Uma mudança de regra significa que os competidores podem agora usar música com letras - e de Christina para Coldplay, os cantores pop estão permitindo que os skatistas expressem-se mais livremente do que nunca.
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Meagan Duhamel e Eric Radford do Canadá no gelo em Pyeongchang.
Foto: Richard Heathcote / Getty Images
À medida que a emocionante linha de piano de Homelown Glory, de Adele, explodia no estádio, Eric Radford conseguiu uma tripla lutz perfeita. A patinadora canadense estava no meio de uma rotina de tirar o fôlego com seu parceiro de pares Meagan Duhamel nos Jogos Olímpicos de Inverno deste mês em Pyeongchang, na Coréia do Sul.
Quando a música chegou ao seu refrão final, com letras cantadas sobre os conflitos emocionais de sair de casa pela primeira vez, Radford esticou os braços para o alto e seu rosto se abriu em um largo sorriso de pura alegria.
Seu desempenho conquistou o primeiro lugar, tornando-o o primeiro voluntário gay a ganhar o ouro nas Olimpíadas de Inverno. "Essa música ressoa tanto em mim quanto em Meagan com tanta força", diz Radford, que crescer era o único garoto de patinação artística em sua pequena cidade de Ontário, com seu hóquei no gelo. "Isso teve um impacto poderoso na audiência, mas teve um forte impacto em nós mesmos também."
No mundo da patinação artística, até os grampos da Magic FM são um choque para o sistema. As Olimpíadas deste ano foram as primeiras a permitir que os skatistas competissem por músicas com letras, na esteira de uma mudança na regra de 2014, parcialmente voltada para reavivar o interesse pelo esporte. Na Coréia do Sul, alguns skatistas aderiram aos clássicos - Swan Lake et al - mas outros abraçaram novas possibilidades de frente, juntando seus três eixos e salchows com músicas dos Top 40 de artistas como Ed Sheeran e Lorde, ou escolhendo desfiles dos musicais Hamilton e La La Land. Talvez, inevitavelmente, o onipresente Cheacito 2017, de Luis Fonsi e Daddy Yankee, tenha aparecido em três rotinas.
"Muitas das peças clássicas e operáticas favoritas do skate tornaram-se cavalos-de-guerra cansados", diz o jornalista de esportes olímpicos Philip Hersh. “A melhor coisa sobre a mudança de regras é dar aos skatistas a oportunidade de abandoná-los.” Uma grande injeção de personalidade em muitas rotinas em Pyeongchang: a patinadora francesa Maé-Bérénice Méité girou vividamente para o hino pró-feminino de Beyoncé Run the World (Girls ), enquanto a dupla russa Evgenia Tarasova e Vladimir Morozov levaram o gelo para os chifres altos do Candyman de Christina Aguilera. Nem todas as escolhas funcionaram tão bem. O skatista alemão Paul Fentz dançando ao som de um clássico do Oasis de Paul Anka levou um usuário do Twitter a lamentar: “Jogue esta versão do Wonderwall no lobby do meu funeral.” Mas, de qualquer forma, a introdução de canções familiares amadas tornou mais fácil para os fãs casuais de jogos se conectarem com o skate este ano.
Para um esporte arrastando suas lâminas para a era moderna, a mudança de regras ajudou a criar uma atmosfera de abertura, onde os atletas LGBTQ se sentiam confortáveis refletindo a plenitude de sua identidade enquanto competiam. Leve o patinador americano vencedor de bronze, Adam Rippon. Ele é o primeiro atleta gay americano a se classificar para as Olimpíadas de Inverno, foi aplaudido por Britney Spears e Reese Witherspoon e tem um talento especial para o rival Bette Davis. Sua performance autoconfiante e fluida foi um divisor de águas para a representação LGBTQ no gelo, e lhe valeu uma medalha de bronze da equipe. A balada de 2014 do Coldplay, O (Fly On), deu à Rippon uma rotina emotiva crucial. Em uma entrevista recente, Rippon disse: "Quando eles permitiram que os vocais fossem usados na competição ... realmente abriu a porta para alguém como eu sair e tentar mudar um pouco."
Radford diz que o novo espírito de espírito aberto da patinação artística se estende à expansão de normas rígidas de gênero dentro do esporte. “Parte do meu medo de sair [em dezembro de 2014] era como eu seria percebido pelos juízes”, diz ele. “Como sou um casal, existe essa ideia tradicional de que o auge de tecer a emoção no gelo é uma história de amor entre um homem e uma mulher. Mas sair nunca mudou nada para mim, e eu tive a minha melhor temporada. ”Ele diz que usar a música com letras permitiu que ele se sentisse mais empoderado quando competia, de uma maneira sutil. "Não foi como" vou sair e vou dançar uma icônica canção LGBT! ", Ele ri. “Mas naquele ano nós patinamos para o Muse e para uma bela peça da [cantora de Québec] Ginette Reno, e isso começou a mudar como eu me expressava. Eu estava apenas mais livre quando peguei o gelo.
A adoção do pop pelo skate é um passo essencial na modernização do esporte, pois ele se adapta para refletir as diversas realidades do mundo atual. "Eu acho que [as novas regras de música] vão evoluir o esporte nos próximos cinco a 10 anos", diz o especialista em patinação artística Jackie Wong.
“Como as pessoas vêem esses modelos, como Adam Rippon ou Eric Radford, acho que haverá mais pessoas capazes de se expressar de maneira diferente e ultrapassar algumas fronteiras.”
A maior pista de patinação sobre rodas do Brasil.
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Beyoncé on ice! How pop gave new life to figure skating. People say that being on ice is the closest thing to flying; with its new soundtrack, now is the time for skating to really soar.
A rule change means competitors can now use music with lyrics – and from Christina to Coldplay, pop singers are allowing figure skaters to express themselves more freely than ever.
1-
Meagan Duhamel and Eric Radford of Canada on the ice in Pyeongchang. Photograph: Richard Heathcote/Getty Images
As the emotive piano line of Adele’s Hometown Glory burst through the stadium, Eric Radford landed a perfect triple lutz. The Canadian figure skater was midway through a breathtaking routine with his pairs partner Meagan Duhamel at this month’s Winter Olympics in Pyeongchang, South Korea.
As the song reached its heart-wrenching final chorus, with belted lyrics about the emotional conflicts of leaving home for the first time, Radford stretched his arms aloft, and his face cracked into a wide smile of pure joy.
Their performance won first place, making him the first voluntarily out gay man to win Winter Olympics gold. “That song resonates with [me and Meagan] so powerfully,” says Radford, who growing up was the only figure-skating boy in his small, ice-hockey-mad Ontario town. “It had a powerful impact on the audience, but it had a powerful impact on ourselves as well.”
In the buttoned-up world of figure skating, even Magic FM staples are a shock to the system. This year’s Olympics were the first to allow skaters to compete to songs with lyrics, in the wake of a 2014 rule change partially aimed at reviving interest in the sport. In South Korea, some skaters stuck to the classics – Swan Lake et al – but others embraced new possibilities head on, pairing their triple axels and salchows with songs from Top 40 artists such as Ed Sheeran and Lorde, or choosing showstoppers from musicals Hamilton and La La Land. Perhaps inevitably, Luis Fonsi and Daddy Yankee’s omnipresent 2017 hit Despacito cropped up in three routines.
“Many of skating’s favoured classical and operatic pieces have become tired warhorses,” says the Olympic-sports journalist Philip Hersh. “The best thing about the rule change is giving the skaters the opportunity to ditch them.” Cue a big injection of personality to many routines in Pyeongchang: French skater Maé-Bérénice Méité vividly twirled to Beyoncé’s pro-women anthem Run the World (Girls), while Russian duo Evgenia Tarasova and Vladimir Morozov sauced up the ice to the tooting horns of Christina Aguilera’s Candyman. Not all the choices worked quite so well. German skater Paul Fentz dancing to Paul Anka’s jazz cover of an Oasis classic led one Twitter user to lament: “Play this version of Wonderwall in the lobby of my funeral.” But either way, the introduction of loved – or loathed – familiar songs has made it easier for casual Games fans to connect with skating this year.
For a sport dragging its blades into the modern age, the rule change helped to create an atmosphere of openness, where LGBTQ athletes were comfortable reflecting the fullness of their identity while competing. Take the bronze-winning American figure skater Adam Rippon. He’s the first out gay American athlete to qualify for a Winter Olympics, has been cheered on by Britney Spears and Reese Witherspoon, and has a knack for one-liners to rival Bette Davis. His self-assured, fluid performance was a watershed moment for LGBTQ representation on ice, and won him a team bronze medal. Coldplay’s touching 2014 ballad O (Fly On) gave Rippon’s routine a crucial emotive kick. In a recent interview, Rippon said: “When they allowed vocals to be used in competition ... it really opened the door for somebody like me to go out there and try to change it up a little bit.”
Radford says that figure skating’s new, open-minded mood extends to expanding rigid gender norms within the sport. “Part of my fear in coming out [in December 2014] was how I would be perceived by the judges,” he says. “Since I’m a pair, there is this traditional idea that the pinnacle of weaving emotion on ice is a love story between a man and a woman. But coming out never changed anything for me, and I had my best season.” He says that using music with lyrics allowed him to feel more empowered when competing, in a subtle way. “It wasn’t like, ‘I’m coming out and I’m going to dance to some iconic LGBT song!’” he laughs. “But that year we skated to Muse and to a beautiful piece by [Québec singer] Ginette Reno, and it started to change how I expressed myself. I was just more free when I took the ice.”
Skating’s embrace of pop is an essential step in modernising the sport, as it adapts to reflect the diverse realities of the world today. “I think [the new music rules] will evolve the sport over the next five to 10 years,” says figure skating expert Jackie Wong.
“As people see these role models, like Adam Rippon or Eric Radford, I think there will be more folks who are able to express themselves differently, and cross some boundaries.”
Beyoncé on ice! How pop gave new life to figure skating. People say that being on ice is the closest thing to flying; with its new soundtrack, now is the time for skating to really soar.
A rule change means competitors can now use music with lyrics – and from Christina to Coldplay, pop singers are allowing figure skaters to express themselves more freely than ever.
1-
Meagan Duhamel and Eric Radford of Canada on the ice in Pyeongchang. Photograph: Richard Heathcote/Getty Images
As the emotive piano line of Adele’s Hometown Glory burst through the stadium, Eric Radford landed a perfect triple lutz. The Canadian figure skater was midway through a breathtaking routine with his pairs partner Meagan Duhamel at this month’s Winter Olympics in Pyeongchang, South Korea.
As the song reached its heart-wrenching final chorus, with belted lyrics about the emotional conflicts of leaving home for the first time, Radford stretched his arms aloft, and his face cracked into a wide smile of pure joy.
Their performance won first place, making him the first voluntarily out gay man to win Winter Olympics gold. “That song resonates with [me and Meagan] so powerfully,” says Radford, who growing up was the only figure-skating boy in his small, ice-hockey-mad Ontario town. “It had a powerful impact on the audience, but it had a powerful impact on ourselves as well.”
In the buttoned-up world of figure skating, even Magic FM staples are a shock to the system. This year’s Olympics were the first to allow skaters to compete to songs with lyrics, in the wake of a 2014 rule change partially aimed at reviving interest in the sport. In South Korea, some skaters stuck to the classics – Swan Lake et al – but others embraced new possibilities head on, pairing their triple axels and salchows with songs from Top 40 artists such as Ed Sheeran and Lorde, or choosing showstoppers from musicals Hamilton and La La Land. Perhaps inevitably, Luis Fonsi and Daddy Yankee’s omnipresent 2017 hit Despacito cropped up in three routines.
“Many of skating’s favoured classical and operatic pieces have become tired warhorses,” says the Olympic-sports journalist Philip Hersh. “The best thing about the rule change is giving the skaters the opportunity to ditch them.” Cue a big injection of personality to many routines in Pyeongchang: French skater Maé-Bérénice Méité vividly twirled to Beyoncé’s pro-women anthem Run the World (Girls), while Russian duo Evgenia Tarasova and Vladimir Morozov sauced up the ice to the tooting horns of Christina Aguilera’s Candyman. Not all the choices worked quite so well. German skater Paul Fentz dancing to Paul Anka’s jazz cover of an Oasis classic led one Twitter user to lament: “Play this version of Wonderwall in the lobby of my funeral.” But either way, the introduction of loved – or loathed – familiar songs has made it easier for casual Games fans to connect with skating this year.
For a sport dragging its blades into the modern age, the rule change helped to create an atmosphere of openness, where LGBTQ athletes were comfortable reflecting the fullness of their identity while competing. Take the bronze-winning American figure skater Adam Rippon. He’s the first out gay American athlete to qualify for a Winter Olympics, has been cheered on by Britney Spears and Reese Witherspoon, and has a knack for one-liners to rival Bette Davis. His self-assured, fluid performance was a watershed moment for LGBTQ representation on ice, and won him a team bronze medal. Coldplay’s touching 2014 ballad O (Fly On) gave Rippon’s routine a crucial emotive kick. In a recent interview, Rippon said: “When they allowed vocals to be used in competition ... it really opened the door for somebody like me to go out there and try to change it up a little bit.”
Radford says that figure skating’s new, open-minded mood extends to expanding rigid gender norms within the sport. “Part of my fear in coming out [in December 2014] was how I would be perceived by the judges,” he says. “Since I’m a pair, there is this traditional idea that the pinnacle of weaving emotion on ice is a love story between a man and a woman. But coming out never changed anything for me, and I had my best season.” He says that using music with lyrics allowed him to feel more empowered when competing, in a subtle way. “It wasn’t like, ‘I’m coming out and I’m going to dance to some iconic LGBT song!’” he laughs. “But that year we skated to Muse and to a beautiful piece by [Québec singer] Ginette Reno, and it started to change how I expressed myself. I was just more free when I took the ice.”
Skating’s embrace of pop is an essential step in modernising the sport, as it adapts to reflect the diverse realities of the world today. “I think [the new music rules] will evolve the sport over the next five to 10 years,” says figure skating expert Jackie Wong.
“As people see these role models, like Adam Rippon or Eric Radford, I think there will be more folks who are able to express themselves differently, and cross some boundaries.”
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