Yuzuru Hanyu Interview: "Figure Skating Life” Exclusive | Y.H. 2018-19 Media Day Archive
Aside from the interview done in a group on Day 1, Yuzuru usually grants various magazines and TV shows shorter interview sessions the next day for outlet-exclusive content. This is the exclusive portion for Figure Skating Life Vol 15.
His thoughts shared on the unique arrangement of the new programs and what he hopes to achieve with them, and the Quadruple Axel were my personal highlights :)
Please do not repost without permission (sharing the link to this post is fine). MioSoloBambino had generously shared scans of the text with us for this translation. Images belong to Figure Skating Life and original text belongs to respective publishers.
Text: Yumeko Yamamoto
— First off, congratulations on your back-to-back victory!
Thank you very much!
— How was it — the moment you accomplished it?
First, it was joy. All in all, what I was happiest about was, in the end, I was able to get the results in front of everyone and that’s the first thing. And then, if it’s all right to bring up my own feelings — at the Sochi Olympics, it just wasn’t a gold medal that I had gotten after bringing forth everything I had. Rather, I was all nervous, sort of feeling like “um, would I get it? Couldn’t possibly get it, with this” while waiting [for the final ranking]. Unlike at Sochi, the fact that I really laid everything out on the table, and gave a performance such that I could yell “I won!” from the bottom of my heart — that is just something I felt very happy about.
— I believe you’ve been under pressure up until this point and, having been released from that pressure, you created your new programs this season?
Huhuhu (looks pleased)
— Would you tell us about the various highlights and parts of the programs that you’re pleased with?
Regarding “Origin”, it’s loaded with things like the reason why I am skating and my enjoyment of [skating]. Because [the program] consists not only of point-getters but also jumps of various forms, [where] I’ve given each their different nuances, so I would love for people to see that. As for “Otonal” — because the last steps, especially, is a very rousing part. Doing the jumps like bam-bam-bam (t/n straight through, one after the other, in terms of program elements) where it’s very quiet [in the music], and then coming alive at the steps. Perhaps the rousing parts are normally where the jumps are, but that stillness versus the tempestuousness of the steps; the course and development [in between] — I hope for people to see that.
— In this quietness, you can’t fail the jumps.
That’s just it! “Ballade No.1” was also that way (laughs). That’s why, in order to complete it as a program, I think the jumps have to be landed really cleanly. 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.
— The musical arrangement, the parts to be used — you were also the one making these decisions?
That’s right. Usually, for the short program, Jeff would do it for me, then choreograph for me — and that’s often the case. But this time both aspects were done by us.
— You toured together with Evgeny Plushenko and Johnny Weir this summer. Was there anything you learned from the two of them?
Hm, what is it — should we say “having learned from," or “watching from behind and being educated” — it was more like that. Plushenko, especially, was kindly doing “Tribute to Vaslav Nijinsky” throughout, and in that sense, it felt like “Come watch [how I do it]!” (laughs), he was doing it with such aura. Even at practice and so forth, running through “Nijinsky”, he would look over as if saying, “Did you see that?” (laughs) Like, “Hey, did you see that?” (laughs) These facets, et cetera, are so fun, and I really felt, this person really is someone that I admire, as I should. And Johnny Weir was really training hard, at the show. That’s why I felt his professional spirit, his thoughts towards performance, so strongly.
— Weir-san was saying the reverse, “Yuzu trains so hard, that I also got motivated.”
Really? Huhu. But seriously, he’s still jumping the Triple Axel at practice, and cleanly too. It really is as I’ve said just now — a magnificent skater whom I admire, as I should.
— So then, about the Quad Axel, how does it feel currently?
Right in the middle of working on it!
— (Laughs) Two-foot landing...? Or fully rotating…?
I — am no good at two-foot so… If I could land two-foot, I think I would be round though (laughs). It’s a little frustrating. But, if I did that, it would end up a cheap jump, so I’m thinking I want to go forward with the Axel aiming for quality beyond my Triple Axel.
— So it’s different from the Triple Axel after all? The take-off and how it feels in the air and so forth?
It’s different. After all… how do I put it? It’s something that no one has done before, so there aren’t really references available (laughs).
— For sure!
Because Brian was also called Mr. Triple Axel, and he was someone who brought up [the level of] the Triple Axel of that era, so I also listen to his opinion. On top of that, the Axel that I learned from (Shoichiro) Tsuzuki-sensei up till this point, or the Axel that I learned from Nanami (Abe)-sensei, the Axel I learned from Mami (Yamada)-sensei… I want to be getting through these, one by one, and upon that foundation, pursue and forge my own.
Jeffrey Buttle Interview | Y.H. 2018-19 Media Day Archive
Choreographer of Yuzu’s short programs, Jeffrey Buttle’s media day interview, transcribed and published in Figure Skating Team Japan Fan Book. The meaning of a program, its choreography, a look to the past while going towards the future.
Please do not repost without permission (sharing the link to this post is fine). Images belong to Figure Skating Team Japan Fan Book and original text belongs to respective publishers.
— When you first learned about the name of the piece during choreography, what kind of program did you want to make out of it?
It was around the beginning of summer when we talked about the music. When I learned about the title of the piece from Yuzuru, the first thing I wanted to know was what the piece meant to him. The reason is that this is something that comes out from within him. The title, "Otoñal", means "Autumn" when translated into English. But he told me, "Something like reflection." So we decided on that theme as the basis of the story for this program. We also looked back upon the many things that have happened in his life, incorporating the many memories into the theme, and developed it from there.
— What are the highlights (in the program)?
Probably, where he expresses the flow of time. In the opening, beginning with the image of flipping open a photo album and looking back, he expresses the moment when you reminisce about the past. This is him reminiscing about his skating career. Also a "Journey". And at the root of it all — "Dream". And then once again returning to the "Beginning". Like that.
— Do the changes in the rules affect the choreography in any way?
Yuzuru wanted to, first, focus on solidly landing the jumps. Because if we can do that then, toward the second half, he can be more relaxed, enjoying the program itself as he performs. In terms of dealing with the rules, I think it differs depending on the skater, and I myself am open, taking his idea and helping him with it.
— When Hanyu successfully defended his Olympic title, how did you feel?
I was overwhelmed. Because it was quite a tough season for him. Headed towards the Pyeongchang Olympics, he wasn't in the state to build upon training as he'd wished, and actually, that wasn't a situation any regular skater would be able to overcome. It was a test that only someone with the mental and physical strength of a true champion could overcome. When I saw the way he actually accomplished it at Pyeongchang, I was really touched. Emotions welled up in me, and I was so proud of him.
— When you were choreographing, what did you talk about with Hanyu?
I was thinking that the performance of this program should be something that comes from within him, should be his own story. We spoke about that before starting to choreograph. The first day on the ice, I confirmed with him what "autumn" means to him. I also have my own idea, so when I told him, "To me, autumn means this", [we realized] his idea was something completely different — "Oh, I've never ever imagined it that way!" (Laughs). So we did that, and went forward with his thoughts. When we began creating, we discussed many different things. From that, more and more ideas popped up.
— I think you made the decisions regarding choreography back when Hanyu's career was still in its early stages, but nowadays, he sets the direction?
Right, and I think that's a wonderful thing. When I was still actively competing, I had also chosen my own music as my career progressed. Just as it is with him, that was also a manifestation of the determination to take responsibility for your own career. As the years accumulate, when you decide on something, you become more certain of it. In participating in choreography too, you show more confidence. I feel respect for the skaters who suggest to me the music they want to skate to. Because it shows that they themselves are invested in their own programs. Because when you choose your own music, you're able to put 110% of your soul into the program.
— He was saying that he chose this piece because it was a program that Johnny Weir had skated to in the past. You competed against Johnny when you were actively competing, please share with us your thoughts about that.
Johnny and I had the opportunity to skate together this offseason at an ice show, and we talked about that. He gave a lot of advice, which we also took as reference. Since it's music that Yuzuru chose "because Johnny skated to it". Johnny felt very honoured about it, and he was so supportive in the process of choreographing this program.
Some footage of Jeff in this brief clip shared by Figurepedia (BS Asahi) after the SP debut of “Otoñal“ at the Autumn Classic 2018 on September, 21st. Potentially from the same media day interview given the overlap, but decided not to merge that into the text given ambiguity.
“I competed against Johnny Weir — who skated to it when we competed against each other, many many many many years ago. But I love the piece of music and I love that Yuzu had the passion to bring that forward.”
“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.”
Tracy Wilson Interview | Y.H. 2018-19 Media Day Archive
Tracy Wilson’s media day interview, transcribed and published in Figure Skating Team Japan Fan Book. Potentially to be supplemented with other magazines’ transcriptions if new materials/ different reads come up. Tracy’s take on new season challenges, Yuzuru’s goals, his mindset and his ongoing quest to improve and improve.
Please do not repost without permission. Image belongs to Figure Skating Team Japan Fan Book and original text belong to respective publishers.
— How is Hanyu's condition at the moment?
What I feel, is that he's come to understand what he himself wants to do. Mainly in the technical aspect. And my role is to aid him so that we find the spots where he can exert force. The balance on his blades and so forth. In order to stabilize the technical aspect.
— How is the condition of his right ankle that's been injured?
As far as I've seen, I felt that the injury has not affected his performance nor created limits. Looking at the quality of his jumps, what he chooses to jump, you can see that. There were no bad symptoms to be found in his skating. So I feel it's 100%.
— Is there any impact on Hanyu due to the rule changes this season?
I'm not sensing any in particular. Because Yuzuru has no weaknesses (laughs). I think the widening range of GOE into -5 to +5 is to his advantage. The elements he performs, even up until now — there are ones that have reached levels even beyond that. But due to the limited range in evaluation, it had also been hard to make a difference. From my point of view, this GOE rule change is advantageous to him.
— Hanyu's aim being to jump the Quad Axel, how do you feel about his current condition?
He's training it. What's interesting about being Yuzuru's coach is that things that you thought, "Is that even possible?", sometimes, it suddenly becomes possible. It's very interesting to watch the way he trains. The genius creativity that he possesses is brought into good use not only in skating but also in technical challenges. He's also hard at work tackling the Quad Axel, so I would like to watch over that process.
— You can feel Plushenko's energy in the step sequence of his free program ("Origin"), but at the same time, it's also exceedingly Hanyu-esque. What are your thoughts watching his step sequence this year?
I think this step sequence really shows what he's made of. To have such energy after jumping. He has the ability to use his edges well and perform difficult turns, and moreover, to perform marvelously while harmonizing with music. And that's the reason his step sequence becomes something unpredictable. Aritistically, and also technically. He's very emotional, always thinking to do something new. He almost never repeats the same thing. His creativity as an artist makes that possible. But, you can't do that with jumps. With jumps, it's necessary to jump and land precisely. On the other hand, with the step sequence, you can play with many things.
— What are especially difficult parts in the free program this time?
The program is to be refined and settled down in the stages hereafter, so we don't know yet. But, I feel he is able to do the Quad Loop quite easily and consistently. Back then, it was like, the Salchow and the Toe Loop were stable, but the Loop he's only started doing not so long ago (t/n 2016-7 season), and the Lutz was the last. How to maintain energy throughout the program, how to maintain the balance between the technical aspect and artistry — those are the points I'm always paying attention to. On top of that, how much space to play can we create? That there, with the changes in the rules this time, is perhaps going to be the biggest task at hand for Yuzuru. The reason is that, due to the performance duration being cut short (from 4m30 to 4m), the amount of time available for him to properly display his artistry, which is yet another strength of his, has gone down.
— Hanyu was saying, "Having been released from the pressure and feeling responsible of bringing results, I'm able to enjoy myself while challenging new grounds." Especially in terms of mentality, how do you see his changes?
I think he had been taking on the challenge of stretching his scores on the technical side. We felt that he had no need to add more quads, but he himself was not satisfied with that. He was aiming farther and farther. With the risk that accompanies. In order to grow the scores, he never chose the easy route. He was taking on that extremely seriously. There is no athlete with ability and talent like his, that respects the aspect of technique to such an extent. Nor anyone who faces the responsibilities placed upon him with such earnestness. That's probably why he can be at ease now. But, as for how long that's going to continue, I don't know. Because Yuzuru is Yuzuru. Although he's saying "I'm released from pressure" right now, after a few months, he might just go back to how he was. He is someone who constantly aims upward. Anyway, let's enjoy the current while we watch over him.
(mourning the loss of my beloved B.B.Mook and the detailed record that came with it...)
It was announced today that Yuzuru Hanyu would be receiving the People’s Honour Award, the only figure skater and the youngest individual to receive this award, out of the 26 persons who have received it thus far. (You may remember the commotion that occured a few months ago, when Prime Minister Abe convened a committee to decide if Yuzu should receive this award).
The cabinet representative stated the following during the announcement:
“With rigorous training and more effort than anyone else, [Yuzuru Hanyu] accomplished brilliant results that made history, bringing to many residents dreams and deep emotion, and to society a bright hope and courage. An outstanding achievement."
Video of news clip here
Yuzuru’s comment in response to the announcement was incredible gracious, and with language so incredibly polite that the modern English language is just insufficient to convey. Still, I tried to keep most of it.
Receiving an award that is held in such great esteem is an honour more than I deserve.
That I have been able to continue skating, and that Japan’s Figure Skating has continued to be in the spotlight as much as it has - I feel that all of this has been possible precisely because the Greats of the figure skating world have paved such a path for us. I feel too that, (figure skating continues to be in the spotlight) as a Winter Sport as well, because of the impressive showing of the many participants at this Olympics in Pyeongchang.
Also, the many thoughts and encouragement that have come from those hit by the disaster, together with the thoughts of every person who has brought me up thus far as an individual - I realised once again that these thoughts are brimming within me, and I think of this award as being bestowed upon them.
I will take on the expectations of everyone, and move forward day by day, without neglecting my training, as I thoroughly experience every single part of the path that continues before me. It is my wish that this award will become a bright light to the disaster-struck area and the figure skating world.
To every person who has brought me up, and to the many who have always supported me, I offer, from my heart, my deepest gratitude. Really, thank you very much.
Credit to nikkansports
The award ceremony will take place on the 2nd of July.
It is indeed worded so incredibly gracefully. Thanks to @tadakixd for the thought and careful consideration that went into properly bringing out the nuances... <3
Yuzuru Hanyu x Ice Jewels Special Interview (Vol. 8) | Beyond the Laurels
The timing of this is quite interesting. Around a month after the Olympics, when he hadn’t yet put on skating boots, not even once. At the time of the interview, he mentioned he’d reviewed all his performances from when he was young until now. Perhaps in preparation for #CiONTU?
The interview itself, as always coming from Ice Jewels, is open and insightful with his current musings and ongoing thoughts. He talks about the crazy balance of mental and physical, his layout strategy for the Olympics, and –– a personal favourite –– explanation of the emergency 3A-Lo-3S, complete with its entry and why that was difficult for him. ✨
–– gladi
Translated by gladi. Please do not repost without permission. Photography by Tanaka Nobuaki, belongs to Ice Jewels. Thanks!
Ice Jewels has always been wonderful :) This time they feature a more-substantial-than-usual gallery section full of Tanaka-san’s fabulous photography. Please, support them with your purchase if you enjoy the content: http://amzn.asia/8W3GBeD
Yuzuru Hanyu x Ice Jewels Special Interview
Beyond the Laurels (栄冠を超えて)
Feeling the reality of his back-to-back Olympic victory
–– Congratulations on your second consecutive victory at the Olympics. It has been a month, now, how are you feeling?
Thank you very much. Time flies, doesn’t it? I haven’t put on my skating boots since the Pyeongchang Olympics. But, it’s precisely because I couldn’t skate, that finally, the reality of it has hit me. Suddenly things around me started coming into sight, and a sense of accomplishment––that I’ve done my best at the Olympics––and the reality of [my victory] welled up in me.
–– How was the reaction around you after you returned to Toronto?
I met with Coach Orser and had a meeting. He was very happy.
–– Are you relaxing right now?
Although I am taking it easy, I still really want to skate after all. I was taking painkillers at the gala practice but, then too, I was intending to enjoy (the Olympics) until the very end, so I am glad that I was able to really enjoy that time, and I had a very nice time. Even as I was avoiding everything that hurt so as not to aggravate [the pain], I had so much fun skating, it feels as if remnants from back then still linger.
–– When the Italian pair skater, Ondrej Hotarek, lifted you at the end of the exhibition gala, that became a hot topic.
Hotarek-senshu had been supportive of me. That time, his partner Valentina Marchei-senshu, was saying to me, “That’s my partner, so you can’t take him” “Because I’m better” So I answered, “I know, no worries!” (Laughs)
Looking back at this season
–– Right now, looking back, what was the 2017-18 season like?
Because I had very few competitions, personally, it didn’t feel like the season has ended. I will be watching the World Championships, and I was simply watching the Grand Prix Final as well, so I’m feeling somewhat unsatisfied. All the more, for that reason, I think I was able to bring everything to the table at the Olympics. But even so, due to my injury, I won’t be able to participate in the upcoming competitions, so I won’t be of help to people –– much to my irritation.
–– That you haven’t given your all in terms of the number of competitions?
That’s right.
–– But, you were able to bring everything out at the Pyeongchang Olympics –– how about that?
Although I was glad, if, say, this were a new program, then I think it would probably be terribly insufficient. Now, both the short and the free programs were taken from the past. The layouts are totally different, so it really feels that they haven’t been fully executed as this season’s programs. Then again, if they were new pieces, I guess there would have been even more left to be desired.
–– From that perspective, would you say the program choices for this Olympic season were a success?
Because I was injured, I think in the end it was good that we went with these programs after all. Otherwise, I probably wouldn’t have sufficiently broken into the programs… The breaking in, in and of itself, was wholly insufficient for these programs this season, however, the way I immerse myself in the music is completely different, and that’s a major point. To have rhythm that I’m familiar with, and so forth, thoroughly permeate my body, to be able to perform in a state of unconsciousness –– I think that is immense.
–– Though you proceeded with caution due to a knee problem, and took on the Autumn Classic (first competition of the season) with an altered layout, you broke the world record for the short program. Thus beginning [the season] with an unexpected result.
Right. The other day, I was thinking to review my performances from when I was young to the present and I was watching the videos –– I try harder in times when I am injured. I suppose I'm giving a better performance when my back is against the wall.
–– Not some superhuman rush of strength coming from, say, being injured, but rather, you were able to do that because you actually have the fundamental ability?
Focused because I'm driven to the corner, I suppose. Perhaps because there aren’t any odd desires. At such times, I want to win but I don’t at all feel that I must go clean, and I guess, a clear target level –– like “let’s do up to here” –– is in the vicinity of my actual ability at present. Probably, when I’m in good condition, I’m in a higher place than my average capability; from that higher place, I think I end up further aiming at an even higher place so it turns into this weird strain, and I’m thrown into disarray, perhaps.
One exception in my experience was the NHK Trophy and Grand Prix Final in 2015. I had a bit of a cold during the Final, but I was in excellent condition at the NHK Trophy. My lisfranc ligament (in the left instep) was hurting a little bit, but I think my actual capability was in a condition close to the level of what I’m aiming for. At that time, I was only doing the [Quad] Salchow and the Toe Loop, but I was already landing the Loop (at practice), and as long as I land the second-half Toe Loop, I had absolute confidence that I could go clean. In the competitions leading up to that point, I was able to do everything apart from the second-half Toe Loop. The first-half Salchow, first-half Toe Loop, and the two Axels in the second half were solid, so when you think about that, I was probably extremely close to target level back then. That was why I stayed focused in a good condition and I was able to give a good performance, I guess. This Olympics was similar to that perhaps. I was thinking a bit about those kinds of things after the Olympics has ended.
–– At future competitions, although you don’t want to get injured, if you can maintain a parallel condition in terms of how you feel, then you are good, right?
That is where it’s difficult –– although I’m thinking that on a regular basis. At the Rostelecom Cup (October 2017) in this season’s Grand Prix Series, my own condition was good, and when I consider at what point does my best mental condition come about, I realized that it is when I am injured. (Laughs) Injured, unable even to train smoothly, even the jumps are at a precarious state –– that’s when I’m most focused, and my strength comes out. How I can bring forth my best mental state when my condition is good is something I’m pondering over.
–– That is difficult to control.
Though it’s also crucial to be pushing your own self, I think the way you push also ends up of a high level. Because I’m pushing myself from a place higher than my average level, physically, I am at my limits, I guess? I come to aim too much, at barely the edges of my own actual ability, I think.
–– Not pursuing your physical limits, but transcending your mental limits?
That’s right, probably. I think I said this often around when I gave a clean performance of “SEIMEI” at the Grand Prix Final (2015), but without a good balance between your physical level and your mental level, good concentration is impossible. Therefore, when I am extremely nervous about a competition, if my [physical] level is also down from injury or something, then it ends up just right. At the time of that GPF too, it was right at the tail end of the NHK Trophy and my condition wasn't great, but mentally I tried to calm down and I managed to. It probably went well because of that –– I remember that really well.
–– Under such conditions, you really pulled it off.
I pulled it off there. It would be nice if I could do that every single time, wouldn't it? It's immensely difficult to raise my mental level when my physical condition is at a high level. I am not that mentally composed, I suppose.
–– There are times, too, when being in good physical condition saves you from, kind of, mentally struggling to keep up, right?
I think there is also that, but generally, it’s futile.
–– Balance between the mind and the body. That’s hard.
It’s hard, isn’t it? About two weeks after the actual competitions at the Olympics have ended, I was thinking a bunch about these things.
You were smiling toward the end...
–– Weren’t you smiling at the very end of your performance, during both the short and the free of the Pyeongchang Olympics?
I was smiling in the case of “SEIMEI.” It was a manifestation of my joy in winning. There was a very strong sense of "I persevered until the very end!” Usually, I don’t smile during a program. I’m focused and immersed in the music. But during the “SEIMEI” of Pyeongchang, my true self ended up coming out. (Laughs) Even though it hadn't ended yet, I held out on that last Lutz in a weird way, so first, at that instant, “What was that? That landing!” and I burst out laughing. (Laughs) For steps, Coach Orser strikes the same pose as I do behind me, to “DAN-DAN” [in the music]. That also came to my mind and I laughed. Then, people in the audience went “Wa–––!” and I was really happy, and my own unadulterated emotions came through.
–– So much of your surroundings were visible to you then?
I lost concentration at the Lutz. (Laughs) But, after that, I was still performing and enjoying it. Until then, I hadn't really ever felt during a competition, “Wow! It’s fun!” At Pyeongchang, I didn’t feel fatigued either, and because of that, I guess I was able to put out good steps and spins.
–– After your short program ended, it did look like you grinned though.
For the short, within me, I was feeling like, "I’m back.” Everyone around was so warm, and there was a strong feeling that I had worked hard in order to come back to this place.
–– At the Pyeongchang Olympic press conference, you mentioned “strategy.” Did you really intend to jump the [Quad] Loop at the start of your free program?
Originally, my intention was to do the Loop. But, it was the day before I left when I actually jumped the Loop.
–– Really?
Pretty much, for run-throughs with music. Although I was doing training to land [the jump], I hadn’t put in the Loop for my run-throughs. Since I wasn’t in the [right] condition. I thought the situation was rough, but I’ve been jumping the Loop in competition many times now. And, regarding the free program, I had been jumping [the Loop] the whole time, so I thought the way I did it in “Hope & Legacy” could probably work. In those situations where I faced off Javi directly, depending on the point difference, I could even leave out the Loop. Nevertheless, I was well aware of Nathan. Coach Rafael has been scrupulous in his calculations where scores are concerned and I know that, so (regarding whether or not to incorporate the Loop into the layout) not letting on –– there was also a bit of that. But I think the reason why we were able to carry out [the strategy] was my perseverance up till now.
That, in a sense, is difficult. Lowering (the level of) the layout means that I have to win by getting +3 in Grade of Execution (GOE). Then, in that case, I must land everything beautifully, and [nothing must go wrong]. So, on the contrary, it gets harder in that sense. That was the pressure [I faced] at the Autumn Classic. Instead of just jumping and landing, if you didn't jump and land beautifully, you can't win. I think it was quite tough [at ACI], thinking calmly now.
–– Comparing GOE to the Base Value, [your] GOE makes up a good proportion.
I've always been aiming for that as I train. That is my weapon, and I hoped to bring out what I have trained.
–– That is to say, at the Olympics, you brought out what you have trained with the layout and GOE in mind.
That is so. The GOE +3 from the opening Quad Salchow and Toe Loop was immense, I think. Especially in terms of the Toe Loop, it was [checking the bullets for +3], to the extent that it had been quite a while since it last did.
–– A perfect score is amazing.
+3 in GOE is important. With only base value, fighting with that alone, is difficult. You have to cancel out the weakness there, and I think the ability to get significant GOE, in addition to base value, fight with difficult quads is a definite weapon of mine. And it was a free [program performance] where I really brought that weapon out to battle. It was the case, too, for the short program.
–– The 4T triple jump combo (t/n 4T1Lo3S) didn’t happen and turned into a 3A triple jump combo (t/n 3A2T → 3A1Lo3S). Your signature 3A is alive and well!
I have been saved many, many times by the Axel. I’ve been training the Axel since when I was young, and thanks to that, my Triple Axel is extremely stable. Because I like the Axel more than anything else, it’s a jump that I can decide to turn into a combination without worry. Since, concerning the Axel, I have the confidence that I can do it no matter how difficult the entry is. And that entry is quite difficult. I am doing double 3-turns in the reverse direction. I do the Eagle (t/n clockwise) and Ina Bauer (counterclockwise), followed by double 3-turns in the reverse direction (clockwise), then with a change of edge, a change [of foot]. Because I jump the Axel in my usual direction of rotation (counterclockwise), my upper body gets twisted around so much.
–– Minoru Sano who was commentating was also saying that it was extremely difficult.
That entry was awfully difficult. Personally, I find it harder than Axels coming out of a Counter.
–– Considering that, the GOE seems low perhaps.
Being able to jump the Half-Loop there –– I think it’s due to, should I say, what I’ve built up until now; because I’ve worked hard at it.
His bond with Javier Fernandez
–– I saw you crying in the green room with Fernandez-senshu, and thought, what wonderful rivals, what wonderful friends.
Basically, Javi doesn’t get very tense before competitions. But this season, he suddenly began to get quite on edge, and I knew it was because he was immensely focused on the Olympics. In my case, “Sochi Olympics Gold” and my name were on the Olympic plate at the Cricket Club, but Javi wasn’t on there and I think he felt regret. When I saw Javi, medal clinched and released from [that regret] –– I was relieved. That moment, I felt so glad that he was rewarded.
–– I was touched by your tears for Fernandez-senshu.
At first they were tears for Javi, and after that, they were tears from the reality of getting the Olympic gold hitting home.
–– I am glad that Fernandez-senshu was also able to get a medal.
Though when you consider the color of the medal, he probably thinks he could go higher. But, the thing that had always been stuck on his mind is now dislodged, I guess, and I feel as happy for him as I would for myself.
–– How about the new things you are challenging? Regarding the Quad Axel, weren’t you trying to jump that during gala practice?
I have to do a big Axel in "Notte Stellata,” so I thought to practice doing big Axels, and that was what I was practicing at first. Then from that, 3A –– I thought it’d be nice if I could do big ones. I thought, “Let’s step it up!"
I was taking painkillers even at the gala practice, and I knew that I wouldn’t be able to train after this, so I was doing that, thinking I would do whatever little I could at the present.
His aspirations going forward
–– Do you have a message for all those who supported you?
I think, to each one of my fans, there were performances that led to your kind support for me. For instance, my performance at the Sochi Olympics, at Nice, or at the Novice Championships… I believe there are many various things in each one, but truly thank you very much for kindly watching me up till now. There may be those who saw the Olympics this time around and, going on, would perhaps watch my past performances. But for those of my fans from my novice years who know all of my skating, and have come to like that whole entirety of my skating –– I just feel awfully grateful.
There are different thoughts imbued in each one of the programs, and I am so happy that they may be watched and taken in.
I will keep doing my very best. Of course, I absolutely want to win in competitions that I participate in, but what comes up in my mind during interviews like this is, in the end, that sense of accomplishment from having achieved a second consecutive victory at the Olympics. Although, I definitely want to do the Quad Axel, and I feel incredibly motivated towards it. Techniques that I wanted to master, the level which I had aimed toward; to be finally reaching that place and starting to see these unfold before my eyes now –– the pleasure of all that lies within skating. Going forward, I intend to pursue my own limits in training, and enjoy myself while doing my best.
(fin)
From the gallery section. I was flipping through, turned the page and guffawed XD. Yuzu saying no to English. Please support them with your purchase if you can!
how do you and gladi split the work on collabs? do you individually translate and sub parts or is the whole thing a collaborative process? how do you find the time haha
Hahaha I wonder, can you tell if there are 2 different styles in a single video? XD (I hope not, since we have tried not to break the 4th wall haha) Honestly it differs from work to work. For some, I’ve translated the voiceovers/speech while @wherespacepooh does the japanese subs/signs that appear, for some we split the video in half and translate and sub individually, and then combine. Usually Gladi does typesetting and I do timing, although to be honest it’s really not set in stone. What does always happen is that we both proof-read each other’s work when we collaborate.
Time is hard to come by, like you’ve said. Gladi manages her time in real life a lot better than I do though so it feels like she has 36 hours in one day while I have 12 ^^;;; For the upcoming video, Gladi is doing all the translations because she is awesome and amazing like that. I’m a little too swamped with work at the moment so I’m just doing timing and proof-reading this time :)
Since we’ve both subbed individually before, we can kinda interchange the roles and switch it up if we need to. That’s not to say we are anywhere near the standard of a well-established fansub group (which is a topic you could nerd out on for a good 42 years, give or take) - and that was never our goal to begin with - but we do try our very best to convey what Yuzu has to say, while staying true to his words.
And with that please allow me to say one more thing. Thank you so much to everyone who has sent in or replied or messaged in some way your thanks and appreciation for our translations/subs, or started a discussion after watching/reading one of our posts. It’s really sweet and encouraging to read. Thank you too, to everyone who has directed others to our work, and to some very vigilant people who have directed us to possible claims of our work without permission. I’m touched and grateful for all you amazing people XD
Allow me to steal and second everything @tadakixd said, except the bit about time management… (๑•̀ㅂ•́)و✧
Thank you, everyone who has reached out with words of encouragement, thoughts, opinions, and so much more. I might not have been able to reply individually on the blog, especially if it came anon, but I've read every one, and each warm note has been a little nugget of happiness and motivation as we push forward with the work.
Re: translations and subbing, tadaki said it so succintly, I don't have much to add. Actually, I learned most of the fancier subbing tricks from tadaki during some of our conversations. I have much more of a background in video editing, but subbing was quite new to me, and between works, I've probably pivoted quite a bit in how it all looks, hopefully for the better? So, no, definitely not a well-oiled fansub group (at least not on my part X'D).
A lot of the times, a collaboration starts with some disorganized all-caps excitement and wonder at what Yuzu has to say, be it sheer brilliance, humor, or a straight tearjerker... and an urge to share that wonder with all of you. To that end, we do try our very best to convey what Yuzu has to say while staying true to his words, and I'm so glad to be working with someone who shares a similar mindset and much of the same ideals on translation, and frankly, just someone who cares! Thanks, tadaki 🌻🌻
Hanyu’s Celebratory Parade ~ I will be the King Plunderer of Gazes! (2) | Sponichi 18.04.27 Photographer column
Part 2 to Nagakubo’s hilarious recounting of how exactly he managed to pull off the heist of arguably the best shot out of the entire parade. This one has a distinctly spy-movie bent to it, and more Tanaka-san and Noto-san :3 – gladi
Tanaka-san on the right, Nagakubo-san on the left (@Sendai Broadcast)
Noto-san the red vest to the left ✨(@ Miyagi Tele)
Translated by gladi. Feel free to repost with credit. Photography and original text by Yutaka Nagakubo, belongs to Sponichi. Source here:
On the fourth floor of the building that faces Higashi Nibancho Dori, [the road] where the parade would take place, was our secret base. Late into the night prior, the elites of the Sponichi Photography Department had gathered here and decided on where they would station themselves respectively. The procession advancing amidst a hundred thousand and more spectators –– here’s the best spot for properly capturing that.
“Chief! Please shoot from this spot.” A shiver ran down my spine. I –– who had never been addressed by my title in my day-to-day. What could be behind these words that reek of sontaku (t/n 2017 buzzword describing the social strategy of ingratiating themselves to their superiors by preempting their superiors’ whims)? Was that an attempt to gauge one’s magnanimity, or was he aiming after me? “No, Editor, you discovered this location. You take it!”
“Chief should take it” “Editor, you should” …This dark, insidious talk unfolding surreptitiously against the new greens of the City of Trees came to a halt when photographer Yoshimoto Kogaito volunteered himself, “In that case, I shall” –– Dacho-Club style. ** “Please, go ahead!”
** (Dacho-Club is a comedic trio, whose signature Douzo! Douzo! (tr. "Please, go ahead!") gag opens with member A refusing to do something. B and C volunteer themselves and fight over who gets to do it. A finally decides he wants a piece of it too and raises his hand, at which B and C go “Douzo! Douzo!” (Please, go ahead!) and the act ends.)
Morning came, not a wink of sleep to be had. I was responsible for [shooting] scenes during the parade set-off and the ceremony prior to its start. At the press reception, there were already a couple stepladders placed in line. The first one was at 4:00 a.m. And then there were familiar faces in twos and threes. Just past noon, a photographer in the red official vest who would board the parade car appeared as well, speaking in hushed tones with a man in gingham. When I strained my ears, I could hear frequent mentions of “Mizuho” and “in front of the bank.” Certainly, a bank assault was most unlikely but, without a doubt, a nefarious plot [was brewing]. I wanted in, too! Anyhow, immediately after the start, there would be something happening in front of Mizuho Bank –– my intuition was telling me so.
The ceremony ended, and the man in gingham sprang into motion. I hurried after him to keep watch. Toward Mizuho Bank, where something was going to happen. Upon arrival at the reporters’ space, I encamped to the man’s right side without hesitation. The parade had started, and the procession was drawing near. At that point, from within my viewfinder, an incredible spectacle unfolded. While the man in the red vest on the parade car was mouthing “Gingham, gingham, Tanaka-san,” that Hanyu-san directed his eyes straight [at me] and was pointing this way.
Th-this. Wasn't this Hanyu-san’s finger gun that renders [anyone] into a vacuum state [of mind] within a 5-meter radius?! I had seen fans who were shot were left with their lips quivering at last year’s ice shows many times. Dangerous. And then, the next moment –– while shouting “[He’s] there! [He’s] there!” the best ever "Yuzuru Smile” appeared on his face as he waved his arms with all his might.
I… are we that close? Perchance he maybe remembers, like, my name –– that should be the extent of it. The man in gingham, who I was marking, had put his photographer duties on hold and was waving. Aah, so that was it! This bubbly exuberance was directed at him. But it’s worth being called gaze burglar if I can take such fantastic shots. Be it Nobuaki Tanaka in gingham, or Sunao Noto in the rest vest, I’ll become them!
The excitement, the stirred emotions of having taken a great picture, a great smile. By the time I realized that I had left Kokaito and Sontaku Editor behind in Sendai, I was already on the Shinkansen on my way back –– and it was around Ōmiya Station too (t/n already two-thirds of the way).
–––– Department Head of Photography
◆ Yutaka Nagakubo. Born in 1962. After returning to Tokyo, people reached out to me saying they'd seen footage of the parade. A 56-year-old who believes he can still run around, can still keep it up, but is concerned about the wrinkles on his eyelids.
(t/n 能登直 Sunao Noto - photographer also from Sendai, been following Yuzu since he was quite young, the lack of hair is sort of his trademark. His work is most often seen in Sendai Broadcast, Sportiva.
田中宣明 Nobuaki Tanaka - also photographer who’s followed Yuzu for a long time. His work can regularly be found in Ice Jewels)
Hanyu's Celebratory Parade ~ I will be the King Plunderer of Gazes! (Sponichi 2018.04.24 Photographer column)
That’s probably my favorite shot from the whole parade. Sponichi printed it in its April 23 edition and made an emergency announcement that they would open up sales online at 10 am on the same day. It was sold out by 10:12, at the latest, when I checked. X’D
The whole story of how this shot came about was hilarious (with guest appearances by Noto and Tanaka) to say the least. But really, I’ve always loved the easy camaraderie amongst them, and their genuine warmth toward Yuzuru always shines through in the photos they take of him.
– gladi (no I’ve not forgotten about subs! just a quick break!)
Feel free to repost translation with credit. Text and all photography by Yutaka Nagakubo for Sponichi. Source here.
【Nagakubo Yutaka – May I take a picture? Series】
The wind was blowing. It was a new wind, different from the –– until then –– warm winds pregnant with the enthusiasm of the 108,000-strong crowd. The procession was coming along. Spurring cheers and shrieks of joy [along its way], at a pace slower than an amble, it was coming along. That new breeze ruffled the hems of the waving Yuzuru Hanyu's blazer and set the greenery behind him swaying. "Sendai, this town that raised him, how beautiful it is. And truly, what a miracle it is, that we could have this day,” I thought.
In November last year, I had gotten on the Nozomi in a state of gloom, headed toward Shin-Osaka. The sequences of photos and the news clips that I had seen at the office just prior were the cause. If you’ve been [doing sports photography] for a long time, there are times when you’ll encounter situations of athletes’ injury. “No hope to make the start” “No hope [to compete] this season” “Career-threatening”… Even compared to the many situations I've witnessed and shot, the scene of his fall was close to the worst. According to our photographer who had gone ahead [of me], he'd exited the rink on his own feet. “That was one saving grace” was not something I could think. Judging from his character, he wouldn’t have allowed himself to be brought out of the rink on a stretcher no matter how intense the pain. With no more clarity on the severity of his injury that whole night, [I was] at the press room the next day. For a while, I caught up on the situation from fellow photographers, but when someone remarked, “That was an awful fall,” we all fell silent.
“He comes back time and time again” “Adversity is his favourite”… Several times, I’d written [such] words to encourage fans in this column. Thinking back now, those might have been words to myself, who was inclined to fall into negativity. And that [inclination] went on even after the Pyeongchang Olympics had started. When he landed at the Incheon Airport –– “he’s lost so much weight.” Or at the Triple Axel during his first day on ice –– “Hanyu’s original Triple Axel wasn't so forwardly inclined.” Even when he ranked first in the short program –– “The 4 minutes 30 seconds in the free program is probably going to be tough.” Despite all that, when he pushed his palms out sideways leading into his steps at that final “DA-DAN” in SEIMEI –– “YES!” The entire editorial office shook from my voice. Speaking to myself, “Now here’s the victory run.” Laying out 50 pages' worth of the photo gallery I was asked to put together, in one sitting, that day...
Oh. I’ve been his fan since Nice (t/n World Championships 2012).
The procession slowly approached and entered the shooting range of my 400mm lens. The official photographer in a red vest (t/n Sunao Noto) aboard the bus was pointing in my direction and saying something to Hanyu.
Through the viewfinder, our eyes met. Suddenly he looked 17 again, breaking into a big, big smile. And then he waved madly, yelling something ––
“TANAKA-SAAAAAN!!"
From this day onward, I will be Tanaka-san. You got a problem with that?
(To be continued)
–––– Department Head of Photography
◆ 長久保豊 Yutaka Nagakubo. Born in 1962. Blue Giant, serialised in Big Comic, was a big favourite. The protagonist there was also from Sendai, wasn’t he? Great place.
(t/n 能登直 Sunao Noto - photographer also from Sendai, been following Yuzu since he was quite young, the lack of hair is sort of his trademark. His work is most often seen in Sendai Broadcast, Sportiva.
田中宣明 Nobuaki Tanaka - also photographer who’s followed Yuzu for a long time. His work can regularly be found in Ice Jewels)
One of these days I will tell you all about how beautifully this boy uses the Japanese language. Today’s Yuzuru was a little tired, and he spoke a little slower than he usually does, with longer pauses in between. I hope he has a good time in Sendai even though I know he has a bunch of things scheduled over the next few days.
Host (Nakamura Kaori): And so Hanyu, thank you for your hard work at the parade. From here we will begin the press conference.
Yuzu: Please take care of me.
H: Then we will start off with the managing station first.
Reporter: From NHK, we would like to ask 2 questions.
Y: Yes.
R: There were many people who waited for you. What sort of feelings did you have when you appeared today, and now that the parade is over, please also tell us what kind of feelings you have now.
Y: Yes. Umm…The ice show that I planned, that I produced myself had finished, and after that, umm…what has it been, one week? This parade was held a short time after (that show) but in that time, really, I couldn’t wait (for this parade to come). Um, after all many people…ah.. came to this parade. They kindly said that they wanted to see a glance (of me), so, in that sense, ah, I myself also spent these few days excited about coming. Once again, being able to finish the parade safely like this, um, , I myself, felt strongly the sense that “Ah i have returned to Sendai” after all and um, once again this, I felt the weight of the gold medal that I received this time.
R: And now the second question. I believe this is the first time you have returned to Sendai since the Pyeongchang Olympics. You just shared with us your feelings on returning but inclusive of the time at the Olympics, the cheers that you received then and in your hometown of Sendai and in Miyagi prefecture, with what sort of feelings did you receive those cheers?
Y: Um, during the Pyeongchang Olympics as well, um, be it the setting up of places where people could cheer together, and amongst all of that, the news that everyone was really cheering me on, I learnt of all that support through the news and articles. Every single one of those cheers really pushed me forward, and I strongly felt that once again with this event. Of course, this time, um…well there are still many many challenges in the recovery of Sendai and um, the prefecture (of Miyagi), and in the midst of that, um…how should I say this. To have such a large scale parade kindly set up for me…It is after all, something that I take very seriously. Additionally I myself feel that, not just within the prefecture and the city but also to the people around the world too, umm, I must keep in mind to act in such a way as to become a helping hand, to become the cause (of help) to the recovery efforts.
~Continues With Wings Under the Cut~ (I will upload a video if no one else does, but I’m sure someone will come through XD)
What a show, what a feast, what a wonderful cast c:
Slight change of plans: Master post from Day 3 will be on hold. I believe there are enough snippets of translations going around from yesterday's broadcast of Continues, and I fear I would simply be adding to the chaos at this point in time.
Instead, I'll go ahead with subs for the whole broadcast as planned, to try and present the show in its lovely entirety and the words that have been said in full context.
Continues with Wings | Day 1 Master post (ongoing update) + Post-show QA
Master post to be from article snippets, videos from TV shows, and fan repos. To be ongoingly updated. Behind the break, after post-show QA.
Since all 3 days will be broadcast, I won’t make the master post too long and I’ll try to focus on things that might not be captured in the broadcast. But trans+subs when they come, okay? :) – gladi
Post-show QA
Translated by gladi. Feel free. Images don’t belong to me.
Source: https://www.daily.co.jp/general/2018/04/13/0011161959.shtml
[Translator notes: The questions and answers are fully translated as published, but do note that Daily posted them as key points, rather than a word-for-word transcription]
Q: The first ever show you produced has concluded
A: Partly, it is also talk-driven, but each and every one of (those who performed today) is a truly great skater, and I am overjoyed with the fact that they graced the show that I was kindly allowed to produce with their presence. [They] are also generously skating to programs of special meaning to me, et cetera, and to me, as both a member of the show and as an audience, I think that is incredibly appealing.
Q: The condition of your foot?
A: Firstly, for 3 weeks after the Olympics… if you include the period during the Olympics, I’ve been resting for just under 4 weeks. As a result, I’m in even better condition than I was before the Olympics, and I’m getting to the state where, for my spins and steps, it not only doesn’t hurt, it also doesn’t hinder. So in terms of the phase of rehabilitation, I am doing steps and spins on the ice, and stamina training.
Q: When did you start rehabilitation?
A: It’s after 3 weeks of repose, so… around the end of March.
Q: When do you think you’ll begin to jump? What about your participation in the next season?
A: Regarding competitions in the next season, after the Olympics had ended, I brought up phrases such as “sense of accomplishment” and “happiness” far more, and I was saying something like I don’t know what I’ll do, but currently in terms of motivation, I do want to compete. About the Loop, Lutz and the Flip, [all three of which] use the right foot a lot in the jumping, I’m not even going through the motions of those jumps [at the moment]. I’ve decided to not touch them at all.
Q: About the decision to skate today.
A: Before the Pyeongchang Olympics, there were few different parts that hurt when I skate and I’m going through the steps one by one. But, this time, upon returning to the ice after a period of rest, when I realized that it didn’t hurt going through my steps, nor was I feeling any pain when I tried to start to spin, I was kindly allowed to produce this show. And so, having performed since I was very young, “during this period, I was looking up to these skaters!” or “I had been inheriting these things [from those skaters]” – I wanted people to see this, so I thought, I’ll skate.
Q: Programs for next season?
A: For the next programs, I haven’t yet decided on the music or anything, but I’ve made a firm decision in my mind to participate in competitions, so I must get started as soon as possible right now – is what I’m thinking. The motivation for doing competitions – how I might be able to create programs that would bring me victory – such considerations used to be part of the thought process, but hereafter, I would like to more honestly [face] my own feelings, and really consider songs that I want to take on, or programs that I want to show, while choosing my music and also doing my choreography.
Q: [By] participation, [you mean] beginning from the Grand Prix Series?
A: That’s what I’m thinking at present. But in regards to the Loop, Flip and Lutz – at the current state I haven’t been doing them at all, so I don’t know how it would feel when I do them, or if I would feel pain then. As such, I must think this over with that also in mind, but in terms of how I personally feel right now, I’m thinking that I would like to attend as many competitions as possible and bring my own performance.
Q: Is what you performed here related to your programs next season?
A: With feelings of gratitude in my heart toward all the teachers who’ve taught me thus far, I was kindly allowed to skate to my old programs. As I was approaching these old programs, I took care not to make it too much like my current style. The way I express myself is different from before, and I do think you can say that I have grown on the technical front, but I thought I really didn't want to show that off. I watch old clips of myself over and over again. In the end, skating with the image of my old self in mind – and my body might have internalized this [along the way] but – “The breadth of my expression has expanded.” That was what I thought after being given the chance [to revisit old programs] this time, so for myself going forward – it's weird to say "from myself to myself,” but I think that it will be of great impact to me.
Master Post (ongoing)
9000 in attendance [1]
Before the start of the show, music from Hanyu’s programs over the years played in the background as the audience came in
Before each skater performed, a different VTR introduced the special bond between the skater and Yuzuru, with Yuzuru’s own comments
Questions from Twitter [article from Hochi]
Q: There wasn’t a sense of insecurity (approaching the Olympics while injured)?
Q: Did you change your choreography of the Short Program for the Olympics?
Kids’ Questions Corner [article from Hochi]
[video link]
Q: What is something you treasure?
A: Pooh-san tissue case
[video link]
Q: I am practicing figure skating with Hanyu-senshu as my goal. When you were in fourth grade like me, what training were you doing? I am training the Double Salchow right now, so please see my form” and jumped on ground.
A: Since you can do it on land, you can do it! Double Salchow!
Q: I don’t have (enough) power in my legs...
A: Is that so? It looked fine to me! With jumps, it’s all about timing, you know. For example, doing it while counting 1-2-3 in your head. You can think a little bit in this direction.”
Video message from Stephane Lambiel
Footage of Stephane watching Yuzuru’s programs during his visit to Cricket (during summer off-season) [cr. hofburgmay@twi]
“See you soon”
Video message from Javier Fernandez
“You’ve recovered from your injury already, perhaps? You said [you were] ‘happy about Javi’s medal.’ That was also a wonderful moment for me. We were really good rivals. I always support Yuzu!” [cr. gototaisuke@twi] (EN > JP > EN alert...)
Yuzuru performed 3 programs sans jumps
The performances came as a major surprise even to the media, as the original plan was for him to sit out the skating parts, and he indeed sat out the opening, opting to move his hands in tandem with the other skaters on ice instead
“From Russia with Love” (2004-06)
Choreographed by Tsuzuki Shoichiro, who officially coached him between Grade 2 and 6 of elementary school. After he moved to Yokohama following the closing down of the Sendai rink, he continued to coach Yuzuru remotely, and Yuzuru and his mother visited him every weekend. Tsuzuki was indispensable to the building up of Yuzuru’s jumps and instilled in Yuzuru his love for the Axel.
[04 Japanese Novice B Winner] – The person ruffling Yuzuru’s hair at the end was Tsuzuki. The only fancam available of the performance.
“Zigeunerweisen” (2010-11)
Senior debut program
Johnny Weir, also participating in this show, was the designer of this costume [video, making of]. He is one of the two figure skating heroes that Yuzuru would always mention growing up
“Ballade No.1″ (2014-16, 2017-18)
Choreographed by Jeffrey Buttle, also present at the show
Yuzuru promises this will be the only time you get to see him skate to Ballade in the Zigeunerweisen costume... :P
Thanks for the translations to make a donation for Yuzu's parade. But I got message that said my credit card is not permited. Were you able to do the donation with a non Japanese credit card?
I checked with a couple friends with non-Japanese cards, they didn't have any problems with their payment going through. Did it go smoothly for other people, or did anyone else hit a snag in the process?
The parade planning committee has set up a donations page in support of the event. Since it is in Japanese, I figured I could put together a walkthrough while I go through the donation process. Step-by-step after the *keep reading* break. Feel free to reach out if you need help (ideally not as anon).
Here is the link to the page itself:
https://machi-kuru.com/fp/26
Someone told me there was no need to make an account, but I could not get around it myself. So...
Account Registration
Clicking that button should then take you to this login page, where you have to create an account if you do not have one.
Click the teal button on the left to create a new account:
Fill in the required information. The nickname, if you choose to leave a support message, is what will show up on the page when you donate. The postal code does not have to be Japanese, I filled in five random numbers and it went through. Click to submit and check your email inbox for confirmation
In the meantime, this is what the next page looks like:
Email confirmation
Email comes from "[email protected]" and looks something like this. Click the link to finish registration.
Clicking takes you to this page (now third box is outlined in red). Registration is complete.
Now go back to the donation campaign page:
https://machi-kuru.com/fp/26
Click this button again:
Now it takes you to the support options. There is only one support option – 1000 yen – but you can put in any amount you want that is above 1000 yen in the following page.
This campaign is not tax deductible but I don't think we care X'D
Fill in information (comment box is optional)
NO personal identifiable information for the comment box! Click the teal button at the bottom when you are done:
Inputting Payment Details
If you changed the donation amount, you should see it reflected in the first box. Fill in your payment details, and press the orange button to wrap up.
Done
The following page tells you that you are done!
(You should get a confirmation email for the donation)
Donation Confirmation Email
Said confirmation email ("Thank you for your support"). The thank you email (the gift for the donation) will be delivered in PDF form. If you donate before 4-22, you can expect it by 4-23. If you donate by 4-29, you'll receive it on 4-30.
夢を生きる (Yume wo ikiru) Chapter 10. Special Interview
Translated by gladi. Please do not repost without permission. And if you did enjoy these translations + the Ice Jewels ones, please consider buying the book in support (link here). Thanks!
Yuzuru speaks frankly about his figure skating experience so far; his limits as one single skater and going beyond by learning to rely on his team; the support of his mother... and (one-sidedly?) challenging Stephane to a spin contest at 10 ✨ – gladi
Chapter 10. Special Interview
Towards the Pyeongchang Olympics
What is the Olympic stage like to you? Compared to other competitions, what different significance does it hold?
On one level, it is a normal competition, so there is a part (of me) looking to regulate (myself) as such. However, to speak the truth, it is a stage that I aspire to. If asked whether I’m able to see it as part of reality, since I’ve already gotten the gold medal at the Sochi Olympics – the answer is no. Even after having experienced it once, even with the top world ranking, even if my personal best is higher than anyone else’s, I really feel as if I’m going to the Olympics for the first time after all.
It must feel good to be skating on that stage?
I’ve never once had the thought that it “feels good.” Joy, or sadness, is something that I only feel once (the skate) is over.
How does it feel in the midst of skating?
I am totally lost in it. I’m competing, that is all. There is a lot of pressure in that competition.
What kind of performance are you looking for on this stage, at the center of attention from around the world?
I just want to give a clean performance, really. That is the same as with any competitions. It’s not as if I am changing my music all of a sudden, and there is no difference compared to other competitions. Therefore, I can challenge the Olympics with my mind at ease. But it is true that there is a special feeling going in, and figuring out how to approach that is difficult. I’ll definitely be nervous, and there will probably be many things I’d regret over. I cannot be pleased without reserve, even with a clean performance. Because that’s never been the case so far.
Not even once?
There wasn’t ever a trial that I had been completely pleased with. Even at the NHK Trophy (where Hanyu broke the short program, free program, and combined score world records in November 2015), I had been reflecting post-performance – “I could have rotated more during the spins.” And for the Grand Prix Final (where Hanyu rewrote all three records in December the same year), my mental condition had been terrible. I was feeling all over the place, that “I must bring that (clean) performance two competitions in a row” – and that was a big reflection point. After that, there hasn’t been a competition where I put together two clean (short and free) programs. Every competition left behind points of frustration and issues to work out, so I’m guessing that the Olympics will be the same as well.
Hidden anguish
After the Sochi Olympics, the expectations surrounding you heightened on the one hand. How about your own expectation of yourself, has it increased?
That’s without a doubt.
But conversely, there were times when you became unable to trust yourself?
I don’t really like to speak of it, but recently I’m no longer able to resolve things on my own. In the past, I’d approached skating with a simpler mindset. Sort of like a sense of obligation, I was thinking “I have to do it.” Before likes or dislikes, it was the thought of “I’ve come this far, I can’t simply let go” and I was tied down by that. But now, I’m feeling none of that. I am skating, wanting to skate.
Do you think that is a good thing?
That is precisely the reason why I’m no longer able to resolve by myself. So far, even on my own, I’ve been able to overcome technical issues. However, when it comes to here (raising his hand to gesture around the top of his head), there are times when there is no other way but to seek help from someone. Left unattended, it becomes an issue and I get in over my head with my own feelings. There has been a good increase in my stamina, and if it were my old layout, I believe I could skate cleanly whenever. But now, I’m no longer keeping up (with what needs to be done) be it mentally or physically.
You were also struggling with the Quad Lutz.
Even though I’ve studied it time and time again on my own, once I start doing it on ice, thinking that I’ve hit the nail on the head, it all comes apart in a day. I repeated that too much and ended up not knowing what I should do. Previously, because skating used to be an obligation, even [at such times] I would feel like “I must do it.” And in any case, I was getting it before I reached the point of thinking that. But now, it’s different. It’s not so much that I am feeling my limits, but rather that I feel the limits of my own ability as one single person. I think that is probably because, so far, I haven’t been creating my jumps while being conscious of the fact that I’m jumping a quad.
In order to jump a quad, you have to make changes from the very foundations of how you jump, don’t you?
That’s right. There is a lot that has to be changed; I can’t create it, nor see it, alone. For the Toe Loop and the Salchow, I was able to reach them through physical ability. The mental images, too, came to take root. But with the Lutz and the Loop, I haven’t been able to make it that far. My skills and knowledge aren’t there yet.
A mother’s support
There are pains that no one quite understands, aren’t there?
The season right after the Sochi Olympics, I really felt that “no one understands such feelings.” In the past, I had dealt with pressure on my own as well. But we’re past that zone now. I understand this, so it’s okay. Because we’ve overcome as a team.
Did you use to feel a greater sense of loneliness in the past?
Right after the Olympics, I was saddled [with the feeling of loneliness] by myself. After the collision (with another skater at the Cup of China, November 2014), and after surgery (on the urachus) in December the same year as well, I was alone in a panic, feeling that “I have to do something somehow” “Because I’m the Olympic champion.” But, getting over that period, I no longer think I have to somehow get the job done all alone.
Immediately after your victory at the Sochi Olympics, you publicly declared your intent to defend your title as reigning champion. At the time, did you imagine that it would have been such a bitter path?
I was imagining more different kinds of hardships. Perhaps more strain in dealing with pressure – I was thinking that the Olympic champion must always win. But, that wasn’t the case. After the collision in China, I ended up in fourth place at the following NHK Trophy. Those thoughts disappeared following that. Although, after the clean performances of Ballade No.1 and SEIMEI (in the 2015-16 season), those thoughts came back again.
You mean you end up subjecting yourself under heavy pressure?
I think it was anticipation. Because “I can win” and I knew that clearly, so I end up desiring, hoping for it more than I had ever before. That is tough. On the other hand, (what needed to be done) became more difficult, so I am in a bind. There is (mental) conflict.
What is the driving force toward overcoming such conflict and anguish? What is the power that enables you to surmount wall after wall that is standing in the way?
If I get to the very bottom of it, it’s my mother.
Your mother lives together with you in Toronto and really supports you, right? What kind of existence is she to you?
My mother's purpose in life is no longer herself. That sensation, without any pressure, is something about a family that I’m thankful for. I’m truly being supported in so many, many ways.
You’re not fighting alone.
Up till Sochi, it felt like I was doing it alone. (Tears up) However, when I look back, there isn’t a single competition where I was glad to have done it on my own.
It feels reassuring to have someone who understands you.
Amazing, isn’t it? Oh wow, it’s the first time I’ve cried at an interview. (laughs) I’m surprised.
You’re carrying many, many thoughts.
The start of the season every year is extremely grueling. But the level of difficulty this season outstrips the past. Although it hasn’t ended yet.
It was a tough journey.
It has been tough ever since I started skating. However, I’m grateful to my parents for having me skate. Had my sister not been skating, I think I wouldn’t have been either. Probably it would have been baseball, and there would have been more studying. But, from when I began to skate, I had already decided upon the Olympic gold medal. I didn’t know it was such a difficult competition though.
A tempestuous figure skating journey
Looking back once more, it’s been a dramatic skating career.
Almost to the extent that even I myself am not keeping up. As if I’m on a roller coaster. When I can’t win I really can’t win; then I train a lot and once I get into really good shape, I get injured. Rinse and repeat. The gap between good times and bad is extreme, and there are times when even I myself can’t keep up.
Maybe even more dramatic than TV drama.
The timing of my rivals’ appearances is also that way. Patrick (Chan) before the Sochi Olympics was like that, Nathan (Chen) and Boyang (Jin) and so forth now are also like that. It was right after the end of the Sochi Olympics when Boyang did the Quad Lutz, hinting at the arrival of the Quad Era we have right now. It felt like the times were set into motion from that point on.
But I think Hanyu, you have been constantly leading the way and lifting the limits of this sport.
There’s no such thing, it was just the timing of it. Skaters like Boyang and Nathan who do the Quad Lutz came up, so I also challenged it. Then again, from the time when I was in elementary school, learning from Tsuzuki-sensei, I’d been told, “You’re going to have to go as far as Quad Axel, you know!" Also to go at quints. Of course, at the time, it didn’t feel real. After the Sochi Olympics too, I was thinking, “I guess the current state will continue on.”
The men’s field has evolved at a greater speed than expected these couple years.
Around the time of the Sochi Olympics, if you were able to do quads for the Toe Loop and the Salchow, you would win. Thinking about it now, those were good times. “Parisienne Walkway” (t/n his short program at Sochi, which scored 101.45 with a jump layout of 4T // 3A 3Lz3T, was a new world record at the time and the first time anyone in history scored above 100 points) and the like… that feels quite easy nowadays.
I wonder what sort of drama lies ahead?
It’s my own view, but when you balance the gains and losses in life, I think they’ll eventually sum to zero in the end. Although, whether the ups and downs are great or small – that depends on the person. As for me, the gap between the good and the bad is extreme. Perhaps the Sochi Olympics was too far into the positive, after that, I fell straight down. I’ve even thought of quitting skating many times – “Why am I skating? I'll quit” – and cried many times. But, after the drop, I get results and go up once again. And again, down. Hereafter too, I’ll probably walk a roller-coaster path of life.
Going beyond Pyeongchang
You’re aiming for the gold medal at the Pyeongchang Olympics, but do you feel like continuing to skate in competitions after that?
Speaking of my true thoughts, after the Sochi Olympics ended, I was thinking that I would retire at Pyeongchang. It has been quite grueling so far, and “I’m going to quit” has crossed my mind. But up until around the season before the last, I’d decided on keeping at it till Pyeongchang and then retiring. Then I realized. It felt like I was lying to my young self.
What did you realize?
Accomplishing back-to-back victories at the Olympics, winning at 19 and 23. After that, becoming a pro skater, skating for X years, getting married at Y years of age – I had it all planned out a long time ago. But, I thought, “Wait, don’t you want to land the Quad Axel?” From Tsuzuki-sensei, too, “(You should) become the first man to land the Quad Axel.” “Axel is the king of jumps.” So I think I have to give back to the Axel, and I mustn’t quit until I land it.
What will your skating career look like after that, what are your future dreams and goals?
University studies are fun. If we're just counting credits, I can take however many, but I want to study more properly and acquire knowledge. So, I want to continue on in university for a little bit more.
So you’ll continue to balance your skating and your studies for a while.
I’m interested in coaching eventually. So that I may be involved in [the development of] future skaters, I would like to leave behind data and teach. Thanks to the many shows I was kindly allowed to participate in from when I was young, skaters such as Stéphane (Lambiel) and Johnny (Weir), Plushenko, from a generation that I have admired, are cheering for me. If they would kindly lend me their support, I’d like to hold ice shows and workshops together.
It would be an occasion that pools the world’s greatest skills and talents.
When I was about 10, I saw Stéphane’s spins, right before my eyes. We competed, but he was extraordinarily skilled.
You competed with the best spinner in the world?
Yes. Stéphane was practicing for a show at Katsuyama (in Sendai where Hanyu used to train), and I started spinning next to him. I earnestly thought I could win. Eventually, he got serious about it. There was no way I could have won. But Stéphane remembered, and later on asked me, “You were that tiny kid who kept doing spins at the time, weren’t you?”
What a wonderful experience!
Competing against him, I resolved to get better at spins as well. You’ll definitely improve, learning from them. Assembling the legends and opening the best school ever – that’s the dream.
Performance of "Always with Me" (Itsu mo nando demo) by Yuko Kavaguti & Alexander Smirnov at "Prayers for Japan," an ice show in Saint Petersburg from Spring 2011. The pair performed the same program at the gala of the World Championships on May 1 that same year. Yuzuru later recalled watching its live broadcast on Fuji TV and being touched by it (Aoi Honoo, P70). Kavaguti & Smirnov will be joining Yuzuru at “Continues ~with Wings~” next week.
Thanks to tikudzi@twitter for sharing a precious old video.
Link on Vimeo
Do you have the translation if yume wo ikiru book? I have bought it but I don’t understand. Thank you so much
👍 Hi anon, I’m so glad you got it! I do encourage all of you to get Yume Wo Ikiru. It’s a great way to support Yuzu, and it’s also a beautiful book: http://amzn.asia/6ofkn57 ✨✨The first 9 chapters are from Ice Jewels Vol 1-7, Chapter 10 is an exclusive of the book, and the afterword is penned by Yuzu himself.
Chapter 6 - 9 have already been translated, by me unless otherwise noted, but titled under Ice Jewels:
Chapter 6 – Ice Jewels Vol 4 – October 2016 [1] [2] *translated by yuzusorbetChapter 7 – Ice Jewels Vol 5 – February 2017Chapter 8 – Ice Jewels Vol 6 – May 2017Chapter 9 – Ice Jewels Vol 7 – November 2017
I’ve recently done the afterword.
Chapter 10 up next and soon.Chapter 1-5 (AKA Ice Jewels Vol 1-3) will be later in the off season.
But first let me beat that nasty cold I got coming back from Milan D: …
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