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Dear Yuzuru Dear Pooh san

Haier's Yuzu calendar for November. Very cool!

Yuzu, tiny Zero-kun, and Kaku-chan welcoming November

November Greetings!

Happy November! 😊🍁

Machine translation from Japanese to English, inaccuracies exist [P. 76-81] Interview Marihiko Hara Meeting Hanyu-san became an inspiration for creating music Spoiler -Collapse to display content

A new message from the boss 😊

Yuzu and Reito wishing you Happy Halloween! 🦇

Cutie Ubutan is ready for Halloween! 🥰

Vampire Yuzu

Halloween fun

Yuzu's message against bullying 🙏 He had bad experiences and experienced bullying and unfair treatment at school as well as over the course of his competitive career. Despite that, he has always kept his pure, loving, kind, gentle heart. He persevered to become a beloved, unique, successful, and popular artist and performer who is a super star around the world. 😇

A Word From The Supervising Editor I first met Brian Orser at the Vienna Cup in October 1980. I had brought one of my female students to the competition, and as I happened to glance over at the men’s official practice session, I spotted an adorable young boy with an innocent, radiant smile. He looked as though he simply couldn’t wait to get out onto the ice and skate. He stepped onto the ice and glided effortlessly around the rink. Then, without so much as a warm-up, he launched into a magnificent double Axel. I was absolutely astonished. I remember thinking, "I can't believe such a wonderful skater has appeared in this world!" I had known his coach, Doug Leigh, for many years as a fellow coach, so I praised him enthusiastically: "You have an amazing student! You’re doing a fantastic job coaching him!" At the time, Brian was 18 years old. He was energetic, cheerful, and a skater whose genuine love for skating was immediately apparent. He went on to win silver medals at two consecutive Olympic Games: Sarajevo and Calgary. He became an undisputed superstar in men's figure skating. He was a stylish, charismatic skater whom everyone admired and looked up to. After retiring from competitive skating, Brian continued to delight audiences as a professional skater. Remarkably, even at the age of 44, he was still able to perform triple jumps! Eventually, much to the disappointment of his many admirers, he made the transition to coaching. Brian had enjoyed success both as a competitive skater and as a professional, but coaching may well be his true calling. Above all, he has a gentle, warm-hearted and considerate nature that brings happiness to the skaters and coaches around him. Drawing on his own extensive skating experience, he is also able to offer precise, practical advice on sound fundamental technique. He possesses all the qualities of an outstanding coach, both in terms of character and technical expertise. Despite all the success he has achieved, in the 34 years I have known Brian, I have never once seen him act arrogantly or put on airs. He is humble and treats everyone equally, without discrimination or distinction. Brian has love for everyone who loves figure skating. He is truly a friend worthy of the deepest respect. The members of Team Brian, who have gathered around him out of their admiration and affection for him, are equally wonderful people. David Wilson's choreography is beautiful, with its natural movements that flow harmoniously with the music. Tracy Wilson draws on her background in ice dance to provide precise guidance on edge work and offer invaluable advice. Jeffrey Dionisio is highly skilled at operating the harness (a device used to assist skaters with jumps), while Ghislain Briand excels in technical instruction. Shin Amano, who came all the way from Japan, and all the other coaches are first-class instructors in their respective fields. Yet, despite their individual expertise, they also share a remarkable sense of unity as a team. This wonderful sense of unity is undoubtedly a testament to Brian’s fine character. Brian is someone who genuinely loves people, without regard for his own personal gain or loss. I look forward to seeing him continue to nurture many more outstanding skaters—and, just as importantly, wonderful human beings. November 2014 Yutaka Higuchi, Figure Skating Coach

Yuzu showing off his new merchandise. So cute! 😍🥰😍

New merchandise is coming! Its theme is Prequel: Before the White. The goods are so nice! 😃 And Yuzu is sooo cute! 😍🥰😍

6.4 To Javier I have a student named Javier who can be quite a handful, yet he is truly adorable. Not long ago, I invited him to join me in conducting a figure skating workshop for children. He turned out to be a charming coach, demonstrating remarkable patience and understanding when working with young skaters of all skill levels. It's quite surprising, really. Who would have thought that someone who can be such a handful could be so thoughtful and caring towards others? In Spain, figure skating is still far from being a mainstream sport. However, over the next four years, I believe his active involvement will help raise the profile of figure skating throughout the country. Through strategic marketing and promotion, we hope to gradually create an environment in which professional figure skaters can make a sustainable living from the sport. This is another one of my projects. Beyond that, I believe he has all the qualities to become an excellent coach. I sincerely hope that one day he will have the opportunity to coach at the Cricket Club. 6.5 To Yuzuru If Javier is like an endearing son who keeps me on my toes, Yuzuru is like a twin brother—a mirror image of who I was when I was younger. Whenever I see you, I find myself thinking, "I know exactly how you feel" and "Ah, to be young again!" However, looking back now from the perspective of a coach, I’ve come to understand many things that I never noticed during my own competitive career. As a top-level athlete who competed on the world stage, I once believed I had mastered the art of managing pressure and pacing my energy during competitions. But I was wrong. When I was young, I felt compelled to deliver my very best performance every single time I stepped onto the ice, even during training. I believed that making the fans happy was part of my responsibility as a champion. In many ways, I was very much like Yuzuru is now. You always give everything you have, wanting to deliver your very best performance every single day, 365 days a year. But there is really no need to push yourself that far. If you try to maintain peak condition all the time, you may end up reaching your peak during practice and exhausting yourself before the actual competition. In fact, sometimes it is better to make a few more mistakes in the lead-up to a competition. That way, you can reach your true peak when it matters most. Of course, I can see that you are beginning to understand this as well, and I believe you are learning how to manage the natural ups and downs of your performance so that you can peak at just the right moment. You care deeply about the people around you, and I think you believe that if you can always show them your very best, everyone around you will be happy. That is one of the things I admire about your kindness. However, having to remain in the spotlight for the next four years is already a tremendous amount of pressure. You don't have to give everything your all, all the time. It's okay to relax. It's okay to let people see you make mistakes, too. The Japanese skating fans will wait for you. They will understand and empathise with how you feel, even when you are going through difficult times. And no matter what circumstances you find yourself in, Team Brian will always be there for you. At the next Winter Olympics, I look forward to seeing you deliver a performance at the very peak of your abilities, then pump your fist in triumph and exclaim, "Yes! I did it! I won!" I eagerly await that moment. To me, that would be the perfect ending for Yuzuru. 6.6 My Mission I feel happy working with children who strive and give their all, and I feel blessed to spend my days with figure skaters. My greatest goal is not to win competitions, but to enrich their life experiences. Since I have only been coaching for eight years, not many of my students have retired from skating yet. However, in a few years, many of the students currently at the Cricket Club will enter the workforce or go on to university. I hope that when that day comes, they will feel, "I gained something from Team Brian." Beyond simply teaching them how to become better skaters, I hope to equip them with valuable tools that will help them navigate life as individuals in the years ahead. That is my most important mission. A prime example is Christina Gao. Upon being accepted into Harvard University, she moved to Boston. On the day she left the Cricket Club, she expressed her gratitude to us, reflecting on how her time with Team Brian had helped her grow as an individual. Training in figure skating requires enduring rigorous training, making many sacrifices, and sometimes facing disappointment. Yet, I hope my students can learn from all these experiences and discover ways to make their own lives shine. This is a philosophy I learned from one of my earliest Japanese friends, Yutaka Higuchi (T/N: a former figure skater who trained at the Cricket Club from 1968 to 1971, won three consecutive All-Japan men's singles titles from 1969 to 1971, and is now a coach, choreographer, and figure skating commentator). Yutaka helped guide and edit this book. In fact, we have shared a close bond ever since I met him at the age of 18. As an outstanding coach and commentator, Yutaka has always been deeply passionate about figure skating and has dedicated himself to contributing to the sport. He has wonderful relationships with his students and remains genuinely invested in their lives long after they retire and embark on new paths. He continues to support them and takes great pride in their achievements. Whenever he speaks of these former students, his face lights up with pride. To him, it truly matters where they are now, what kind of work they do, and what kind of families they have built. I hope I can become that kind of coach, too. I've learned this not only from Yutaka, but also from my own coach, Doug Leigh. He shares the same philosophy as Yutaka. I believe this is truly important. As figure skaters, students may spend four, eight, or perhaps even ten years in the sport—a period longer than the time they spend at any single school. Sometimes, they spend even more time with their coaches than with their own families. We become their family, and the guidance I provide them here will become part of their lives in the years to come. This is something I always keep firmly in mind.

Final Chapter: After the Sochi Olympics, Towards the Future 6.1 A Double Podium at the 2014 World Championships After the Sochi Winter Olympics, one task remained for Team Brian: the World Championships in Japan. Following an Olympic Games, athletes often find it difficult to summon the motivation to compete at the World Championships, a challenge that coaches also find difficult to deal with. In fact, among the gold medalists across the four figure skating disciplines at the Sochi Winter Olympics, Yuzuru was the only one who decided to compete at the World Championships. It takes considerable courage for an Olympic champion to compete at the World Championships so soon after the Games, and I was truly proud of him for taking on that challenge. Javier, meanwhile, was motivated by the desire to demonstrate his abilities at the World Championships with a performance even better than the one he had delivered in Sochi. I was deeply impressed by the determination shown by both my students. Even I was so exhausted that, when I woke up in the morning, I could hardly bring myself to go to the Cricket Club. Yuzuru, in particular, was keenly aware of his responsibility to compete, especially since the World Championships were being held in Japan. He was someone who cared more about the people around him than about himself. He felt a deep sense of responsibility not only towards the fans who wanted to see him in person as an Olympic champion, but also towards securing Japan's quota spots for the following season. There was no need for me to motivate either of them as their coach. Both came happily to the Cricket Club every day, eager to practise their programs. World Junior Champion Nam Nguyen had also decided to compete at these World Championships. Having three of my students competing was truly exciting. What I looked forward to most, however, was seeing the Japanese skating fans. I wanted to see for myself how they would welcome Yuzuru after the Olympics and just how much of a superstar he had become. The atmosphere at the Saitama Super Arena during the World Championships was fantastic. It reminded me of my own days as a competitive skater. Back then, Canadian figure skating fans were much the same. They cheered not only for their own skaters, but also for those from Japan, the United States and Russia. Japanese fans truly understand figure skating. They recognize technically demanding elements and applaud at just the right moments. They don't simply look forward to the entertaining parts or applaud only when a skater performs a jump. Rather, they appreciate and enjoy every aspect of figure skating. During the short program, Yuzuru made an uncharacteristic mistake and finished in third place heading into the free skate, while Javier stood in second place. My challenge, therefore, came sooner than expected. In the free skate, Javier was scheduled to skate immediately after Yuzuru, just as they had in the short program at the Olympics. I had reflected on how I had failed to give Javier enough attention at the Olympics, particularly when I neglected to make sure his skates were properly secured. I was determined not to make the same mistake again. Even though Javier was skating immediately after Yuzuru, I couldn't afford to leave him unattended for even a moment. I carefully rehearsed in my mind the sequence of actions I would need to follow during the competition. I would be at the rinkside before Yuzuru took to the ice. When he finished his performance and came off the ice, I would hand him his skate guards before making my way over to Javier. I needed to check everything about Javier, from his skates to his expression and costume. After seeing Javier off onto the ice, I would briefly return to the Kiss & Cry area to exchange a few words with Yuzuru, then immediately head back to the rinkside. When Javier's name was called, I would send him onto the ice. I would then return to Yuzuru to give him a hug before immediately making my way back to the rinkside to watch Javier's performance. That was the plan I had carefully worked out. I had already told Yuzuru beforehand, "I'll come to meet you after you've finished skating, but I won't accompany you to the Kiss & Cry area this time." Yuzuru's free skate was outstanding, far surpassing his performance at the Winter Olympics. Chasing Tatsuki Machida, who had taken the lead after the short program, Yuzuru stepped onto the ice with a fierce determination to win. He delivered a performance that was quintessentially Yuzuru, brimming with fighting spirit. Yuzuru was the only one in the Kiss & Cry area. Since Machida had already finished his performance, Yuzuru's score would determine whether he could overtake him. When the final score was announced and it became clear that Yuzuru had moved ahead of Machida into first place, my attention was already focused on Javier. After seeing Javier off onto the ice, I returned to Yuzuru and gave him a hug. As expected, Javier's free skate was also far better than his performance at the Winter Olympics. He finished third overall, finally proving to everyone what he was capable of. I, too, was able to put into practice at the World Championships the lessons I had learned about coaching during the Olympics. Having guided both of my students onto the podium, I felt that I had witnessed firsthand just how much they had worked and how far they had grown. I usually skip the post-World Championships banquet, but this time I decided to attend. Both Yuzuru and Javier had made it onto the podium, and Nam Nguyen had also achieved a very good result. It was quite a grand celebration, complete with a live tuna-cutting demonstration. The three of us took a photo together, and it was only then that I truly felt the Olympic season had come to an end. 6.2 How the Programs for the New Season Were Decided The day after the free skate at the World Championships, which was also the day of the exhibition gala, I held a meeting with Yuzuru’s team. As the Olympic champion, Yuzuru was about to be swept up in a whirlwind of ice shows, celebratory events, and media interviews in Japan. Knowing that we wouldn’t be in touch for a while, it was essential to have at least a preliminary discussion about the following season, such as when the programs would be choreographed and who would be responsible for them. When the subject came up, Yuzuru showed absolutely no hesitation about whether to take a break in the year following the Olympic season. He had already decided to go ahead with creating his new programs in April. The short program would once again be choreographed by Jeffrey Buttle, while the free skate would be entrusted to Shae-Lynn Bourne. Yuzuru shared his thoughts on the short program, expressing a desire to explore a style he had never skated to before and to try something set to piano music. Jeffrey and I brainstormed various ideas, taking Yuzuru’s suggestions into account, and ultimately settled on Chopin’s Ballade No. 1. As for the free skate, Yuzuru himself said that he wanted to skate to The Phantom of the Opera. Shae-Lynn and I discussed how to combine and edit the music. Starting that season, the rules allowed the use of music containing vocals, so the extent and type of vocal elements became particularly important considerations. We played one piece of music after another on the ice, selecting the ones that resonated with Yuzuru and gradually refining our ideas. I felt completely comfortable leaving the choreography in the hands of Jeffrey and Shae-Lynn. After the long Olympic season, I decided to take some time off and enjoy an 18-day holiday. I told them, “Contact me if anything urgent comes up. But I really haven't had a proper holiday in a long time, so I hope I can get some good rest during this time." As it turned out, nobody called me during those 18 days. In the meantime, both the short program and the free skate gradually took shape. Everything should be fine, I thought. These two were among the world's very best choreographers and trusted members of Brian's team. Afterwards, I watched Yuzuru’s short program. Once again, it was a program with the potential to achieve the highest score in the world. It may be hard to believe, but Yuzuru’s performance, both in his jumps and his overall presentation, was even better than the previous season’s. Now in his second season as Olympic champion, Yuzuru was able to deliver this program so perfectly because he possessed a radiance that had emerged after years of refinement. During the opening 12 seconds, he did nothing more than stand still, yet the atmosphere in the rink gradually grew tense. Only a skater capable of radiating such a distinctive presence could truly bring this program to life. I experienced the same thing when I won the World Championships. In the season following my title win, I carried with me the pride of being a world champion, and even the way I felt skating on the ice was different. It wasn't a matter of technique; rather, something on a psychological level had changed the way I skated. That same phenomenon was now evident in Yuzuru's new short program. As for the free skate, having a new choreographer brought a fresh feel to the program. The music arrangement might also evolve as the season progressed. While the rules now permitted the use of music featuring vocals, everyone was still in the experimental phase, trying to figure out the optimal balance. Unlike in ice dance, having vocals throughout an entire four-and-a-half-minute program would probably become rather overwhelming and might not complement the jumping elements very well. Instead, vocals could be incorporated into sections where the atmosphere builds, such as during the step sequence, to heighten the mood. In particular, the music from The Phantom of the Opera includes vocals, which clearly sets Yuzuru's program apart from those of skaters in previous years. Shae-Lynn, Yuzuru, and I each shared our ideas and made adjustments while carefully considering the distribution of points for the jumping elements. 6.3 A Time to Push Beyond the Limits and Try New Styles Yuzuru has his own unique style. Whether he is gliding across the ice or performing, he moves according to his instincts, expressing himself freely and without restraint. For a skater, this is a very comfortable way to skate, and it also allows him to focus fully on executing his quadruple jumps. I respect and understand Yuzuru's desire to skate in his own style. During my own competitive career, I also skated to Frank Sinatra’s "New York, New York" and Gene Kelly’s "Singin’ in the Rain." I was particularly good at performing fast footwork in time with the music. It was a style I had always enjoyed, and most of my programs were along those lines. However, after winning the silver medal at the 1984 Winter Olympics in Sarajevo, people around me began telling me, "If you want to compete in another Olympics, you should try programs of different styles as well." At first, I thought to myself: "I have my signature triple Axel (3A). As long as I land all my jumps successfully, shouldn't that be enough?" But over the three years following 1984, I performed programs with a different style each season. I also challenged myself with slower, more lyrical music and classical pieces, showing the judges that I was capable of handling a wide range of musical styles. Then, at the 1988 Winter Olympics in Calgary, I returned to the style I was best at. Yuzuru is no exception. Over the next three years, he should explore and experience a wide variety of performance styles before returning to the style that suits him best at the PyeongChang Winter Olympics. If he continues to perform in the same style, people may get the impression that his repertoire and range as a skater are rather limited. Therefore, if Yuzuru intends to continue competing for another four years, he needs to challenge himself with programs in a variety of styles. Yuzuru is currently at a crucial stage in his career, a time when he needs to push himself to the limit. As an Olympic champion, he needs to show everyone his impressive and charismatic side. From that perspective, maintaining the same style as last year would be the safest option, and he would be able to land his jumps consistently. If his goal were simply to achieve the best possible results this year and next, that would probably be enough. However, I am thinking about Yuzuru four years from now. That is why the next three years should be a period of exploring new styles, even if it means pushing himself beyond his comfort zone. Perhaps he might make mistakes on his jumps because he is not yet accustomed to the style of a particular program. I understand all too well the fear of not being able to deliver results. However, if his performance style never changes, by the time the PyeongChang Olympic season arrives, people may find themselves thinking, "Oh, it's this same kind of program again." In that situation, the risk would actually be much greater. Therefore, I hope that Yuzuru will approach both of his programs this year with a fresh style, taking his performance to an even higher level. Four years from now, I look forward to seeing Yuzuru evolve into an even more mature skater. Yuzuru and Javier, particularly Yuzuru, are now in a position to lead the world of figure skating. Yuzuru has the ability to steer the sport in the direction he envisions, and he also carries the responsibility that comes with such a position. At present, Yuzuru is unrivaled. He stands at the very forefront of men's singles skating. One thing I find particularly exciting is seeing Yuzuru's jumping technique continue to improve. He is already working on the quadruple loop (4Lo) and quadruple Lutz (4Lz), and I am sure that before long, he will be attempting these jumps in competition as well. For the 2014–2015 season, he plans to include three quadruple jumps in his free skate. In his short program, he also intends to place a quadruple jump in the second half, with the goal of breaking the 100-point mark. I was there to witness the moment he first landed a quadruple Lutz during the 2014 off-season. Rather than simply receiving an email saying, "He landed the quadruple Lutz," I was able to see it with my own eyes. I was so happy. He was practicing for an ice show in Japan, and he performed the jump under the show's lighting. It was magical, beautiful, and deeply moving. (T/N: The book mentioned 4Lz, but it was probably an editing mistake. In Yuzuru's "Prologue" booklet, he first landed a 4Lo in Japan in 2014 and a 4Lz at the Cricket Club in 2017)

Happy Halloween! 🦇

5.5 Approach to Improving Scores So, how can one improve their score? We have done some research, and Team Brian places great emphasis on both Program Component Score (PCS) and Grade of Execution (GOE). When it comes to PCS, ultimately, it all comes down to basic skating skills. Tracy Wilson is particularly good at coaching this aspect. A skater's score depends on how well every movement in the program is executed. Therefore, once their skating skills improve, all of their PCS marks can rise dramatically. I believe Yuzuru must have felt this quite strongly over the past two years. Javier also improved his PCS in Toronto. Three years ago, Javier's PCS was so low that he was only getting around 5–6 points. I told him, "This is the level at which the judges simply overlook you," and had him start working on his skating skills from scratch. Earning positive Grades of Execution (GOE) is also crucial. If you receive positive GOE on all 12 to 13 technical elements, you can gain more than 20 points. Furthermore, during my four years working with Yuna Kim, we observed a correlation between GOE and Program Component Scores (PCS): high-quality technical elements tend to contribute to higher overall PCS. These components include skating skills, transitions, performance, and choreography, all of which ultimately play a role in determining the outcome of a competition. Many skaters and coaches tend to place too much emphasis on jumps. While everyone focuses heavily on the quadruple toe loop (4T) and quadruple Salchow (4S), Team Brian places greater importance on every aspect of a program. Spins, in particular, are crucial. There are six spins in total across the short program and free skate, and one of Team Brian's major goals is to achieve Level 4 on every spin and earn positive GOE on all of them. If we can improve the quality of each spin and gain just one additional point per spin, that would amount to six extra points. That's a substantial number of points. This is why I always remind my skaters not to neglect spin practice during training. Incidentally, Yuna Kim initially wanted to train for a triple Axel (3A). At the time, however, we placed greater emphasis on jump quality and maximizing Grade of Execution (GOE) scores. We also felt that pushing her to train the 3A could risk injury or cause unnecessary physical exhaustion, so it wasn't a wise decision. I told her, "If you want to work on the 3A, you should save it for after winning the Vancouver Olympics." Perhaps this was also one of the reasons she eventually left Toronto. She already had an excellent double Axel (2A). Although she had the potential to master the triple Axel, I deliberately chose not to let her train for it. I believe my strategy was the right one. It was precisely this focus on improving GOE and PCS that enabled Yuna Kim to win the Olympics by such a commanding margin. Overall, I believe the current scoring system has improved the way figure skating is judged. Back when I was competing, the top podium positions were consistently occupied by the same two or three elite skaters. Today, however, any of the top dozen or so skaters has a realistic chance of reaching the podium or even winning at any given competition. The new scoring system goes beyond the traditional categories of "Technical Merit" and "Presentation" used under the old system. It evaluates dozens of individual elements, including jumps, spins, and skating skills, to determine a skater's final score. It is also a relatively open system, regardless of a skater's nationality or background. Since its introduction, we have seen the emergence of world champions such as Switzerland's Stéphane Lambiel, Olympic champions from Japan and South Korea, and World Championship medallist from Spain. At the same time, however, we must not ignore the voices of figure skating fans. If programs that fail to win the audience's approval nevertheless receive high scores, the sport risks becoming insular and disconnected from its fans. I believe that spectators' expressions of dissatisfaction with the judging are also important forms of feedback that deserve to be heard. 5.6 Off-ice coaching Off-ice training is another area that coaches must not overlook. When I was an athlete, I underwent rigorous strength training, although the methods were not particularly scientific. Nowadays, I place great importance on Pilates and yoga. These forms of training are essential for figure skaters, as they combine building physical strength with improving flexibility. It is worth noting just how much muscle strength and flexibility figure skaters actually need. For female skaters, it is important to maintain an appropriate amount of muscle while keeping the body toned and supple. In figure skating, having more muscle does not necessarily translate into better performance. Yuna Kim, for example, has a very slender yet powerful physique without being overly muscular. Pilates helps build a strong, well-conditioned body without developing bulky muscles. Yuzuru is also ideally suited to figure skating, with his slender yet strong physique. His body is still developing, and he will naturally become stronger as he grows. He has inherited an excellent physique that is naturally lean and healthy. Javier also inherited some excellent genes. He has a similar build to his father and was naturally born with a low body-fat percentage, along with lean, supple muscles. This is an ideal physique for a figure skater. Moreover, he can eat whatever he likes without gaining weight. Javier really is a lucky guy! 5.7 How to deal with the media If there is one thing that did not exist in my day, it is social media. I advise my students to avoid using social media as much as possible. While it may serve as an ideal platform for those wishing to express their personal opinions, much of the content shared there tends to be negative. If coaches or athletes come across such comments, they might perceive them as one-sided criticism directed at them. For this reason, I encourage them to stay away from social media. If they happen to encounter such comments, I simply tell them to disregard them. I have already recounted in Chapter 1 how the media reported on my silver-medal finish at the Calgary Olympics. From that day onward, I became determined to protect my athletes from the media, while also making an effort to build relationships with journalists who could truly understand our thoughts and views and convey them accurately. In fact, there are journalists who are trustworthy, respectful, and capable of handling media coverage in a calm and objective manner. The media are indispensable. For athletes, news coverage on television, in newspapers, and in magazines can serve as a source of motivation, encouraging them to work harder and strive for improvement. Therefore, there is no need to avoid the media entirely. However, building relationships based on trust is crucial. Ideally, these relationships should be rooted in mutual respect. 5.8 Mental Management When I was still competing, I received guidance from a mental coach, and I benefited tremendously from the experience. Thanks to what I learned back then, even now that I am a coach, I can confidently send my skaters out to compete. I believe that as long as Tracy and I are here, we are fully capable of looking after the skaters' mental well-being. However, for skaters who frequently struggle to perform to their full potential in competitions, having a mental coach may become essential. In such cases, not just anyone is suited to the role. The person must be a perfect fit for the team's dynamics and be able to establish a strong rapport with the skaters. It is a very delicate matter. To this end, I even developed an iPhone app called Peak Performance Skating. I wanted skaters to be able to use it to maintain their composure and a positive mindset. Developed in collaboration with a psychologist, the app is designed to facilitate "mental imagery" training. The app uses voice narration to guide skaters through a visualisation of their performances, including their skating movements, jumps, spins, choreography, the audience's reactions, the judges' evaluations, and even the pose they strike at the end of their programme. This helps skaters visualise themselves performing in an actual competition. I have already made the app available to all the skaters on Team Brian. Although it was originally developed for my own students, it is now available for skaters all over the world to use. Skaters at every level, not just elite competitors, experience nervousness before competitions. So, it would be wonderful if this app could be of help to as many skaters as possible. In reality, mental management is a fairly straightforward concept. It is essentially about how you prepare yourself to remain calm and composed when it comes time to compete. Think of giving a presentation at work: you might go over your notes countless times, make sure your suit is properly ironed and comfortable to wear, double-check the timing, and make all the necessary preparations. Figure skating is no different. When athletes prepare thoroughly beforehand, they can enjoy the competition and perform to the best of their abilities. This is the foundation of mental management. Beyond that, it is our responsibility as coaches to observe the athletes during their daily training. As long as they consistently appear relaxed and natural, there is nothing to worry about. 5.9 A Community That Brings Fulfilment to Coaches As the head coach of Team Brian, there is one aspect of my work that I feel I have done particularly well: creating a sense of community at our rink. I have brought together people whom I trust, people with whom I learn and work alongside. Together, we form a close-knit team, sharing a common purpose and a sense of being in this together. I believe this is the secret behind my success. I brought together a team of trusted professionals to build Team Brian. Tracy and I make it a priority to ensure that everyone on the team feels happy and fulfilled in their work. When people feel that their contributions are not appreciated or that they are unable to do the things they truly enjoy, dissatisfaction and even jealousy can arise. Whenever I sense that something is amiss, I address it immediately by speaking directly with the person concerned. Communication is key. Although misunderstandings and conflicts between skaters and coaches may occasionally arise, we work through them through open and honest communication. When a talented skater first joins the team, they train with several different coaches before we select the one best suited to work with them. Naturally, the coaches who are not chosen may feel a little jealous. After all, everyone wants the opportunity to coach a top-level skater and accompany them to international competitions. However, when another skater joins the team, we can give a different coach the opportunity to take the lead. Even if it is only a short-term coaching arrangement, that is perfectly fine. What matters is maintaining open communication and making sure that no one is left feeling dissatisfied. Much like running a business, it is essential to maintain regular communication and foster a team environment where everyone feels comfortable speaking openly and discussing things freely. At the heart of this team, a community bound by a shared sense of purpose, is the belief that every coach is part of the success of Yuna, Yuzuru, Nam, and Javier. Whenever Yuzuru or Javier successfully lands a quadruple jump during practice, all the coaches applaud and cheer them on. Yuzuru and Javier, in turn, exchange high-fives with the coaches. These interactions help boost the skaters' motivation, making every coach feel that they have contributed, in their own way, to the skaters' achievements. I believe the coaches also feel that they are part of the Cricket Club's success. They genuinely enjoy training and working alongside great skaters as members of the same team, sharing in their collective achievements. Otherwise, I don't think it would have been possible for not a single coach to leave the Cricket Club in eight years! The Cricket Club is the ideal place for coaches to coach. And it is precisely for this reason that it has also become the ideal place for skaters to train.

Chapter 5: Team Brian’s Coaching 5.1 The Lineup of Team Brian In the eight years since Team Brian was established, we have guided Yuna and Yuzuru to Olympic gold medals, and Javier to a World Championship medal. Together, we have created the most beautiful harmony. I would like to take another look at what has enabled Team Brian to remain so united. In the spring of 2006, when I received a call from Tracy Wilson and decided to become the head coach at the Toronto Cricket Club, my first priority was assembling a team. The first thing that came to mind was the teaching philosophy of my mentor, Doug Leigh. Although he was the head coach for all his skaters, he didn’t personally oversee every aspect of their training. When it came to choreography, he recognized that it wasn’t his strongest suit and brought in professional choreographers. Likewise, if his expertise in teaching spins wasn’t at a world-class level, he would hire a specialist. He applied the same principle to any area in which he felt his own expertise fell short. Figure skating is about far more than just skating and jumping. It encompasses a wide range of elements, including spins and footwork, and skaters need to master every aspect of the sport. Just as importantly, they must be able to bring all these elements together to deliver a compelling performance. Like Doug, I knew that I could not coach every single element myself. Jumping had always been one of my strengths as a skater, so I was certainly capable of teaching it. But, to be honest, I felt that jump instruction could just as easily be left to another coach. I saw my role as recognising each skater’s abilities, identifying their strengths, and coordinating the efforts of all the coaches and skaters to ensure everything worked together seamlessly. With this in mind, I brought together a diverse group of talented individuals to join Team Brian and work as part of the coaching team. For choreography, I had three world-class choreographers: David Wilson, Jeffrey Buttle, and Shae-Lynn Bourne. All three were based in Toronto, so I could call on any of them whenever I needed choreography for my skaters. For spins, I brought in Paige Aistrop (who had previously coached Nobunari Oda) as our specialist. She has an excellent understanding of the spin requirements, which change from year to year, and helps our skaters consistently attain the highest possible level: Level 4. Even when we were competing overseas, I could email Paige immediately whenever something was unclear. For example, I would write: “This spin was given a Level 3 in the short program. Could you check the footage online and let me know what went wrong?” Paige would promptly review the spin positions and number of revolutions, then get back to me with her feedback. This allowed us to make the necessary corrections in time for the free skate the following day. Of course, my greatest partner was Tracy Wilson. I often travelled overseas with my skaters for competitions, so Tracy, who was capable of taking care of practically everything in my absence, was essentially the backbone of the Cricket Club. Whenever I accompanied Yuzuru to competitions, Tracy would look after Javier. It’s much like running a business. To manage a company effectively, you need experts in different fields—marketing, finance, advertising, and so on. By bringing together top talent in each area, you create an organisation that can operate more effectively. The better the people you assemble, the stronger the organisation becomes. To develop world-class skaters like Yuzuru, Javier, and Yuna, you need a system comparable to that of a leading company. You cannot expect one person to do everything. Having a strong team around you is essential. In the summer of 2014, Lee Barkell joined our coaching team. He was an accomplished coach who had guided Jeffrey Buttle to the 2008 World Championship title. Although he had previously been coaching in a small town north of Toronto, he decided to become part of Team Brian as well. With his particular expertise in jump technique, he was a valuable addition who further strengthened our team. With such a diverse group of coaches, whenever a new skater joins us, I have them work with different instructors to see who they are most compatible with. We then decide who will serve as their head coach, who will oversee their spin training, and who will focus on their skating skills, building a coaching team tailored to each skater’s needs. For example, I coached both Javier and Yuzuru personally, while Tracy Wilson was responsible for their skating skills and Paige took the lead in their spin training. Several choreographers were also involved in the process. Of course, there are also parents who insist on having Brian coach their child personally. In such cases, I arrange group training sessions and carefully observe the child before giving the parents my honest assessment. I might tell them, “I’ll work with your child directly from time to time, but I think this particular coach is a better match for them and brings out their full potential.” Today, more than twenty coaches are part of the Cricket Club, all of them outstanding professionals. They include coaches who specialise in developing young skaters, as well as experts in specific technical disciplines. Remarkably, not a single coach has left the team in the past eight years. We have truly been blessed. 5.2 Presentation, Management, Motivation Through eight years of coaching, I have distilled the three main responsibilities of a coach into three key areas: presentation, management, and motivation. These three pillars form the foundation of my coaching philosophy. First, let us look at presentation. Take the example of 15-year-old Elizabet Tursynbaeva from Kazakhstan. Even before joining the Cricket Club, she was already capable of landing a triple Lutz (3Lz), but her programs always seemed to be lacking something. The music lacked impact, and neither the technical content nor the choreography was top-tier. In 2014, she joined Team Brian, with David Wilson taking charge of her choreography. Her costumes and technical details were carefully refined, and we worked to give her the right packaging to bring out her natural charm and strengths. As a result, she quickly achieved third place at the Junior Grand Prix event held in Nagoya in September 2014, while taking first place in the short program. By “presentation,” I mean teaching and guiding students to skate properly. It involves creating programs and performances through outstanding music and choreography, incorporating all the necessary elements, such as a well-established, traditional program structure and beautiful costumes, and refining them through repeated practice. Of course, technical instruction is equally indispensable. Even a single skill that has not been fully mastered can undermine the entire package. The aim is to improve the quality of jumps, spins, and footwork, while ensuring that transitions and skating are executed elegantly. There is no need to become overly preoccupied with perfection. What matters most is the overall completeness and coherence of the program. This summer, I held detailed meetings with Nam Nguyen, Javier, and their costume designer. We began by reviewing the designer’s sketches, carefully communicating our requirements to ensure that the costumes’ designs and colors complemented the style of the music and the skaters’ movements. After all, costumes are an integral part of a program’s performance. Yuzuru, on the other hand, has his own preferences and aesthetic vision, so he selects his own costumes, choosing refined and beautiful designs. We have no particular concerns in that regard. Next comes athlete management. This involves drawing up weekly, monthly, and annual training plans, deciding which competitions the skaters will enter, and handling all the necessary arrangements and preparations. Whenever an issue arises, I take responsibility for dealing with it. It is much like managing a business. Managing media-related matters is also part of athlete management. For instance, in August 2013, ahead of the Olympics, we coordinated a joint media session for Yuzuru, arranging for a large group of Japanese journalists to enter the Cricket Club and conduct interviews. We informed the other skaters of these arrangements as well. By handling all the media interviews at once, Yuzuru was then able to put his media commitments behind him and focus on planning his training schedule without further distractions. Managing an athlete’s well-being is also part of athlete management. Beyond ensuring that skaters get adequate rest and receive massages when needed, I also keep an eye on their overall appearance, including their hairstyle and attire, offering advice if something doesn’t look quite right. We also take the skaters' financial circumstances into account. Since every skater comes from a family with different financial means, at the beginning of each season, we ask them, “What is your budget, and how much coaching would you like to receive?” We then arrange a training program that fits within that budget. Since fees are calculated according to the amount of coaching time received, I explain the arrangements to each skater clearly. For example, I might say, “I will coach you for 30 minutes a day, Tracy will coach you twice a week, and the spin coach will work with you once a week.” Some parents, regardless of the cost, want their children to receive as much coaching as possible, work with the best choreographers, wear the most exquisite costumes, and have access to the very best of everything. On the other hand, some parents need to keep their spending within the limits of their family budget. Finding ways to ensure that these skaters can hold their own against their peers, despite having more limited financial resources, is where a coach's true ability comes into play. This is why we teach our students to train independently, even when their coaches are not constantly by their side. In fact, the more elite a skater is, the more capable they become of training independently. Yuzuru is a good example. Even when Tracy and I are both at the rink, he receives only about 30 minutes of direct instruction per day, or perhaps a little longer—up to an hour. Of course, even while I am coaching other students, I keep an eye on Yuzuru as he practices. Whenever I see something that warrants a suggestion, I call him over and point out what he should pay attention to. There is no need for me to supervise his entire practice session, because Yuzuru has a clear understanding of what he is working on and knows exactly what he needs to do next. On the other hand, Javier received very little funding from the Spanish Figure Skating Federation, so for many years, he had to pay his own skating expenses. Consequently, he had to earn money through ice shows and competition prize money to cover his training costs. In a way, this actually worked to his advantage. The federation often paid us late for intensive training sessions, but ever since Javier began using his own earnings to cover his training expenses, he has made a point of arriving at the rink on time. His sense of responsibility has grown considerably as a result. My father also had to make many sacrifices to cover the costs of my figure skating. He would sometimes juggle two or three jobs at once, keeping himself incredibly busy. Meanwhile, my mother balanced her own work with driving me to the rink and taking care of the household. Seeing how hard my parents worked, I practiced skating with a deep sense of gratitude. Figure skating is undeniably an expensive sport and a considerable financial burden, but that does not mean that only those from wealthy families can afford to pursue it. Taking each skater's financial circumstances into account and finding ways to help them continue skating is also an important part of a coach's responsibilities in athlete management. The next essential element is motivation. This is something I learned from my own coach, Doug Leigh. When I look back on Doug, what stands out most is his boundless energy. Whenever we went to the rink for practice, Doug was always the first one onto the ice, skating with more enthusiasm than anyone else and coaching us along the way. Even when the skaters grew tired, started slacking off, or simply wanted to head home early, Doug was always the one enjoying skating the most. His enthusiasm was contagious, and the skaters were naturally drawn to him. Inspired by his energy, they would happily continue skating and regain their focus. Keeping students motivated is a crucial responsibility for a coach. To give a specific example, on days when a skater is struggling with their jumps, insisting that they continue practicing them would only cause their motivation to drop. We don't let our skaters do that. Instead, we immediately give them other exercises or elements to work on. Furthermore, skaters can become discouraged for all sorts of reasons. When it comes to reading people and recognizing their emotional states, no coach is better than Tracy. As a mother of three herself, Tracy understands the feelings of teenagers, the concerns of parents, and the perspectives of both elite athletes and coaches. Whenever we sense that a skater is under pressure, Tracy and I invite them into the office for a heart-to-heart conversation. “It's okay. It's perfectly normal to find things difficult, and it's only natural to feel under pressure. That's why we're here by your side. Just follow your training plan, and everything will be fine.” Once the competition season begins, people frequently drop by the office to talk about their personal concerns, so we become extremely busy. For the younger skaters, Yuzuru and Javier are undoubtedly a great source of motivation. Watching the two of them, these young athletes naturally aspire to become skaters just like them. Beyond their achievements in figure skating, their manners and attitude toward training also make them excellent role models. They are admirable not only as skaters but also as people. In this regard, Yuzuru is particularly exemplary. Whenever he arrives for practice, he makes a point of greeting every coach before beginning his own training, even those who are not directly involved in coaching him. This is what we call good manners and courtesy. Although this is a custom rooted in Japanese culture, I believe the Japanese should take even greater pride in it. Javier, too, is always diligent about greeting everyone. Seeing this, the younger skaters naturally become more motivated to train hard and more conscientious about observing proper etiquette themselves. 5.3 How to Work with Two Top Skaters When it comes to Yuzuru and Javier, I don't take sides. I make sure to treat them both fairly and maintain a balance. Sometimes Yuzuru needs more of my attention, and at other times, it's the other way around. When coaching two world-class figure skaters, the most important thing is to remain attentive and observant, making sure that nothing escapes my notice. If I get frustrated or find myself stretched too thin, Tracy will step in to help. Sometimes choreographer David, Jeffrey, or someone else will take over and handle things. Since we have several coaches on the team, there's always someone available to step in and take care of things whenever I need help. Besides, the way these two interact during training is wonderful. If Yuzuru falls, Javier will rush over to help him, and vice versa. If Javier lands a quadruple jump, Yuzuru will applaud him, and vice versa. They have tremendous respect for each other, there's no tension between them whatsoever, and they genuinely like each other. The two of them have completely opposite personalities, so naturally, my coaching approach differs slightly for each of them. One example is how I help them set their goals. When I sit down with Yuzuru to discuss his future goals and plans, he always has his own ideas and suggestions to offer because he has a very clear sense of what he wants to accomplish and the steps he needs to take to get there. Whatever Yuzuru wants to pursue, Team Brian listens to his dreams and aspirations. It wouldn't be right for me to simply order a skater around, telling him, "Do this, do that." That's something I learned from my own coach when I was young. It was the same when I first started coaching Javier. We would sit down together to map out a plan, but with him, I had to follow up every step of the way. I would have him write down his goals on a piece of paper, which I would then keep. If he skipped a training session, I'd pull out that plan and say, "You said you'd be here to skate on Wednesday morning, but you didn't show up. This is your plan, isn't it? These are the things you said you wanted to do. So where were you?" I knew him well enough to guess that he'd probably stayed up all night playing video games, so I'd tell him, "Listen, I've got eyes and ears everywhere. I know everything." When it comes to technical coaching, I tailor my instruction to each skater’s individual style and habits. By the time skaters come to train with me, they have already established their own jumping techniques and styles. My role is simply to make adjustments rather than completely change the way they skate. The same applies to both Yuzuru and Javier. Yuzuru and Javier have very different jumping styles. If I had to compare Yuzuru's jumping style to someone else's, I'd say it resembles Yuna Kim's in some ways, though it is still distinct from hers. That’s why I never tell them to imitate another skater’s jumping technique, nor do I ask them to adopt my own methods. I’ve even told Javier, “You don’t need to imitate the way Yuzuru executes his triple Axel (3A).” Even though Yuzuru’s triple Axel has many qualities that can earn positive Grades of Execution (GOE), there would be no point in having Javier try to copy it. When Javier lands his quadruple toe loop (4T), it’s as if he’s skimming across the ice, whereas Yuzuru lands as though he’s descending from the sky. Before attempting a quadruple Salchow (4S), Javier performs three turns, while Yuzuru takes off after just one. For each of them, their own approach is the right one. As for whether these individual habits are truly the best fit for each skater, I sometimes experiment to find out. I once had Javier try jumping the way Yuzuru does, but it didn't go well. This confirmed to me that their bodies had already internalized their own particular take-off and landing techniques, and that these were what worked best for each of them. There's an English saying: "If it ain't broke, don't fix it." If something is broken, then by all means, fix it. But if it isn't broken, there's no need to tinker with it. So I leave those aspects of their technique alone. What I do pay attention to is the current scoring system, which is very clearly defined. So I work on incorporating difficult steps into their jump entries to earn additional points, helping Javier maximize his score wherever he can. 5.4 Adapting to the Changes in ISU Requirements Let’s talk about competition strategy. The scoring system changes every year, which I imagine can be quite difficult for the general public to understand. My philosophy, however, is that if the ISU (International Skating Union) wants to introduce changes, we must adapt to them. I have no intention of resisting those changes. If the ISU wants to see higher-quality spins, then I will teach my skaters how to execute them. Whether competing as an athlete or working as a coach, I believe that adapting to change is essential. My own team, Team Brian, is constantly evolving as well. I therefore accept and seek to understand the ISU’s intentions. I try to identify exactly what they are looking for and communicate those expectations clearly to my skaters. In the 2014–15 season, vocal music became permitted in competition programs. Since this was a change the ISU wanted to introduce, I felt that we should embrace it and give it a try that season. To make sure I understand exactly what the ISU is looking for, I make an effort of speaking with as many people as possible. Whenever I attend competitions, I seek out opportunities to talk to a wide range of people, including judges, technical specialists, skating federation officials, and fellow coaches, so that I can get a sense of how things are changing. I also regularly tell them, “Please feel free to give me a call or send me an email if anything comes up.” I make a point of asking questions and listening carefully to learn about emerging trends under the new scoring system, as well as the finer details of the rules. On another front, I also travel to countries where figure skating is still developing to hold seminars on the scoring system and competition rules. These seminars are intended not only to support the ISU but also to benefit coaches in those countries. During the 2014 off-season, for instance, I visited several Scandinavian countries, as well as the Czech Republic, Poland, Slovakia, and Slovenia. Coaches, skaters, and judges from these countries attended my seminars to learn about the new standards. Through these sessions, I also had the opportunity to learn from coaches in different countries, as people from different backgrounds often bring different perspectives. Once I have familiarized myself with the new rules, I apply the updated scoring system into my coaching at the Cricket Club. “In your short program at the last competition, you lost points on this element. Can you explain why? Do you understand what the judges were focusing on?” The judges’ score sheet is essentially a “diagnostic report” that highlights the areas we need to work on. We have to study it carefully and try to understand what the judges were looking at and what they were focusing on at each moment, so that we can analyse the reasons behind the marks they awarded. It is important to look at things from the judges’ perspective. Generally speaking, the judges are right. That summer, we invited Anett Pötzsch, a member of the ISU Technical Committee from Germany. She was the women’s singles champion at the 1980 Winter Olympics in Lake Placid and served as the men’s singles technical specialist at the Sochi Winter Olympics. She spent two weeks at the Cricket Club, advising us on changes to the rules and how they should be applied. Sometimes the scores we receive at competitions turn out differently from what we expected. When that happens, I immediately seek feedback from the people around me. At the end of competitions, the judges hold round-table discussions to review the scores. As soon as these meetings are over, I make a point of speaking with the judges to hear their thoughts. For example, they might say, “Yuzuru became a topic of discussion at the meeting just now. This is why he received that particular score.” I take note of this feedback and pass it on to him during training. Feedback is important in any line of work. We make a plan, put it into action, and then review the results and make adjustments accordingly. This is particularly true of new programs. Until we actually enter a competition, we cannot know how the Program Component Scores (PCS) will be awarded. If the scores are lower than expected, we simply need to identify the reasons and make the necessary adjustments.

* machine translation, inaccuracies may exist Source: https://weibo.com/2995405924/QlRZ4eXmx A look back at the interview after winning the 2008 All-Japan Junior Championships and securing his first World Junior Championships spot —How do you feel about your performance this time? My mistake in yesterday's short program was too serious, so I knew I absolutely couldn't make any more mistakes today. I’m really happy that I managed to achieve my target score. When I landed the 3A for the first time at the East Japan Championships, my body and mind were both exhausted, even though the short program was so brief. But during the period between the East Japan Championships and the All-Japan Junior Championships, I did intensive training, and that gave me a lot of confidence. I feel that I can’t just focus on the 3A. I need to keep raising my goals, not limit myself to the 3A, and work on landing all my other jumps cleanly, too. That’s the mindset I want to bring to my training. Still, adding the 3A has really made me feel that I’ve moved up from the novice level to the junior level. After all, I’ve always known that I can’t win competitions without the 3A. —How satisfied are you with your performance? I wasn’t satisfied with my short program, but this time, at least I didn't fall in the free skate (laughs), so I'm quite satisfied. Looking at my program component scores this time, I want to train with the goal of achieving the highest score in all five components as well. I think the two-point deduction in my short program was what pushed me to work so hard in the free skate. But originally, even if I failed to land the 3A in the short program, I didn’t want to make mistakes on any of my other jumps. So I’m really disappointed about that. The free skate was a performance that allowed me to simply enjoy myself, so I think that's good. —You’re officially competing in the junior category starting this year. Does it feel different from last year, after all? Although I skipped up from the novice category last year to compete at the All-Japan Junior Championships and finished third, I wanted to put that result out of my mind. Starting this year, I’ve approached every competition with the mindset that I’m a junior-level skater. The intensive training was tough, but I think it was precisely because of that training that I was able to deliver the kind of performance I did this time. —Intensive training. Besides improving your stamina, there was also that rule where you weren’t allowed to go home until you landed your triple-jump combination, right? Yes, there was! (laughs) —Are you still doing that? Yes, I am. All types of jumps. But the 3A (until I could do it in a combination) took a really long time (laughs). —Do they really not let you go home? Well… sometimes they do let me go home (laughs). Like when I just can’t land the jump no matter what, for example. —What’s your goal for the World Junior Championships? I just want to deliver a performance that reflects my own style. I feel that as long as I can bring out all the ability I have, a result similar to the one I achieved this time will naturally follow. —Are you still feeling frustrated about the Junior Grand Prix? At the Italian Cup, I guess I’d already had this preconceived idea of the age gap between me and the other junior skaters. In the end, I lost by such a huge margin and finished fifth, which was really frustrating. —But will you get your revenge at the World Championships? The main reason I wanted to compete at the World Junior Championships was that I’d lost by such a huge margin at the Junior Grand Prix. I wanted to challenge myself once again, competing as the youngest skater in the junior category this year, and see just how well my performance could hold up against the others. That’s why I’m really, really happy to have been selected as a representative. —So you’d been aiming for a spot on the team all along? Well, I wouldn’t say I was specifically aiming for it. For the short program, I was really determined to come in first, but things ended up going completely the opposite way! (laughs) So for the free skate, I just told myself I absolutely had to give it everything I had. —But after your short program, Coach Abe also said something like, “Now you can let go and skate freely in the free skate.” Yes, skate freely. I think it was great that I was able to skate with the same kind of feeling I had at last year’s All-Japan Junior Championships. —You still have the All-Japan Championships, MOI, and the World Junior Championships coming up, so keep doing your best! I’ll be cheering you on! Thank you!

Edited due to a technical issue These are new photos from Figure Skating Life Extra. 😍

Machine translation from Japanese to English, inaccuracies exist [P. 104-111] HANEW EXPERIENCE “Turning Yuzuru Hanyu’s new challenge into an experience for everyone.” HANEW EXPERIENCE Produced by au au × Yuzuru Hanyu A new project bringing KDDI and Yuzuru Hanyu together: HANEW EXPERIENCE. We spoke with Shōmin Kōda of KDDI’s Media Strategy Department and Kanako Higashi of Dentsu’s 6th Business Produce Bureau about the thoughts behind this new challenge and the behind-the-scenes process of creating it. Spoiler -Collapse to display content An Interview with Costume Designer Toshihiko Sakurai The costumes for "HANEW EXPERIENCE" were created by Toshihiko Sakurai, who also designed the costumes for “Utai IV ~Reawakening~” and “Mass Destruction -Reload-”. We asked him about the creation process for these latest costumes. Spoiler -Collapse to display content

Source: https://bsima.wiki.fc2.com/wiki/%E3%82%BD%E3%83%81%E7%95%AA%E5%A4%96%E7%B7%A8 https://web.archive.org/web/20170123023042/http://webronza.asahi.com/national/articles/2014041700009.html 2014.04.18 Post-Sochi: Can Yuzuru Hanyu become the next Mao Asada? (4) - The Golden Age of Japanese Men's Figure Skating Is Coming A few years ago, despite his appearance as a guest at an ice show, the venue failed to fill all its seats. At the time, if the guest had been someone like Mao Asada, Daisuke Takahashi, or Evgeni Plushenko, tickets would undoubtedly have sold like hotcakes. Seeing the empty seats, Yuzuru Hanyu reportedly apologized to the show's promoter, saying, "I'm sorry I couldn't bring in more spectators " He had thought about why he had been invited and keenly felt that he had failed to fulfill that role. Hanyu is someone who thinks about all sorts of things like that. He has to consider his current role and work hard to shape his public image. I'm concerned about the burden this places on him. People are also surprisingly sensitive to anything that feels artificial. They may see through the persona he has desperately constructed to fit in with those around him and recognize that it is not the real Yuzuru Hanyu. And that, in turn, may cause him further suffering. Yuzuru Hanyu is a treasure of Japanese figure skating and a national treasure of Japan. Is it right to place such a burden on him alone? What does Yuzuru Hanyu need, and what does Japanese figure skating need for its future? The answer is his rivals. Let's look back at Hanyu's words from the first installment of this series ("Can Yuzuru Hanyu Become The Next Mao Asada? (1) [The 'Missing' Jump He Fixed]"). "The Plushenko I liked most was the Plushenko from when he was competing against Yagudin." "I'm sure a rival like that will definitely appear for me, too. If I didn't have a rival to compete against, I wouldn't be able to keep loving skating." At the recent World Championships, Tatsuki Machida boldly emerged as a formidable rival to Hanyu. But he is certainly not the only man capable of defeating Yuzuru Hanyu. On the international stage, there are Patrick Chan (Canada), Denis Ten (Kazakhstan), and Javier Fernández (Spain). But above all, we'd like to see more and more formidable contenders emerge from within Japan. Keiji Tanaka and Ryuju Hino are the same age as Hanyu. Then there is the younger generation: Shoma Uno (born in 1997), Taichi Honda (born in 1998), and Sota Yamamoto (born in 2000). Many young skaters are making rapid progress, striving to catch up with Hanyu before the PyeongChang Olympics. Of course, his rivals can be older than him, too. I'd like to see plenty more exciting performances from Takahiko Kozuka and Takahito Mura, with Machida leading the way. They all look like quiet, gentle, somewhat timid young men. Yet beneath that appearance, they are astonishingly strong-willed athletes who hate to lose. It would surely be frustrating for them to watch Yuzuru Hanyu stand alone at the summit of superstardom, a position that had been thought attainable only by a woman, someone like Mao Asada. Over the next four years, new stars will surely emerge one after another, each seeking to take Hanyu down and delighting audiences in the process. This was something that never happened with Mao Asada or Japanese women's figure skating. Rather than simply following an untouchable heroine, these male skaters will challenge the reigning hero, each determined to claim his crown. We are sure to witness this kind of thrilling battle in Japanese men's figure skating in the years ahead. Of course, Hanyu won't want to lose to his friends and fellow skaters, either. At this year's World Championships, being pursued by Machida seemed to bring about a miracle: Hanyu successfully landed two different types of quadruple jumps. As his rivals improve, Hanyu will refuse to be outdone and will grow even stronger. In fact, signs of this were already apparent. During this month of ice shows, Hanyu reportedly looked remarkably frustrated when he saw Machida land a quadruple flip cleanly during a practice session. Then, at a practice session for the next ice show, Hanyu himself landed a perfect quadruple loop! Neither jump had yet been successfully landed in official competition by anyone. If either were landed successfully in competition, it would be a first in history. Surely this has already made us all the more eager for the next season. If they maintain this momentum, the Japanese men's team, centered on Yuzuru Hanyu, might become the strongest team in history, for whom sweeping the podium would be almost routine. An extraordinary golden age of Japanese men's figure skating may be just around the corner, one that will capture the attention of the media and even people with no interest in skating. Japanese figure skating needs a Mao Asada. But can Yuzuru Hanyu truly become Mao Asada? It won’t be Yuzuru Hanyu alone who sweeps away all those adult agendas and commercial interests, but the next generation of Japanese male figure skaters as well. Figure skating was once disparaged as a "sport for sissies," and people said, "We don't need it unless it has a female star!" But these skaters will surely sweep away such attitudes. A new four-year journey lies ahead, leading up to the PyeongChang Olympics. They will continue skating on the ice, a stage more dazzling than ever before and more demanding than ever before. Let us wish every one of them the very best as they give it their all.

Source: https://bsima.wiki.fc2.com/wiki/%E3%82%BD%E3%83%81%E7%95%AA%E5%A4%96%E7%B7%A8 https://web.archive.org/web/20170123024433/http://webronza.asahi.com/national/articles/2014041600009.html 2014.04.17 Post-Sochi: Can Yuzuru Hanyu become the next Mao Asada? (3) - Beyond the Manufactured Image of “Yuzuru” Unlike Daisuke Takahashi's charisma, Mao Asada possesses a kind of popular appeal that reaches a much wider audience in Japan. That appeal brings more people into contact with figure skating and revitalizes the sport from the ground up. Could Yuzuru Hanyu perhaps take on that role? Watching the frenzy that followed the Sochi Olympics, people are beginning to think so. “Japanese people like strong athletes who can compete on the world stage. He's the first Japanese man ever to win Olympic gold, and he's so young. Hanyu certainly has what it takes to become an idol representing the skating world.” “After all, he's already won the Olympic gold medal that Mao-chan never managed to win.” If Yuzuru Hanyu really were placed in a position where he had to bear such a heavy responsibility, would he be all right? The expectation is that he will become a strong champion who keeps winning all the way to the PyeongChang Olympics. That is ultimately up to his own training and mental preparation. There's little point in us worrying about it, and to some extent, there's probably no need to worry. Instead, perhaps we should devote our efforts to protecting him from external pressures and scandals unrelated to competition. If he is to become the figure who leads the world of figure skating in Mao Asada's place, the entire industry must unite and do everything in its power to protect him. Another concern is whether being elevated to superstar status might go to his head or make him complacent. This was one aspect of Mao Asada that never changed, no matter how much attention she attracted or how popular she became. Even after becoming such an extraordinary figure, she never grew arrogant or behaved haughtily. Of course, that was part of what made Mao such a unique personality. Compared with Mao Asada, Yuzuru Hanyu is a fairly “ordinary” boy. Although he hasn't shown it lately, he can be somewhat prone to getting carried away. I was a little concerned about that side of him, so when I recently managed to get just ten minutes for a one-on-one interview, I took the opportunity to talk with him. To my great relief, he seemed remarkably unchanged from before. “He hasn't changed at all, even after becoming an Olympic gold medalist,” another reporter remarked admiringly. Looking at Hanyu now, it's hard to imagine him being brought down by complacency or overconfidence. But what about from here on? For now, he's frantically focused on the tasks immediately ahead of him: the World Championships right after the Olympics, followed without a break by a tour of ice shows. The commercial frenzy on a scale he never imagined will come later. Before the Sochi Olympics, he had already achieved a certain level of success and become a popular skater. What awaits him now, however, will be incomparably more complicated and chaotic than anything he experienced back then. Until now, Japanese male skaters, no matter how popular they became, had been able to remain outside "this world." Hanyu is now being thrust into a world experienced only by superstars on the scale of Mao Asada. For example, although such a thing should never happen in sport, there may be certain competitions in which things take an undesirable turn, such as Hanyu being allowed to win despite lackluster performances in order to maintain his popularity. Will he be able to endure being placed in such a helpless situation, when all he wants as a teenage athlete is to devote himself to hard work and self-improvement until PyeongChang? Mao Asada's greatness lies in her ability to keep moving forward, unchanged, sustained solely by her love of skating, even in such circumstances.She gave no thought to the amounts of money generated by her performances or to her social influence. Even if she thought about such things to some extent, she was never swayed by them. Mao Asada may be the only person capable of continuing to skate with such a pure heart. It could be said that her extraordinary nature as a person was what allowed both her own popularity and the popularity of figure skating to flourish in such a remarkable balance. Even so, compared with when she was a child, Asada seems to have smiled less as she continued to occupy her current position. Changes had certainly taken place in her that would not have occurred if her struggles had been limited to difficulties within the sport, such as problems with her jumps or concerns about her training environment. Even Mao Asada was placed in a position where she could not help but change. Will Yuzuru Hanyu really be all right? I believe that even if he becomes an unquestionably popular star, he is not the kind of person who will grow complacent. Even if he did become a little conceited, thinking himself rather impressive, I do not believe that would ruin him as an athlete. On that point, I have faith in him. But he might, to some extent, shape himself to fit public expectations and the manufactured image of “Yuzuru Hanyu.” And he might do so with all his might, simply because he wants to live up to everyone's expectations. After the Olympics, as Hanyu was celebrated as a new hero and prince, a skater close to him said he felt sorry for him. “The news about Yuzuru that's going around now... doesn't it sound as if they're talking about a completely different person? That's not who he is. I feel sorry for him, and I'm worried about him.” The heroic image portrayed by television variety shows and other programs was strange enough, but I was also concerned that newspaper coverage of his character had become almost entirely focused on his experience of the earthquake disaster. Various accounts explained that his experience of the disaster and the difficulties he faced with his training environment afterward were what had made him mentally strong. But that narrative was far too simplistic. Yuzuru Hanyu was already strong long before the earthquake. The disaster was certainly a profound experience, but it did not fundamentally change who he was. I cannot shake the feeling that by focusing so heavily on earthquake-related stories, the media are losing sight of his essential strength, his innate qualities, and his appeal as a person. It makes you realize that this is how heroic images are created, shaped to suit the convenience of those doing the reporting. One column drew parallels between the way Hanyu was being portrayed and the cases of Mamoru Samuragochi and Haruko Obokata. That comparison was certainly apt. Those two became the talk of the town largely because of the stories surrounding them, rather than the musical works or research themselves. The same thing is happening to Hanyu: everything other than the main point, his skating, is becoming the subject of public attention. Of course, Hanyu is different from those who actively sought to exploit the images and narratives that had taken on lives of their own. In truth, he probably no longer wants to talk about the earthquake. I cannot forget the pained smile he gave me when he spoke at length about his experiences shortly after the disaster. “When I talk about this kind of thing, I'll probably dream about that day again tonight.” Even last season, when the NHK Trophy was held in Miyagi, he seemed to struggle considerably with having to answer questions about the earthquake while competing. If what he had overcome had been an injury, an illness, or the death of a family member, he could have sent a message asking people to stop defining him solely by that experience. But when someone who has lived through the extraordinary experience of a natural disaster goes on to achieve such remarkable success, it is inevitable that he will be turned into a “star of reconstruction.” Even so, Hanyu himself seems to make a conscious effort to speak about things he would rather not discuss, driven by his wholehearted desire that “if my existence can help the recovery effort, even just a little, then...” The image of a hero from the disaster-stricken region, along with the various superficial images of “Yuzuru” that have taken shape around him, may cause him some suffering as he tries not to disappoint those expectations. The kind of suffering he will experience is one that Mao Asada, who was able to keep skating as herself, never had to endure.