I hate my music!

My daughter's father is a musician. You can't imagine how this simplified music choices-- her coaches pretty much trusted us to come up with great unusual music and she mostly skated to things she liked.

Ice show programs were often dogs, unfortunately-- she skated to music that I wouldn't blast at terrorists to get them to give up the hostages.

In which case you just go out and skate your heart out for the applause, because the music is setting everyone's teeth on edge.

There is no standard about who chooses music; sometimes the coach is dictatorial about it , sometimes it's the student, sometimes collaborative. It is not worth fighting over. Coaches will often recycle music-- their own or their students. At the very least, this saves an editing fee-- when I still did competitions with my students, I would charge them $50 to prepare their own music, or let them use something from my library for free. Students were not allowed to edit their own music, because they almost universally did a terrible job. Not everyone's dad is a musician, but unfortunately everyone's dad, or 13-year-old brother (not kidding), has access to Garage Band.

Even if you're using "someone else's music" remember that IJS rules change more often than the weather; your choreography will be your own. Even if you hate your music, remember that program length changes at each level, so you'll have a chance to change it within a year, two at the most.

Coaches will know things about music that you won't-- cuts that allow for proper emphasis on elements within the choreography-- a jump at a dramatic cadence, step sequence that matches the mood, etc. Points are awarded, and deducted, for this. The coach might know that judges reward certain types or even certain cuts of specific music. They will sometimes use music to cue the judges "this is a Brian Boitano-like skater." "I want you to think of Jason Brown when you see this skater." "This skater is new and unique."

To you, it's "I don't like this music." To the coach, it's all part of the drive to assemble the point total.

Coaches do not choose music to be mean, or to make your skater look bad, or to pick fights. They choose the music that they feel will show off your skater's skill in the best light.

Have you had music that you hated? How did you resolve the situation?

Using IJS

I created a twitter hashtag during the last U.S. Championships:

#mathhasruinedmysport

Well-known for creating inexplicable outcomes, the International Skating Union Judging System, or IJS (also known as Code of Points or COP) has replaced the overly subjective and equally (though differently) impenetrable 6.0 system with a nearly impenetrable table of "protocols" that parse out the art into minute judgements on technique.

For fans, it's infuriating.

But for skaters it can be an incredibly useful tool, because it allows you to see what the judges are focusing on for you.

Personal best and seasons best
Know these scores. First of all, it gives you an instant idea of how you did, and whether you should be happy or disappointed. Second, your season's best score tells you how this program is doing. If you keep not matching your personal best in a given season, you may want to rethink the program. IJS not only rewards/punishes skating skills, it also rewards good choreography. If you consistently miss your personal best, it might not be you. It might be the choreo.

Using knowledge of points to know your prospects
First of all, you can use your own point history to judge how  how well you are likely to do. If you know your personal best and season's best scores you can have a pretty good idea of what your standing is going to be throughout the season (taking a lot of the agony out of waiting for the judges sheets). You can look at your competitors scores and know when you're going to have to blow it out of the water to win (and it does happen-- look at Dennis Ten at the recent World Championships).

Component scores
As far as I'm concerned, for your own skating, the component scores are where it's at. These tell you how good the judges think your basic skating skills are. While these scores are notorious in elite skating-- there have been indications that judges are pressured to score skaters based on their "seed" or standing-- at local and qualifying competition they can be used to help you understand whether judges just think you skate well, regardless of your performance on specific skills that day.

Comparisons
Don't just look at your own protocols (judging sheets). Look at your competitors as well. See what kinds of scores are being achieved by skaters you admire.  Where do they excel; where do you best them?

More on personal best
Personal best is to IJS what Judge 5 was to the 6.0 system. By which I mean, skaters used to look at their rankings and say "well Judge 5 placed me 2nd!" (somebody loves me.)  Now you can look at your protocols and see an overall personal best, or most positive GOEs (see next), or increased PCS. You can even take it down to the individual skills-- you can have a goal to get the maximum point value on a specific skill, or achieve a given Level on just one skill, or a set of skills.  Because IJS is so detailed, you can really use the scoring both to help you figure out what to work on, and to say "well at least I did something right."

Choreography
Evan Lysacek won the Olympics by putting together a program in which he could achieve the absolute maximum points, even if he fell short on various individual skills.  Supposedly a battle between the "technical" Plushenko and the "artistic" Lysacek, they actually had identical PCS (the "artistic" score). Lysacek won it on a brilliantly conceived choreography that maximized technical point value.  Your coach and choreographer should know how to play this game-- whether to go for the higher base value of a Level 3 or 4 or triple jump, or the better GOE of a Level 1 or 2 or double jump. Where to place jumps. How to maximize the value of the footwork sequence, etc.

Goals
In this same way, IJS helps you set goals.  Achieving positive GOE, getting the full point value on a skills, increasing PCS base values, getting a higher level on footwork or a spin.  The goal no longer has to be "beat skater X" or, worse, "win." Goals can now be really fine-tuned to an individual skater's needs.

How have you used IJS to help you understand or improve your, or your skaters', abilities?

Cheating judges

In a couple of words, they don't.

Or not much anyway.

I usually stay out of fangirl territory in this blog. There are lots of blogs parsing scores minutely, and offering analysis, some simplistic, and some quite cogent, about elite skaters.

But today there feels like more than the usual sour grapes.

The 2013 Ladies Single podium felt tainted last night-- Ashley Wagner won with a flawed free skate, golden child and media darling Gracie Gold pulled off "only" 2nd in her first senior appearance, perennial crowd favorites Carolina Zhang and Mirai Nigasu had heartbreaking falters.

I think the judges probably held Gracie up a little bit, and they were remarkably kind to Ashley on some questionable executions. They came down awfully hard on Mirai and Caroline (and Christina Gao for that matter-- geez, will you put that girl on the podium already?)

But here's the thing about IJS. For all the #theyruinedmysportwithmath jokes, and avenues for manipulation (levels, component scores), in point of fact it is very hard to cheat at IJS, which was entirely the idea behind the system. There are a lot of checks; there is a lot of independent scoring, like the technical calls, that make it hard for judges to independently prop someone up.

And I don't believe in conspiracy theories.

I also believe in good intentions.

Here's why Gracie didn't win -- she blew the short. And that's where the old adage comes in-- you can't win a medal with the short, but you can lose one.

Here's why Ashley did-- she rocked the short program, and she had a smart, points-packed long so that even if she had some mistakes she would have enough points to recover. This isn't cheating, and it isn't evidence of collusion. It's smart coaching, and it's evidence of a competitive skater who, frankly, spent years being pushed down and disrespected-- by the media, by the fans, and by the judges-- but who knew she had it in her, and made a plan to achieve it.

I'll take that over the latest golden girl any day.

P.S. Shame on Ice Network for its appalling morning after headline: "Wobbly Wagner outlasts glittering Gold in Omaha." You owe Ashley Wagner, first back to back Ladies Champion since Kwan, an apology.

Who should know what about IJS?

Ah, more alphabet soup.

IJS, or the International Skating Union Juding System, is the mind-bogglingly complex attempt of the ISU to standardize judging, following the Salt Lake scandal.

The unassailably positive motiviation behind the system was to create transparency-- while you don't know which judge is giving which marks, you can see in numbing detail exactly what the marks are for every single second of a program. I won't get into my opinion of the system (as one friend put it "math has stolen my sport").

Here's a sample "protocol" or judging sheet:

Behind all this is nearly 300 pages of rules, supplemented by endless tweaks and changes to those rules.

Gah.

What does it all mean.

Well, I'm not going to tell you. What I am going to tell you is what you should learn, on your own, depending on who you are in the skating world.

Fan
Go crazy. Learn every single nuance of the system. Know it better than the most experienced international judge. Give the top Tech Specialist a run for his money. Follow every competition on "you be the judge" (a website that allows you to judge using IJS in real time). Be sure to tweet about how wrong the judges got it.

Competitive Coach
You need a post-doc level of understanding. Unfortunately, you're going to have to relearn it every year, because they change minute details of it on a rolling basis.

Class coach
Appear to know what you are talking about. Beyond that, thank your lucky stars if you have no students in competition and don't need to load down the gray matter with this stuff.

Skater
You need to know one thing: positive GOE.

Other than that, have a basic familiarity with the jump, spin, footwork and moves requirements for a program at your level and the next level up. Forget about where you've been--by the time you're a coach it will have completely changed (heck, by next year it will have completely changed). Know the terminology, and how it applies to your own programs. Know how to read a protocol (i.e. learn all the squiggles and abbreviations). But don't try to achieve a fan-level of intimacy with it. More important that you spend your time learning not to cheat that jump, than to be worrying about whether you've repeated a feature. (For instance, you should have been able to read this paragraph and know what I was talking about).

In the meantime, repeat after me: positive GOE, positive GOE, positive GOE.

Skater, redux
Know exactly why your competitors' scores are complete bull shit if they did better than you, and how the judges totally used the system to let them win.* If your scores are better, be able to point out how you and your coach worked with the system to create a win.

Parents
Have a solid understanding of how to read a protocol. Know enough to ask the coach about any downgrades or negative GOEs. (Actually, the coach would love it if you didn 't know this stuff, or ask about it, and I agree, but I know I can't stop you, so at least know what you're talking about.) DON'T, by all that is holy, offer advice--to the coach or the skater or god forbid the judges--on how to fix things.

Parents, redux
See Skater, redux

* this is very hard in IJS