are executed: camel, sit and upright. Four difficulty features are used. For the combination spin with change of foot the maximum number of features attainable equals two for each foot. This requirement is fulfilled (two position on the left foot, two – on the right). Thus the spin is level 4.
Change of positions in the spin on the left foot by the measures: –  change of edge in camel spin – transition to non-basic position – change of foot and transition to the difficult variation of the sit spin on the beat – difficult variation “scratch” of the upright spin on the fading of the melody at  the end.  Choreography is accompanied with the intricate hands and arms movements in the spin to even further express the musical accents:
–   accentuated choreo during the camel spin: –   undulating hands movements in the “pancake” position; –   gentle left hand gesture in the upright spin.
Transition to the final pose that mirrors the starting one, symbolizes the flow of time. The only fascinating difference: in the starting pose Yuzuru turns his head in different direction. His eyes seem to be fixed on the future, on new hopes and dreams. Everything continues to…
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Johnny Weir, interview for Number 966, 22.11.2018: 
“Yuzuru used some elements of my program that looked very harmonic. At the same time the program became something personal for Yuzuru, he skated it in his own style, that touched me very much.Yuzuru did everything in order to fully express the music. And if I showed it as soft and gentle sadness, Yuzuru demonstrated his fierceness and the brilliance of the composition. Music just as people is versatile, and Yuzuru and I showed different interpretation sides of the same melody. His talent became obvious even in his childhood day, but he have grown up to be the athlete I couldn’t even imagine. Yuzuru became so unbelievably strong, and despite the injury conquered his second Olympic title. I never thought I would live to a skater so strong. To everyone who doesn’t know him personally I can say that after all this time his compassion for people and his humanity haven’t changed in the slightest. He’s famous all around the world, and yet his modesty and approach to people remain the same as they were on the day I’d met him for the first time.”
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Translator’s notes:
* the original article was published in order to celebrate Yuzuru’s 24th  birthday, as was this translation, belated as it is. Hope you’ll be just as happy as you deserve for inspiring so many people all over the world with your skating, your talent and your heart, Yuzuru!
** some quotes were unfortunatelly translated from Russian (credits to Аnna Zamotayeva and Evgenia Mitrofanova) where the original wasn’t available. Considering that some quotes went from English to Japanese to Russian to English, nuances may be lost in translation. If you have sources with original (either Japanese or English) quotes, I would be happy to improve the text.   *** if you have any questions or suggestions concerning technical skating details, chances are I messed up in the translation, and it was not a problem of the original, so please, contact me first. Also, none of the photos belong to me, and if you would want your picture taken down, I would do so right away.  Thank you!
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yuzusorbet · 5 years
Video
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This 20-min video is so enjoyable.  There are a lot of very cute snippets from the past and some very touching ones too.  I translated briefly the main parts.  
0:15 of video~ 2018, July 2nd, Yuzuru received the People's Honour Award from Prime Minister Shinzo Abe.   PM Abe told Yuzu that he watched the movie 'Tono, Risoku de Gozaru!' and he felt that Yuzu acted very well as the feudal lord.   (t/n. movie's English title: 'Magnificent Nine')
[A part of the 2016 movie is shown.  Yuzu, as lord of Sendai, enters the room and says, "I am Shigemura."]
It is a movie based on a true story that happened in Sendai during the Edo period.  Hanyu accepted the invitation to act in it because of his love for his hometown.  Many great actors are in the cast and Hanyu put up a dignified performance in front of these big names.
2:00~ Nobeyama Skating Camp...... we look at some precious footage from over the years.
Year 2003: Yukari Nakano (17 years old then) and Miki Ando (15 years old) have come to participate in the camp.   And behind them, we see the Asada sisters - Mai (14) and Mao (12).
Year 2005:  With the Asada sisters, we also see Kanako Murakami (10) and also Nobunari Oda who is joking around.
Year 2007:  The one doing exercises is...... Yuzuru Hanyu (12) Q. Something you want to overcome. Yuzu:  I don't have enough stamina, so I want to train more, with that in the centre. Q. What do you want to challenge most this year? Yuzu:  I want to jump the triple axel. Q: How much of it can you do now? Yuzu:  On land, my rotation is short by about 1/4.  On ice, it feels scary and I don't rotate.  From now on, I want to be unafraid and able to do the rotations properly.
Year 2015:  Miyu Honda (11) and Rika Kihira (13).
7:08~ Old footage from Sendai. Yuzu, 11 years old, elementary school grade 6, interviewed after school, he said:   "From the time I was in kindergarten, I couldn't play (after school).   But I think skating is the most enjoyable, so it's fine for me I guess."
Yuzu: "I like skating so....... I want everyone to see the beautiful aspects of skating."  [Yuzu becomes fascinated with the cameraman’s equipment.  This very cute part of 2 minutes is translated in this video by axelsandwich]
10:00~ 2007, 3rd April, TV programme: Shizuka Arakawa who has just won the gold medal (in figure skating at Torino Olympics) is giving a skating lesson in her hometown of Miyagi (Sendai).  Among the children is 12 year-old Hanyu.   Reporter:  So how was it, being coached by Arakawa-san? Yuzu:  I am now brimming with desire to compete at the Olympics. Reporter:  You think you can get a medal? Yuzu:  Maybe I can.
[Yuzu does biellmann spin and layback ina bauer.]
Shizuka: It's rare for a boy to be so flexible.  To be able to do jumps, spins, steps and ina bauer, there's nothing more to be said (ie. it's perfect). Reporter:  How do you feel, performing in front of Arakawa-san? Yuzu:  I was very nervous.
[present day interview] Shizuka:  His sense of curiosity has been very strong from childhood days; he will somehow try various things;  his intuition/perception about what he can do is also sharp.  Drawing power from people watching you-- he has the exact disposition of figure skating.
12:20~ 2010 March, 15 years old, he won the gold medal at World Junior Championships.  He returned to his hometown of Sendai, and soon after, he was in school for his junior high graduation.  Because of the competition, he had missed the ceremony, so he graduated from junior high school 'alone'.
[Nanakita Junior High - the banner outside the school says "Congratulations, Winner of Figure Skating Junior GP Final, Hanyu Yuzuru-kun.  Spread your wings and fly in the world!!"]
Yuzu:  "Junior high school life is over and soon high school life will start.  I would like to put in afresh my efforts and work hard."
Reporter asked 12 year-old Yuzu:  Are jumps hard? He replied: "Yes.  I'm not good at it.   From way back, I was told that my jumps are high but the rotation is slow." He practises hard, even in the locker room.
2011, March 11, Great East Japan Earthquake, his home rink was damaged. Yuzu (16 years old): "The rink was open for business as usual and I was there practising.  When the earthquake happened, they guided all the customers out, including me, and so we escaped." [t/n: this part about the disaster is just touched on very briefly in the video.]
2012, he moved to Canada for training.
2014, 19 years old, he won the first Olympic gold medal for Japan in men's figure skating.  At the press conference, he said: "After the earthquake, I couldn't skate and I really thought of quitting skating.  (Everyone was) at their lowest limits and trying their best just to live.  The decision to move to Canada (for training) was really difficult.  I wanted very much to remain in Sendai.  Because of the support from many people, I am able to stand at this place now, so I think perhaps I have repaid them for their kindness."
2015 NHK Trophy and GP Final, he broke records and broke through 300 points.
2017 Nov, 3 months before PyeongChang Olympics, he suffered a serious injury to his right ankle.  He had to miss the competitions that followed and it was in doubt if he could compete at the Olympics, right up to the start of the event.   But the people of his hometown have supported him since he was little and they believed in him.    
2018 Feb, [Yuzu's Olympic victory in PyeongChang] People in Sendai crying... "He has worked so hard.... All I can say is, thank you....."
2018 April 22, Yuzuru's victory parade in Sendai. 108,000 people lined the roads for him.  (t/n. And I was one of them!!!  haha.......)
Yuzu:  "I had the strong feeling of 'Ahhh I have returned to Sendai', and once again I felt the significance of this gold medal."
--brief translation by me (please do not use or re-post without permission) Much thanks to the uploader for the video.
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thewidowstanton · 6 years
Text
Alexandra Royer, Russian bar flyer and aerial hoop specialist: Barcode Circus Company
Alexandra Royer, who comes from Quebec City, was inspired to take up circus after watching companies such as Cirque Eloize and Cirque du Soleil. Later, after living in Morocco, she trained at the Quebec Circus School and was approached by Cirque du Soleil to join its show Quidam on an aerial hoop contract when she was just 16. In 2008, Alex chose instead to further her studies at Montreal’s National Circus School. There she met her two American Russian bar bases, Eric Bates and Tristan Nielsen, and on graduating they began to perform worldwide with leading companies including The 7 Fingers, Cirque Eloize, Cirque du Soleil and La Soirée.
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The trio were joined by Eve Bigel of Compagnie XY, and as Barcode Circus Company they have performed in Olympic ceremonies, on TV shows and at corporate events and cabarets, also in street and contemporary dance shows, as well as full-length circus creations. They have also won numerous awards, including silver and bronze medals at 2018’s Cirque de Demain Festival in Paris. Alex is now taking part in Barcode’s first full-length production, Sweat and Ink (De Sueur et d’Encre), which headlines at Hand to Hand: A FringeArts Circus Festival in Philadelphia, USA. The show runs from 31 May – 2 June 2018. She chats to Liz Arratoon.
The Widow Stanton: How old were you when you first became aware of circus? Alexandra Royer: Quite young. In Quebec City we were surrounded by Cirque du Soleil, Cirque Eloize… and I can’t remember exactly when I asked about it but I wanted to go to the circus. I wasn’t doing circus yet but I asked my parents to take me.
Do any shows stand out? I totally remember Nomade by Cirque Eloize. It was wonderful… Anton Carabinier was in it. He was, I think, 18 then and I had a big crush on him… and I wanted to do circus after seeing it. Guillaume Saladin was in it too, and he is so nice, just so nice. And also Cirque Eos, which was a circus from Quebec City. A lot of artists from Eos still do circus even though it was like, 20 years ago. Erika Lemay is like the queen of circus; she has long legs and she’s beautiful; she does handstands. She was with them.
Were you always an active kid? In school my mum registered me for theatre and dance classes but I was actually really, really shy so going onstage was never an option. But when I was seven we found a little class in a circus school. It was only half an hour a week but it was really fun.
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Is anyone else in your family in showbusiness? I found out later on that I had some distant cousins – something like my grandparents were cousins of their grandparents – and they were also in Nomade. My cousin, Marie Michèle Faber, is beautiful and she sings and does aerial hoop and silks in Cirque du Soleil. Her brother is Jean-François Faber, and he does acrobatic bike, like, trial bike, manipulations and acrobatics. But they are not why I went into circus; they didn’t influence me.
Who or what did inspire you? After the year of circus I did when I was seven, my family moved to Morocco and I did horseback riding there. Once, the trapeze company Les Arts Sauts brought a huge show, Kayassine, to Marrakech. I was talking about circus then but I don’t remember why it affected me so much because I couldn’t do any acrobatics. My dad had bought a trampoline just to ease the move to another country but actually I was super happy to go. It was really nice to have a trampoline in the backyard but I was only doing simple moves… front drop, back drop… My mum is from France and she knows Danielle Le Pierrès’ sister really well. Danielle is the founder of Le P’tit Cirk, and when Les Arts Sauts came my mum’s friend was there to babysit Danielle’s young children.
My mum, of course, saw her friend, so we had a private visit to the tent. We climbed into the safety net, we saw the show, it was gorgeous – one of the best memories of a show I have. I think I was about nine. Then a lot of the cast came to our backyard for a barbecue. We had some wild boar in the freezer – a hunter had given us so much meat – so my mum was like: “Oh perfect, bring the whole cast.” Everybody was there and the trampoline was there, so some of the porters made people do backflips and I was thinking, ‘Wow, this is really fun. I want to join in with them’.
I think it was the first time I realised that I really wanted to do circus, not because of the show so much, but more because of the feeling backstage. It was really great; a great afternoon where we had fun and talked to the artists. After they left I carried on with my life in Morocco without circus but when we came back to Canada I went to the school in Quebec.
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Why did you then choose aerial? Um… good question. To get into the school in Quebec I did a trapeze act. Jade Dussault, who is in FlipFabriQue, was my coach. I think she was 12 years old and I was ten. [Laughs] It’s really funny; I wasn’t ready to enter the programme so much but they were looking for people because it was a rather new programme. They said: “Oh, she’s super small and kind of strong and flexible,” so I did trapeze. I can still remember how stressed I was before doing my act. I couldn’t remember the music; I only had a CD and the guy said: “What is your music?” And I said, ‘I don’t know. My teacher is not here…’, or, ‘My teacher is 12 years old…’. but finally I did something and I was accepted. I was alone at home when they told me and I asked, ‘Is this person and this person also coming? I’ll come if they’re coming’. I had also been thinking of going to horseback riding school but I decided to do circus because I had so much fun in the audition and met lots of people.
How difficult a decision was it to turn down Cirque du Soleil’s offer? What’s interesting in Quebec you learn to do everything, and we were training quite hard. I saw The 7 Fingers’ show Traces, and we were all so pumped up when we came back, we wanted the school to open up, but it was the middle of the night; everybody was on a high. I was doing trampoline at the time… swinging trapeze, aerials, hand to hand, everything, and my aerial hoop coach was Marie-Eve Bisson from the hoop trio in Quidam. She was 27 and I was 16. I had about ten classes with her and she really showed me everything on hoop. She could spin so fast. She was the one I’d watched on the Quidam video.
But when I got the offer, I didn’t have many options. My mum just said: “No.” I did the audition at the National Circus School in Montreal and was accepted. The crew and vibe of our year was amazing. I also wanted to learn something else; I didn’t want to have just one act. I had the feeling that if I went to Quidam, I’d go to Montreal for six months, go on tour and then never be talked about again. It’s a bit like that in Cirque du Soleil; you just become a number. They take good care of you but at that age it was nice to keep learning stuff. My trampoline coach said: “Do you wanna be really good, or like, medium good?” I said, ‘I want to be really good’. So he said: “Go to the school.” They’d accepted me for aerial and acrobatics, so that was interesting. In Quebec I could change my schedule; I could ask for Cyr wheel or whatever but in Montreal, once you get your schedule it’s quite hard to change it. 
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What made you add Russian bar to your skills? There was a Russian bar trio in Quebec City, and they made me try it. They were so chilled, like: “You really should do it.” They put the idea into my head and it’s something not so many people do. That was the idea behind it.
How much trust is needed between you and your bases? I was a bit unaware of how important the relationship with the porters is. I didn’t consider myself a flyer at all; I was doing aerial hoop as a specialist. But when I started to work with Eric and Tristan, we were really laughing a lot. They had their own specialties as well, so it was a good match because none of us were putting all our eggs in one basket. From the beginning, and it’s still the deal we have, that whenever it stops being fun, or one of us gets hurt, or we don’t believe in it, we won’t do it any more, because it’s quite dangerous.
What advice would you give to someone thinking of taking it up? A good level in trampoline is a good thing, even though I haven’t done it for years now because it’s really hard. The partners you work with are really important, because that’s how you could get hurt. You can learn on Russian bar quite fast but the relationship of trust afterwards becomes a bit complicated. You do the trick once and that’s great, but you have to keep doing it. We stopped for a while after Cirque de Demain because we had so many things to do but I needed to take myself in hand and say, ‘OK, let’s go; we’re doing it again’. For myself, I would not do it at all, but because we have this trio energy, we have to do it. It’s easier as well because we go through it together and have fun, and then we can travel so much with the Russian bar, because it’s such a rare discipline. If I’d only done aerial hoop, I would probably have done some flying thing but the Russian bar is special enough to make you a bit privileged with the contracts you have. So, that’s quite fun.
How wide is the bar and does it hurt your feet when you land? It’s maybe 15cm, but your body knows at some point… and the guys are so precise. That’s why it’s so important to choose your bases carefully. We pad it with a little bit of camping mat. Tristan is our Russian-bar maker, so he takes care of it.
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You’ve brought some innovative moves to the discipline; how did that come about? We were watching other Russian bar acts when we started to make our acts, thinking: “Oh, we don’t like it when she has the moments of preparation; it’s too much, too long, too stiff and it’s only about the trick.” Also Eric and Tristan can handle being alone onstage; they don’t need the bar. Often the Russian bar porters only do Russian bar, so when we made one of our first acts the goal was, ‘What can we do that is not Russian bar-like?’. I think the act we did at Cirque de Demain was, ‘What can do that we’d like to see on Russian bar?’.  
So that was maybe the difference. And the fact that I’m not a crazy acrobat. I’m more like a mover in general; we use that. Especially when we were with The 7 Fingers, Shana Carroll was the instigator of the way I moved on the bar because before we did their show Sequence 8, we had never done a real Russian bar act; it was our minor discipline. I remember she put the music on and said: “Let yourself go.” We were working on that base of movement and then transferred it to the bar. It was really natural. It’s a strange movement that it gives you and I’m lucky to have boys who are good enough to catch me during that strange bit.
It’s almost like a rag doll; it’s lovely. I love your costumes as well. Who designed them? Camille Thibaud. We met her through The 7 Fingers. She really helped us a lot with the style. We didn’t really know what we wanted because we were creating the act at the same time. She was very open and at some point I realised that we needed movement in the costumes. I wanted something that flowed, but it was super challenging for a costume maker because there are so many technical requirements in making a Russian-bar costume that isn’t going to be dangerous. We worked with her last summer. I wanted rich fabrics, so it’s all silk, pure cotton or linen. She really understood what I was looking for, but you can’t just take linen and bend you legs so much, or take silk that will have to stretch, so she made it look like it’s good fabric but there are also stretchy parts that she made invisible. The costumes are really intelligently made. Camille Thibaud is a name to remember, I think.
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What can you tell us about Sweat and Ink? Basically it has all the disciplines we do: aerial hoop, Russian bar, cigar-box juggling, hand to hand, and Eve is also a specialist in small teeterboard, when you land in columns and hand-to-hand positions. So the three of us are learning that right now. It’s quite fun for the four of us to do something acrobatically, and I catch in a three high; like, I’m a porter also [laughs]. It’s really good.
How long have you been working on the show? We started to work seriously on it last summer. We did a show together and it was really for Eve and Tristan to make sure they wanted to keep working together because their association was rather new. They didn’t want to rush anything so we did a summer contract to see, if they both liked it, then we’d do a quartet and make a show. But we were talking about it before that. Eve just arrived in Montreal in April last year and we pitched her the idea. Basically we wanted to talk about books, we wanted to talk about writing and that led to the topic of memory and oblivion. There were some readings I’d done that were addressing the questions, ‘What’s the duty of memory and what right do we have to forget things?’. It touched me a lot so I told the idea to the others and it brought up a lot of conversation, so we decided it could be a starting point of the creation.
It has been quite long and, I don’t want to say painful, but we’re not administrators; we want to be onstage, so for us it’s harder. Also we were preparing for Cirque de Demain. And in Canada if you’re not working, there’s no intermittance, you’re just spending money, so you need to work whenever you have free time. But I like that life. It’s quite hectic and crazy but that’s how it is right now… and we travel a lot so it’s really exciting.
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You were very successful in Paris, did it bring you lots of opportunities? Yes, so many emails. Oh, my god! The goal in going to Paris was to have something that the four of us had done together. And because it went well for all of us at the same time, that has helped us a lot. With all the press we got we can ask for visas, that’s really helpful and so is having established something with the four of us, because we’d only done corpos or the show last summer with The 7 Fingers.
It wasn’t that stressful in the end and it was a small victory because I was always thinking, ‘If I go to a festival and do the Russian bar, I’m gonna do something wrong, for sure’. So most important was that we didn’t hurt ourselves. We were more stressed than usual so the first performance was a bit shaky. Russian bar needs to be super settled down and calm, so for me that was my medal. We did it and technically I was good. My coach, André St-Jean, was there too, and he’s somebody very important in our lives, so to see him happy was really nice. He’s the master of acrobatics in Montreal and teaches all the guys from teeterboard.
Can you pick out a few highlights from your career so far? The first time I left Montreal by myself and I went to do a circus festival, SOLyCirco in Germany, in 2011. I was doing my hoop act. There was a bunch of friends and it was all new for us. There were some well-known names taking part and I was like, ‘This is so awesome’. Finally I won the gold medal. There’s a picture of me when they said my name and I’m like… I still don’t realise it. I won because there was a storm at the same time as I was doing my act.
The act was about the Sisyphus myth. The music was by the Kronos Quartet and the composer was Peter Sculthorpe; it was super-contemporary. We’d felt the storm coming the whole day, the energy of the sky was super low and it was warm and had this windy thing. I started my act and the storm starts, but for real. The tent was shaking and the wind was everywhere, people had the shivers and I was just doing my act in the middle like a crazy horse; the movement was inspired a lot by horses. So, I was performing but honestly I had special effects doing my act. [Laughs] That was a great moment. I remember before I started I was, like, ‘Oh, my god, I’ve forgotten the act, I’ve forgotten the act’. [Laughs] It’s one of the best moments onstage I’ve had. It’s such a shame that festival doesn’t exist any more.
Afterwards I did Russian bar with Eric and Tristan at Flic Flac Circus, and that was also a great highlight because we had to do everything ourselves. It was traditional circus; nobody’s gonna check to see if I’ve rigged my hoop well, nobody’s gonna tell you: “Stand by.” There’s a clock so you should be on time. We learned a lot over there and that’s where we met the guys from XY. But whenever I work with friends it’s the best. After we did Sequence 8 with our best friends for three years – that was just a blast – we keep choosing projects on whatever they bring us artistically and who’s in the cast.
youtube
Alex appears in Barcode’s first full-length production, Sweat and Ink (De Sueur et d’Encre), which headlines at Hand to Hand: A FringeArts Circus Festival in Philadelphia, USA. The show runs from 31 May – 2 June 2018.
Picture credits: Caroline Dostie; Meredith Mullins; Sebastien Lozé
Barcode’s website and Facebook
Twitter: @FringeArts
Follow @TheWidowStanton on Twitter
Read our interviews with Barcode’s Eric Bates, when he was guesting with Silver Lining in 2015, and another Russian bar flyer, Tain Molendijk, when she was with15ft6 the same year.
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acatnamedpusheen · 7 years
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10 things they don’t tell you about Greece (in no particular order)
Recently I saw a video about things they don’t tell you about Korea and I thought it’d be fun to do the Greek version
Most foreigners know Greece as a beautiful sunny country with amazing islands and beaches that also has a lot of ancient monuments. In this post I’m going to take you behind that facade and present the problems of a permanent resident.
1) If you don’t like heat, Greece is not the ideal destination for the summer. I mean it, this year we had a heat wave and the temperature rose up to 45 degrees. Because of the climate change, this will only be deteriorated during the next years and I’ve heard that Greece is predicted to become a desert in the future. If you don’t mind high temperatures though, I have to say that I admire you…
2) Zebra crossings are not effective. Drivers will rarely stop for you to cross. It’s up to you to find the moment when no car is coming, otherwise you might stay there forever. I remember when I was is Malta and England, I would wait to cross the road and cars would stop immediately- I thought it was funny… 
3) We don’t need CCTV cameras since we have old ladies in balconies. Yeah, this is very annoying and it happens mostly in the summer, cause the weather is good. And they just sit, for hours and watch who’s coming and going. They are not even trying to hide it, they just stare!
4) Every road is a parking space. I’m talking serious, you can see a parked car almost anywhere. Parking on pavements is the least. In a wide road (or not) 9 out of 10 times one lane is closed due to parked cars. And that one time is probably a holiday when most people are out of the cities. Lately I think this has gotten out of control and they leave their cars wherever they want and it’s convenient. Also, drivers these days (I’m talking for Athens definitely) are very careless and we have a lot of accidents- tragic
5) Our economical state is not at all good (but I guess you already know that). If you’ve done a little bit of modern Greek history, you’d realise that since the revolution of 1821 and the independence around 1830 (if I’m correct), we have never been very organized and sooner or later we’d start a civil war because of loans and money in general. Furthermore, when we began having governments, their leaders weren’t really wise enough in my opinion and Greece would always end up in a disaster. We got our first loan, I think, right after the revolution of ‘21 and since that time we’ve kept borrowing to pay back and that’s more or less the cycle that’s got us in this terrible state today. *sigh* Our political leaders are like dumb and dumber and every year we have a new, more stupid one
6) You have to fight to get on and off a bus. Okay, I might be exaggerating… First of all, you can step on and off from whichever door you want (front or rear). That’s why there’s a lot of shoving most of the times, especially if the bus is crowded. Now a funny embarrassing story of mine: I was in Nice, on a bus and at some point I had to get off but only the front door opened. I don’t remember why but it was a stop for people to get on only I think. Long story short, you’ve probably already guessed it: I got off from the front door and the driver was like “You don’t get off from here” but I was already out and decided to pretend that nothing happened. I’d like to appologise to that driver, sorry I’m a clueless tourist…
7) Restaurants and products that look fancy and have labels and menus on the pavement written in English ARE NOT good! I look at the oil, honey or any other local product sold in the airport or near tourist attractions (those tiny containers that cost a fortune) and laugh. Also these restaurants I’m saying have very bad quality food, overpriced in order to attract clueless foreigners. This might be the case in other countries too though
8) Time is just a number. Well, yes, nothing really happens on time in Greece. From events and bus arrivals to get togethers and TV programmes, everything here has a delay.
9) Buildings that costed a lot of money to be built are not in use or even maintained properly. Probably not many people care about that, but when I think about it, it drives me up the wall. This is what happened to all the facilities from the 2004 Olympics because we don’t have enough money to utilise them and we hadn’t thought of making them like the ones in London. You know, you do what you wannna do during the Games and then you just store everything somewhere or not. 
10) We have, in my opinion, the worst education system. Not only is it old-fashioned, but also wrong, very wrong. Instead of helping the students and preparing them for the job market, our system just makes students want to kill themselves, without realising the benefits of school. What’s the result? Pupils don’t respect teachers, the classroom is never quiet during a lesson and schools are being vandalised all the time.
As you can probably tell, I don’t really love my country… But I believe there are many people like me out there. However, I am thankful for the fact that Greek is my mother tongue (and no, that’s not from google translate, it’s an actual phrase, for those who might have not heard it before) because I understand that it’s quite a difficult language to learn and also it has no accent or word order and pronunciation restrictions, thus making it easier for me to learn other languages.
Don’t get discouraged by my words though. You might not mind all these and you don’t have to really, if you’re just visiting for the holidays. 
Finally, I want to thank anyone who actually read that and even laughed a bit or understood the struggle XD and I appologise for any mistakes…
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souleymanbah-blog · 7 years
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Welcome!
My name is Souleyman and I would like to welcome you to my brand new website. For my first Blog post, I would like to introduce myself and tell my story up to where I currently am. Hopefully, through regular monthly Blog posts, you may also come along on my journey to complete world domination! I hope you enjoy this first one. Also feel free to contact me via the contact page if you have any enquires or questions about this post or if you have any suggestions for future posts.
Who am I?
Souleyman Bah is an, 18 year old, up and coming athlete for the Great Britain Paralympic Team. He specialises in sprinting and his main events include the 100 and 200 meters. He Suffers from a rare eye condition called RP, which renders him visually impaired and therefor qualifies for the T13 bracket of the Paralympic categories.
What are my achievements and Plans?  
Souleymans biggest achievement in the sport so far, was winning a gold medal in the 100 meters at the Paralympic School Games, which were held in Natal, Brazil in November 2015. Souleyman has high ambitions to represent his country at a senior international competition such as the European and/or World championships but his ultimate dream, goal and aspiration is to gain selection for the Tokyo 2020 Paralympic Games and also to hopefully win a medal. “I am on track to make it! I’ve recently been selected for the British Athletics Talent Development Squad as I show great promise for the future”.
What am I currently up to?
Souleyman is based in South West London and is currently in progress with his A Levels in which he is studying Philosophy, Politics and P.E. He says “I find it hard to balance time between my school work and a training schedule but it’s great practice for organisation and multi-tasking skills”. He is also a very active member of the community and does many speeches and presentations to local schools and organisations on the physical, mental and social benefits of sport and talks about how he believes that “Sport can cure two of the biggest problems we face in our society. Obesity and depression.”
Early Life:
It wasn’t an easy start in life for Souleyman. He was born on January 5th 1999 in the small West African country of Guinea (Conakry), due to political violence, overwhelming poverty and a lack of sufficient adjustments to suit his special educational needs, his mother made the decision to move in search of a better life and eventually claimed asylum in the UK. Being a 6 year old child in a new and strange environment, Souleyman initially found it very difficult to adjust to the sudden change in culture and language however he eventually settle in and made many great friends who he still maintains contact with to this day (including his first school teacher in the UK, Sue Hanning). His family always knew he had issues with his eyesight but weren’t able to diagnose it in Guinea due to a lack of medical resources. However, as soon as he settled into the UK he was quickly diagnosed with RP. Retinitis pigmentosa (RP) is a group of genetic disorders that affect the retina’s ability to respond to light. This inherited disease causes a slow loss of vision, beginning with decreased night vision and loss of peripheral (side) vision. Eventually, resulting in total blindness. Unfortunately, there is no cure for RP at this moment in time. Learn More About RP (https://www.aao.org/eye-health/diseases/what-is-retinitis-pigmentosa)
Finding His Passion
The realisation of Souleymans passion for running didn’t manifest in the most positive of ways as he describes it. “I always got into trouble for running round and I also ran away from trouble. I ran everywhere, to the shops, in the shops and even in the most forbidden place on earth; the school corridor.” He always had a natural gift for running fast and earned the nickname ‘Sonic Soul’. His passion flourished over his primary school years and always won the sports day sprint race despite being visually impaired. However it wasn’t until his year 7 sports day where he not only won the 100-meter race, but also broke the longstanding school record in 12.6 seconds, and his P.E teacher really urged him to pursued his passion and talent. Watch The Race Video Here (https://www.youtube.com/watch?v=GEDdSOFlUKc)
Progression Period
During this time, there was a scheme called Playground To Podium which was a Government backed programme in the run up to the 2012 London Olympic and Paralympic Games to help young and talented individuals find a sport and help them build a support structure to move forward. For Souleyman, he knew which sport he wanted to do, so they helped him find a club and coach to train with, and to also represent in competition. His first coach was Richard Holt who Souleyman got along very well with and they also found ways to adapt the training to suit Souleymans visual impairment so that he did not feel left out.
In his time at Kingston & Polytechnique Harriers, Souleyman and his coach worked on improving his speed, strength, skills and technique in his sport and in a short period of time, he was already representing his club in major national championships and racing against able-bodied athletes. His first big sporting achievement was in 2013 were he won the standing long jump and relay event at Sports-hall 2013 regional championships and gained selection to represent Surrey at the UK finals in Birmingham. After an amazing day of fierce competition against the best athletes in the UK, the Surrey team came 3rd. He says “i found it hard to see the step board during the sprint race and the 4x2 relay event, so i had to rely a lot on my hearing and memory of the course.” Sports-hall 2013 Finals Result (http://www.sportshall.org/wp-content/uploads/2013/09/UK_Final_Under_15_Boys.pdf)
Souleyman also won 2 gold medals at the 2015 London Youth Games Disabled competition in the 100 and 200 meters and was interviewd for his amazing achievement. Watch The Interview (https://www.facebook.com/londonyouthgames/videos/10153351290266382/) Later that year, he had some more amazing successes such as running under 12 seconds for the first time. With a PB (personal best) of 11.9 seconds, he was invited to compete at the Bedford International Games where he raced against Paralympic legends including Jonny Peacock. He also raced his long time hero Jason Smyth, the fastest Paralympian on the planet, and also got a chance to interview him and ask him some questions. Watch The Interview (https://www.youtube.com/watch?v=c_VsrXvAUG8)
Visiting Guinea
After living in the UK for 11 years and finally completing his GCSE exams with 3 proud A*s, Souleyman and his family decided to visit their home country of Guinea to see how it has changed and most importantly visit their extended family who they had only maintained contact with via telephone. Souleyman says “I found it very surreal and emotional to be back in a place I vividly remember having so much joy and fun as a child to come back and see it all changed, removed and rebuilt. My three favourite moments of the trip was seeing my family and friends, visiting the hospital I was born in, visiting the room I was raised in and also traveling around the beautiful landscapes, mountains and beaches of Guinea.
However I also witnessed a lot of poverty, disease and hunger. I became emotionally overwhelmed when I encountered a blind man begging for money on the side of a busy and dangerous road. It suddenly hit me how lucky I am to have been blessed with the opportunity to live a normal life, with reasonable adjustments, to function like a normal member of society in the UK. It also hit me how powerful decisions can be in life and that if my mother hadn’t decided to move to the UK, the blind man I saw could have easily become my fate. From that moment I vowed, in the future, I will make a huge change in this country when I become successful enough to make an impact. That change could be political, industrial or simply social. One definite thing I would like to do is to build da boarding school for the blind where they can live, learn and grow in a safe and secure environment, as this is an opportunity I never had.
His Big Break
Upon returning to the UK and starting his A Level courses, Souleyman realised that both his education and his training commitments required full time attention and dedication and could not successfully get the results he would like in either when pursuing both at once. He was very close to quitting the sport and to finally knuckle down with his studies when he received a phone call from a British Athletics talent scout who said, “we would like you to represent Team GB at the Paralympic School Games in Brazil”.
Souleyman, very excitedly, accepted this opportunity and was also nominated and successfully became the team captain for the squad. Souleyman had a lot of media coverage before, during and after the weeklong event with Interviews on BBC News, BBC Radio London and various local and national newspapers like the Evening Standard. As he puts it, “We went, we saw and we conquered.” The entire squad, including Souleyman, won a gold medal in their event, some even winning 2 or 3 as multi-event athletes. Souleyman says, “when I crossed the line, winning the race in 11.87 seconds, I could not believe it. It only became real to me when I was awarded my gold medal on the podium.” Read Moe About The Paralympic School Games (http://www.britishathletics.org.uk/media/news/2015-news-page/november-2015/26-11-15-para-school-games/)
It was at this point that I realised i had found my purpose, passion and calling. To run. To win. But most importantly, to inspire other people in similar circumstances like me through my sporting achievements. I used to see my disability as a problem, now i see it as a solution. A way to give other people hope that they too can achieve their dreams, goals and ambitions despite their struggles. “When you see less and less of the faces of the people you love, you worry about one day going blind. But when your vision for the future is bigger and clearer than what you see around you, sight becomes a distraction. Because what you see is what you see, and what you don’t see is where the magic begins.”
Souleyman Bah     
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wenttworth · 7 years
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REVERSE AU
Pt 1 || Pt 2 || Pt 3 || TBC
The rink wasn’t as quiet as they were used to the past couple of days, with Yuri complaining to Yuuko as often as he could. She would look down at him fondly, the reason for which Viktor could not puzzle out. It wasn’t like Yurio was anywhere near as cute as her triplets. Maybe being a parent made someone a lot more patient and loving.
“Oh. You’re here,” Yurio said. “Are you going to show us the choreography? You said you were ready.”
Yuuri eyed the rink a little nervously. He hadn’t been spending as much time with Viktor over the past couple of days, choosing instead to focus on developing the choreography. Viktor still insisted they run to the rink together, however, and it finally paid off when Yuuri noticed that his stamina had improved and Viktor could preen at the praise. “Okay,” Yuuri said. “I commissioned a couple of pieces for these.”
Viktor frowned. He knew for a fact that Yuuri had only ever commissioned one piece in his career, which he didn’t even end up using. It wasn’t as if commissions came through in less than a couple of days, either. The quickest Viktor had ever received a commission was just over a fortnight, which was why often he would commission them during the season before he’d use them.
Yurio seemed to have picked up on it as well, his head cocking to one side as Yuuri went to the docking station to plug in his iPod.
“The two pieces are opposing themes focussing on the passing of seasons. First up,” he fiddled with the iPod and a single viola, playfully running up and down arpeggios filled the rink. It was lilting and light, but slowly gaining intensity, more string instruments joining until they dropped away. Viktor closed his eyes as a single note held for a couple of bars. It was surprisingly mournful and lonely, when previously the rink had been filled. Almost when Viktor couldn’t stand the melancholy, a piano joined, tentatively echoing the previous joyful arpeggios. The viola seemed to hesitate for a moment, before joining with its own new melody until it was soaring, the two instruments working in tandem and creating something new and beautiful.
“Next one,” Yuuri continued, switching to the next piece. Viktor kept his eyes closed as a guitar started. Unlike the previous one, the build-up was steady until a complicated array of melodies intertwined around a main theme. A fugue. Starting crisp, it ended deep and roiling, as if Viktor had slowly gone into the confines of a forest and lost himself.
Viktor blinked his eyes open to Yuuri watching him. “What do you think?”
It was Yurio who replied. “First one seems like Spring.” Yuuri looked to him. “Like the beginning of a life. They’re a bit uncertain about which direction to take and in the end are guided to the next part of their development.” Yuuri nodded, and Viktor bit his tongue against his annoyance that a fifteen year old was showing him up whilst he was tongue tied by Yuuri’s brown eyes on his. “Second is winter,” Yurio continued. “They’re slowly losing their grip on what kept them aloft before, but are still holding on to the old rather than letting themselves move on.”
“Right. Yurio, I want you to skate to Winter.” Yurio’s eyebrows raised. “Viktor, you’re skating to Spring.” He braced himself on the barrier to remove his skate guards, left his glasses on the table next to the docking station and skated to the center of the rink. “Spring first,” he said, and Yurio pressed play.
The choreography suited the music, but there was something beneath it, like impossible longing. The step sequences were unforgiving, as if Yuuri was chasing after an unreachable object, and Viktor’s mind went blank when the jumps started. Three quads in the second half.
Not that he hadn’t already pushed himself when it came to quads; he usually had three or four, but they were all in the first half, the second half giving him a breather and dropping to triples and the odd double. He kept quiet as Yuuri finished the dance with his arms outstretched either side of him, his right foot behind his left, almost looking as if he was about to take off.
“Have you got the idea, Viktor?”
Viktor nodded, unwilling to show how worried he was about being able to complete the programme. Not in front of Yurio, who had been scrutinising him carefully for months now, waiting for the cracks to form.
“Winter now,” he said, nodding to Yurio. He pressed play and leant forwards intently as Yuuri started a string of ballet movements on the ice with a subdued melancholy. Viktor could hardly focus, running through his own routine with growing trepidation. He had no qualms about the actual jumps; the hardest was a quad salchow so nothing he couldn’t do with his eyes closed and arms crossed behind his back (he knew; he’d tried it before Yakov yelled at him about paying attention to his surroundings). “Okay?” he said to Yurio once he’d done, and Yurio nodded curtly. Viktor shoved his worries down and smiled at Yuuri, hoping it didn’t ring false. “Let’s get started, then.”
It took a couple of sessions to learn each part of the choreography, and the small, private competition it was going to be suddenly gained momentum, until even the local news wanted to film it. Viktor figured that it was because Yuuri was considered a hero of sorts to Hasetsu, although Yuuri seemed to staunchly deny that, saying that people were only interested in seeing Viktor and Yurio skate against each other for the first time. He had some sort of fascination with how much of a failure he thought he was, and no belief that anyone thought any differently.
Before long, Yuuri mentioned casually that they should start practicing the entire routine, seeing as they’d both learnt the separate movements. Like it was all the time, they weren’t alone, and Yurio nodded, eyeing them from the other side of the hot spring. He refused to allow Yuuri and Viktor any time alone together, saying that if was unfair if Viktor had any advantage, and that included time alone with their coach. And as Viktor was particularly adamant about not revealing his weaknesses to Yurio, who would only use them against him, he’d had no opportunity to tell Yuuri just how worried he was getting. The pace of the step sequences were enough to get him out of breath, let alone placing quads after it.
The only way he could think was outright going behind Yurio’s back. So the next morning he followed Makkachin when he padded to Yuuri’s room and shook his shoulder to wake him.
“Vicchan?” he mumbled, lifting his hand to pat Viktor’s arm before blinking blearily at him.
“Can you come running with me?” Viktor asked, making sure to give him a particularly imploring look. Yuuri sighed but nodded, petting Makkachin when he whined at Yuuri’s moving.
He’d gotten used to early mornings throughout his years of training and tentatively holding onto his place near the top, but it made the effort so much better when his dog was lolloping along beside him and Yuuri was easily keeping pace with him as they jogged to the beach. No one except a couple of fishermen were around this early, and they cheerily greeted Viktor and Yuuri by name.
“What?” Viktor asked when Yuuri muffled a laugh in response.
Yuuri flashed him a grin and Viktor felt a little more out of breath. “They already know you? Even though you don’t share a common language?”
That fond smile was twisting his heart and stomach in knots, but Viktor tried not to pay attention to it. “I see them every morning! It’s only polite to introduce myself.”
Viktor ceaselessly adjusted his running when they hit the sand, relieved at the respite from the hard concrete. Makkachin dove into the sea, leaping over the waves before running back out in circles, barking loudly. The sun was just rising, adding to the warmth on Viktor’s skin, and he took a deep breath of the salty air before slowing to a halt. “Are you sure I…” he trailed off, even though Yuuri must have felt the way he did countless times before.
Yuuri stopped and looked back. His gaze was searching and unforgiving, but Viktor held it. “I believe in you,” he said simply.
“I don’t,” Viktor said bluntly.
Yuuri sighed. “Sometimes that’s not necessary to begin with. You can prove it to yourself.”
“You were the first person to land a quad lutz in competition,” Viktor said, edging closer. Yuuri winced. “Your step sequences had some of the highest difficulty that have ever been recorded. You held records. And you still didn’t believe in yourself, in the end.”
Yuuri bit his lower lip, looking away. “It wasn’t… that. I just didn’t have a driving force strong enough in the end. I’d already proved to people that I could do it. I just couldn’t quite let go when I should have.”
“Winter,” Viktor said. Yuuri nodded in assent. “Do you feel like you wasted your time?” The question was quiet enough that when Yuuri didn’t respond for a while Viktor could have thought that he hadn’t heard, but finally he shook his head.
“Why do you skate, Viktor?”
The question brought him back to the past, when he would watch videos of his grandparents at Olympic events and competitions, telling stories that he was too young to fully grasp but desperately wanted to. He’d surpassed the level at which his grandparents had peaked by the time he did his senior debut but his love for the sport had only soared. “Because I love it. Because I want to tell stories through that medium.”
“Then what are you worried about?”
Viktor laughed. “My stamina.”
Yuuri walked towards him, looking up with a teasing tilt to his head. “In which case you should be running.”
-
Makkachin, to his dismay, was banished outside until he dried, and greeted Viktor particularly exuberantly once he was finally allowed back in, excitedly leaping between him and Yuuri until Yurio joined them in the main room. His gaze narrowed when he saw them together, and Viktor couldn’t help sticking his tongue out at him. Immature, he knew, but Yurio just brought that out in him.
“Sleep well?” he asked cheerily, and he mumbled something in response.
“Start the entire choreography today?” he asked Yuuri, who nodded.
“I’m expecting a lot from you, Yuri.” It was punctuated with a smile, and Yurio pressed his lips together, determination flashing in his eyes like steel. He gave Viktor an unreadable look before settling beside them at the plate of food Yuuri had put together for him.
“You didn’t give Viktor any extra training, right?” he asked.
“Of course not,” Yuuri reassured.
He started with Yurio, whilst instructing Viktor to increase his stretching regimen for that day. Finally, Yurio left the rink, looking frustrated and a little worse for wear. “What’s wrong?” Viktor asked. Yurio settled next to Viktor and curled up, pressing his face into his knees.
“Nothing,” he said. “It’s your turn.”
“If you’re out of breath walk around. You don’t want your muscles to seize up,” Viktor prodded, and Yurio huffed angrily, but got up, stretching his shoulders as he walked.
Yuuri was in the middle of the rink as he entered, tapping the toe of one of his blades on the surface of the ice. He didn’t realise Viktor had approached until he squeezed his wrist. “What’s wrong with Yurio?” he asked bluntly.
Yuuri smiled. “He’s having trouble engaging with the essence of the choreography.” He still seemed distracted as he turned to Viktor. “Five minute warm up then we’ll run through the choreography once. Do you mind if I film you?” He lifted up his phone and Viktor agreed before skating in wide loops around him, picking out simpler parts of the footwork. Yuuri waited until his signal and until he’d come to a stop at his starting position in the centre of the rink. In contrast to the final pose, which was as if he was about to take flight with his arms extended and looking to the sky, the starting pose was closed off, his arms shielding his chest to create a barrier.
He wanted to do better than Yurio, but for that he’d have to find real meaning in the choreography. The yearning he could just about understand; his yearning to have people truly connect with his dance, his yearning to stand at the top, his yearning for Yuuri, but the lightness and belief that he would continue growing was more difficult. He transitioned into a Biellmann and bit his lip against the slightly uncomfortable stretch in his joints.
The truth was, Viktor was probably nearing the end of his career. There were a few older skaters than him in the senior division, but the oldest who had a real chance of qualifying for the GPF was Phichit Chulanont at 25, and he’d been consistent in his passion since before his senior debut.
He felt like he was lying when he finished by spreading his arms as if he was about to take off. It would take a miracle.
His thoughts were broken by a low chuckle. “Stamina held up, then?”
Viktor blinked, turning to face Yuuri, whose eyes were shining. He was right; Viktor was out of breath, of course, seeing as he had a habit of not breathing throughout spins and jumps, but didn’t feel like he’d dug into his last reserves. He didn’t answer, and Yuuri put the phone down. “That was good, Viktor,” he reassured.
“It’s still missing… something.” Yuuri skated closer and handed him the phone. “I just can’t grasp onto the idea of taking flight . I know that with my age I’m looking more at an ending than a beginning.”
Yuuri nodded slowly. “Do you trust me?”
“Yes.” He was half-surprised at how true it sounded. What with his experiences with previous coaches it had taken him months until he could start trusting Yakov.
“Watch, then.” He gestured to the phone still cradled in Viktor’s hands, and he tapped on the screen to start the video.
He was almost breathless. There were a couple of issues--typical of new choreography--where his take-off from a spread eagle to a quad salchow was a bit shaky, his Biellmann didn’t have a perfect teardrop shape, and the step sequences were a bit hesitant in places, but it was the most emotive that Viktor had ever skated.
“You don’t have to use my interpretation, even if I choreographed the piece. Put your own spin on it and it’ll ring a lot truer.”
Hope blossomed in his chest, and he smiled at Yuuri before handing the phone back. “Again?” he asked, and Yuuri nodded.
-
The day before the competition dawned warmer than earlier days, with Yurio still struggling to connect with the piece and Viktor secure and confident. After Yuuri’s encouragement he’d managed to inject something hopeful as well as yearning into his performance, even if a couple of transitions weren’t as polished as they could be. Viktor had chosen a simple outfit as a placeholder before he designed something for the later competitions, whereas Yurio chose a simple black and white outfit Yuuri had worn in his first season in seniors. Viktor’s own was a sky blue buttoned shirt paired with black leggings embroidered with vines and flowers down the side of his right leg; not ideal to skate in but comfortable enough that he could manage. Viktor was just relieved his taste in fashion was varied enough that he’d not been able to choose which clothes to leave in Russia and so had taken them all with him.
He was stretching with the outfit on to test its integrity, Yuuri watching pensively from his spot on Viktor’s bed whilst stroking Makkachin. “What did you want to do with your hair?”
Viktor tilted his head so the ponytail swung over a shoulder. “I prefer to have it up for competition, but I’m never very inspired,” he said lightly.
“Do you mind if I try something out?” By way of responding Viktor settled on the bed in front of him after grabbing a brush and a few pins and hairbands from the desk. He let out a sigh when Yuuri tentatively let it loose and started brushing through it. “Did you want to try something, Yurio?” he asked. Yurio, currently curled on his side on the sofa beside the bed, shook his head without looking up from his phone. “It’s so soft,” Yuuri mumbled, carding his fingers through it in a way that had Viktor shivering before he could stop himself.
He started plaiting and Viktor sighed again, ignoring Yurio rolling his eyes at the two of them. “Dutch plait?” he asked, and Yuuri murmured an assent.
When he was done he tapped Viktor’s shoulder, and he twisted to look at it in the mirror. Thin strands had been plaited to be gathered in the back, leaving most of his hair free but out of his face, and he nodded. “Perfect,” he said.
-
The ice rink was the busiest Viktor had ever seen it, and for a while Yuuri disappeared in a crowd pushing for autographs and pictures. Once he managed to fight his way free, looking a bit more frazzled, Viktor grinned at him. “They’re just here for me and Yurio, right?” he asked teasingly, and Yuuri pressed his lips together with a blush over his cheekbones.
“I shouldn’t have worn this jacket,” he said, plucking at the Olympic team Japan jacket he’d put on. Yurio gave him an upside-down unimpressed look through his legs as he stretched to touch the ground. “Five minutes, Yuri,” he continued, before leaning against the wall and watching them both. Once the time was up, Yuuko popped her head in to fetch them. Viktor did a final stretch before following Yurio and Yuuri out.
Yurio had to have dug deep, because his performance was mourning, almost like he was skating a swan song. Nothing at all that would be expected from a fifteen year old only just entering the senior division, but it worked. Yuuri had a proud smile hovering over his lips, and nerves like Viktor had never felt before twisted in his chest. He didn’t want to go back to Russia. Whatever Yuuri was to him, he didn’t want to part from him so soon. He bowed his head and shut his eyes tightly, trying to hold onto the dissipating hope. Yuuri believed in him enough to give him the choreography, believed in him enough to encourage him even when his own nature didn’t allow him to encourage himself.
The final strings of the fugue rang through the arena, and Viktor jolted when a hand touched his arm. “Are you ready?”
Viktor stared at Yuuri with wide eyes and gripped his hand in a silent plea that had Yuuri gasp quietly. He stepped forward, pulling Viktor into a hug. “I choreographed Winter for myself. Spring I choreographed just after the first time I saw you skate, Viktor.” He pulled back, a definite blush on his face which proved the truth of his words. “It was meant for you from the beginning.”
Viktor couldn’t breathe, and couldn’t formulate a proper response. The only way he could respond was to skate, and skate well enough to stay by Yuuri’s side. He stepped back to Yuuri to hug him again, burying his face in his hair for a second, before going to the rink and removing his guards.
Even if his passion hadn’t been immediately evident before, Yuuri had still seen something enough to inspire him. He could hardly keep the smile from his face, and closed his eyes until the music started. The first step sequence went without a hitch, Viktor managing to blank his thoughts to everything but his bone-deep yearning for Yuuri and his hope to prove his talent, that Yuuri could get him to the destination he wanted. The transitions were smoother than practice, but he did step out of a quad salchow, and clucked at himself before continuing. The final pose didn’t feel like so much of a lie as before, as long as he placed his entire trust in Yuuri being able to direct him.
The applause broke into his bubble, and Viktor spun to face the exit and skate swiftly to where Yuuri was standing and smiling unabashedly at him. Yurio wasn’t anywhere to be seen but Viktor hardly thought anything of it as he dove into Yuuri’s arms.
“What was with the step out of that quad salchow?” he said in an amused tone, and Viktor pulled back to pull a face at him. “You needed a little more speed,” he continued, and Viktor nodded.
“Did I win?”
“You did.”
Viktor could hardly remember what he said to the cameras or how he acted with the crowd--it all came naturally to him anyway--but he remembered that Yuuri didn’t let go of his hand once, letting Viktor rub circles along his knuckles when he tensed from the attention. The entire process felt dreamlike once they’d returned to the relative quiet of the inn and then to the hot springs so Viktor could soak his aching muscles.
“Tomorrow off, I think,” Yuuri said with a small laugh before gently undoing the plaits. Viktor almost melted from the sensation of Yuuri’s hands in his hair and fingers stroking the strands--he hadn’t realised just how much he enjoyed the feeling before Yuuri began to do it. Yuuri’s mother greeted them with two heaping bowls of katsudon once they were done.
“Has Yurio already left?” Viktor asked.
“I think he’s packing. Halfway through your routine he turned to me and said that he trusted I could bring the best out in you before leaving.”
Viktor paused with the chopsticks near his mouth. “I didn’t win by default , did I? Because if so I don’t think I’m allowed katsudon.”
Yuuri laughed. “No. Yuri didn’t fully engage, although he was the closest he has been. He’ll be using the programme as his short this season, though, so he has time.” Sure enough, halfway through dinner Yurio came in with the bag and the suitcase with which he had arrived.
“I’ll beat you in the next competition,” he stated, squaring his shoulders when he saw Viktor watching him.
Viktor inclined his head. “I don’t expect any less.”
He didn’t respond other than a grunt to Yuuri’s farewell, in true teenager fashion, and stalked out of the inn with a huff, leaving Viktor looking at Yuuri and trying to word the questions he had.
“When was the first time you saw me skate?”
He was rewarded with Yuuri jolting and dropping a piece of pork. “A-ah. It would have been your… the last Junior Worlds you competed in?”
“And why didn’t you use it the next season? I know you got the gold for Worlds at my senior debut, but you could have won with a bigger margin.”
Yuuri smiled sheepishly. “It was never meant for me to skate it.”
Viktor let out a breath, remembering all the potential Yuuri had communicated, with the utter belief that the recipient would be able to soar. “Thank you,” he said, reaching out to take Yuuri’s hand, unwilling to let it go afterwards.
“I should be thanking you, Viktor. Even if I didn’t manage to keep it up you did inspire me.”
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