the link generates traffic for the tumblr, so we have the best of both worlds.
The diagrammed images below tell the story, but it's the analysis I'm reposting beneath the images that's the piece de resistance. It is, of course, sick-making that Davis White's utter crap is rated with or better than Virtue and Moir's exquisite technique.The sport and everyone who enabled this has disgraced themselves, pissed on figure skating in order to elevate a team of fakes, a disgrace that will live on because it has come at the expense of the greatest ice dancers who've ever lived. Everything that has gone into making Scott and Tessa spectacular technicians has been so much pissing in the wind this past quad. The people who control this sport are disgusting.
Please, please read the analysis below the images. What Tessa and Scott are doing will bring tears to your eyes.
I LOVE the line running from his center of gravity to the her feet. I LOVE the analyst calling attention to the perfect alignment of Scott's feet. This is some of the stuff even skating know-nothings unconsciously register, that tells them Scott and Tessa are better. We're wired to recognize balance, harmony, efficiency, proper alignment.
(BTW, while it's a bit OT, anybody who doesn't understand how Scott can lift Tessa safely while she's pregnant shouldn't just consider slower speed and other modifications, but Scott's (and Tessa's) extraordinary stability, and the mechanics/physics of true stability.)
VIRTUE/MOIR and DAVIS/WHITE: Vertical lift comparison.
***THE DESCRIPTION BELOW IS NOT MINE, IS MADE BY FRIEND OF MINE. SHE STUDIED PHYSICS AND FIGURE SKATING THECNIQUE*
TESSA AND SCOTT -CARMEN -SKATE CANADA 2012
1) Tessa prepares slender -as if she was preparing for a vertical -and Scott gives the base.
2) Tessa is resting on Scott’s right shoulder; in split she gives the impetus to get vertical. NOW soars high in both legs with her strength. Scott accompanies the movement.
3) Same thing in step 3. Notice that Scott’s feet are always perfectly aligned, even in the following points.
4) Tessa is on. Now, since the position, to rhyme such, requires a considerable work of abdominal, Scott supports one of the two legs of Tessa to make sure that she reaches alone its center of gravity balance.
5) Tessa bend her pelvis backward to seek balance. With the strength of the abdominal muscles, biceps and quadriceps remains on. Scott always gives support on his right shoulder (the only obvious support) while continuing to accompany with his hand.
6) Scott leaves Tessa’s leg, the lift is perfectly in balance, the two arrows signify the action-reaction that Scott and Tessa engaged one against the other to achieve the perfect barycentre
7) Due to the fact that Tessa has a perfect center of gravity (as mentioned above the pelvis) Scott unbalanced forces. The figure shows how the line connects perfectly Tessa’s shoes with the midpoint of Scott’s sprrad eagle legs. The lift in fact, works mechanically.
MERYL AND CHARLIE -SHERAZADE -FIGURE CLASSIC 2013
1) Charlie is on the verge of taking Meryl in an “embrace”. Meryl in turn clings to the back of Charlie. Note already the 4 points of support that Meryl has.
2) Charlie puts a hand over Meryl and one beneath her, announcing that he’ll turn it over. Meanwhile, Meryl is always resting both arms on his back.
3) Charlie turns Meryl.
4) While he turns her, he lift her up.
5) Note that we are already seeing the first support which will be those of the lift. Meryl has her whole arm around the shoulders of Charlie.
6) Meryl is completely in a comfortable position. Again with the 4 points of support, both Charlie’s shoulders, and his arms.
7) Now she can raise her legs.
8) Charlie mentions to remove the arm and here already it messes up the balance. Note in fact the two feet of Charlie begin to have a different slant.
9) This is pretty obvious (unfortunately the video quality does not allow it at the most) that the two feet of Charlie are on two different imaginary lines. This is obviously due to the difference in weight unloaded on two feet, which in turn is due to the complete lack of gravity in this lift is not by chance, if it joins an imaginary line between the center of Charlie’s legs and Meryl’s feet, you do not get a straight line.
10) Meryl mentions for a second to leave the left arm from Charlie, while maintaining two supports behind his back and on both Charlie’s shoulders with the other arm. The imbalance between the two feet persists.
11) After less than a second when Meryl pulled off her arm, Charlie takes Meryl to bring her down.
I want to clarify that we are not talking of cleaning, which comes after workouts and workouts. We talk about the basic physics of forces must balance, and those, if the lift has been built in a certain way, will never change.
Both lifts, go ahead to check the protocols, were judged to level 4, although one is easier than the other. In fact, Scott says more MASS (obviously Tessa has a mass much more pronounced then Meryl) and must perfectly balance the weight on the tails of the blades, across Tessa, has a much more difficult position, she has only one support and must find her own center of gravity with the force of the abdomen and pelvis (while Meryl has the support of both of the two arms behind the back of Charlie himself, has no center of gravity and therefore did not need to use her muscles. center of gravity is in fact its about Charlie.
** All credits for this post goes to my friend LadyB.
Virtue//Moir and Davis/White: Polka Comparision - 2013 Worlds
(pic 1)The following are the two last year short dances, the rhythms of the POLKA, I repeat, POLKA, the point considered stronger on Meryl and Charlie.
Tessa and Scott were penalized 4 points below their opponents to a slight error on one of Tessa twizzle (which by the way did not deserve deduction level because the rotations were all there, at maximus less GoE).
I invite you to look at the depth of the edges, the postures, shoes’s distance, coordination, shoulders position, how both pairs are LEANING with the WEIGHT on the EDGES (= as you incline at left and right).
Then I pointed out with arrows one of polka's key points. (pic 2) Look at how the two couples are supporting. Their inclinations. The distance of the shoes.
Look at how Tessa and Scott work mechanically in a key point, evidently by repley of the judges, is not considered.
The weight is perfectly downloaded everything on the basins and to the left of the picture, the arrows are synchronous.
The polka is a pattern that is much more “rough" so to speak, in fact has a lot more thrust due to the small hops and hop choreography. BUT, there is a but. The fact that there are choreographic jumps, does not induce the couple to NOT do when the edges have to be made, or in the key points and directional changes (to speak bluntly, going from front to back). I just picked up the screen cap that emphasize these points, in order to understand how Tessa and Scott are always on the edges at points of transition, while Meryl and Charlie not. (pic 3)
1) In the first situation is already very obvious difference: Tessa and Scott accompanies the twizzling, subsisting on a perfect external edge, look at the angle of the body bending the left leg compared to the rigidity of the bust. Tessa on the other hand she is also in an interior, which together to that of Scott form an imaginary semicircle (= edges)
Let us now Charlie: it is argued, right on the vertical part of the shoe has no bearing on any of the two edges. Meryl same thing. This often happens in their polka sequence especially because, as already mentioned several times, they have to keep the speed that generate from hops without using the edges, and this obliges them to remain rights on the vertical part of the foot; however this should be penalized by the judges, because in a sequence, they themselves write that the keypoints are given by the proper use of edges. As we often see in DW edges are not even present.
2) the same situation to the next directional change. Scott argued inclined, Charlie vertically.
3) the situation three I put in to show the precision on directional change between Meryl and Tessa. Meryl is very detached from Charlie and takes more time to get closer, turning first with a sell. The two busts are not the same. Tessa with the same selling is already in position, aligned to Scott.
4) is very large the distance between Meryl and Charlie shoes , and, especially, the distance between their basins. In addition, the direction of the two feet is angled differently between the two skaters.
Look at the two attacked basins of Tessa and Scott, perfect center of gravity, supported edges, exactly parallel. The up leg is the last thing to look at because it is very consistent with what I said: if the base is solid, the position of the torso and leg extension are secondarily spontaneous.
5) different distance between bust and shoulders. Also note how Tessa and Scott bent their neck back and forth, emphasizing the theme of their Short Dance, and adding difficulty (by moving the center of gravity of the balance).
6 and 7) the same situation: while Tessa is able to sustain herself on the bust, Meryl is driven by Charlie. The fact that is bent due to the fact that she has to balance with the body not having proper support on the edge. I would also emphasize how the arms of Tessa and Scott are perfectly inclined than Meryl and Charlie. Another consequence.
8) This is a simple cross over but I would like to see how even a basic step, Tessa and Scott have more width, more extension of the legs, pelvis split into more open, and always those neck movements that add difficulty.
9) I do not think that here there is much more to be added. Feet distance, torso angle, resting on the edges by extremely different between both couples.
The second image that I have outlined above is more to see one of Polka KEY POINT, a key point, which is one of those steps that cause the polka to reach the full level (to understand how the hard-fought chactaw the rumba, for those who know what I mean)
It’s clear that even here the difference is disarming in Tessa and Scott is a clear support on the edges, much greater inclination, corsets that create gravity on the basin, a crazy cleaning, is an emblematic image that really makes you realize how this couple is higher in position and in skating skills. I did see this in many of my friends who skate and they also agree that the difference between the two positions is disarming.
This is because the first thing they teach you when you start to skate and is the first thing that judge: how you use the edges.
Tessa and Scott have always been praised for their skating skills phenomenal, already when they were kiddies. And there are unfortunately ignorant fans that right now, they think that Tessa and Scott have worsened even in this, where, unfortunately, for these fans, they remain the best.
It’s also true that, right now, the judges, sadly analyzing replays have come to a different conclusion.
THANK YOU SO MUCH LadyB!!
*As thoroughly as Doris Pulaski?