Takeaways: Chen, Honda set themselves apart from skating peers

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Takeaways: Chen, Honda set themselves apart from skating peers

SALT LAKE CITY - Here are six takeaways from the 2017 U.S. International Figure Skating Classic, which marked the real start of the Olympic season.

1. Nathan Chen stood out last season, not only for succeeding on history-making quadruple jumps but also for accepting the risk to attempt them.

He stood out in his first competition of this Olympic season, the U.S. International Figure Skating Classic, by taking some musical risk while most singles skaters are playing it safe with old warhorses like Turandot, Carmen, Phantom of the Opera, et al., ad nauseam.

Chen let his choreographers -- Shae-Lynn Bourne (who did his short program to the Benjamin Clementine version of "Nemesis") and Lori Nichol (who used the score from the film Mao's Last Dancer, with its powerful passage from Stravinsky's The Rite of Spring, to craft his free skate) -- pick the music.

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ISU proposes "radical change" to rebalance figure skating's artistry and athleticism

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ISU proposes "radical change" to rebalance figure skating's artistry and athleticism

A top official at the International Skating Union said the organization is looking at "radical change" in figure skating in order to achieve a better balance between the athletic and artistic sides of the sport.

The change would involve substantially lowering the base values of quadruple jumps and, for pairs, quadruple throws. For three of the five quads being done in men's singles, the reduction would be more than 10 percent, according to proposed numbers obtained by icenetwork.

"This is the direction line I am working on with the intent to make a radical change for the future development of the sport, hoping to bring back the popularity that figure skating used to have in the past," Italy's Fabio Bianchetti, the chair of the ISU Single & Pair Skating Committee, wrote in an email.

Another change may include replacing the current short program and free skate with what would effectively be an athletic program and an artistic program. Each would award full medals in events like the Olympics and the world championships, and there also would be a full medal for the all-around winner.

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Asada's legacy of grace and grit will last forever.

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Asada's legacy of grace and grit will last forever.

Whenever I saw Mao Asada skate well, which she did often, I was reminded of the second line in one of the most famous arias in the operatic canon, "La Donna è Mobile," from Verdi's Rigoletto.

When you get past the trope of the aria's title and opening verse, which scoffs at women for being flighty, you come to the nature of the flight: "qual piuma al vento" -- like a feather in the wind.

That is the best description for the way Asada moved on the ice, even in the later years of her career, when she added the mature elegance of a woman in her mid-20s to the jump that had separated her from nearly every other woman in the sport over the length of that career.

She became lighter than air.

That is how I will remember Asada, who announced her retirement Monday at the age of 26. The timing was a surprise, even if her struggling performances and knee problems over the past two seasons made it clear the time had come.

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