The American Open Professional Figure Skating Championships

When Scott Williams and Charlene Wong first came up with the idea of the American Open Professional Figure Skating Championships, their goals included "offering professional skaters the opportunity to win a title, audition for their industry, share their talents with the skating community, and promoting the many talented professional skaters in general." With the dozens of professional, invite-only events taking place in the mid to late nineties, they recognized the fact that opportunities for lesser known skaters were limited and worked diligently to develop a competitive venue for these skaters.

Brian Boitano and Scott Williams

"I had benefited from the other pro competitions (World Pro in Jaca and U.S. Open) and felt that more skaters should have that type of opportunity," explained Scott Williams. "I also believed that amateur competition rewarded technical expertise heavily which was appropriate in that sporting environment, but there should be a venue that awarded entertainment value and mastery of the art of ice skating.  I don't believe that the first necessarily translates into the latter, but the best professional jobs went to the skaters that excelled in what was then amateur competition and some great performers, entertainers and artists often struggled because they did not receive adequate publicity." The decision to hold the event also had roots in his own love and respect for true professional skating. "In short, I enjoyed what I call 'professional' skating much more and also enjoyed watching it more. A true artistic and entertaining piece performed by a skater with a mastery of skating skills AND performance skills is the apex of the art of ice skating. The rules of competition shouldn't get in the way of the goal, and that was what I set as a standard for The American Open Professional Figure Skating Championships." Williams also very much had fairness and democracy in mind: "At the time I created the American Open there was also a good deal of discussion amongst professional skaters about organizing similarly to the ATP in tennis or PGA in golf. It was an exciting discussion but it never seemed to go anywhere. So, when I started the competition we simultaneously created the Professional Figure Skaters Cooperative (now ProSkaters) so that rules and judging would be handled and overseen by the competitors as members rather than by the producers. It was an effort to make the event as democratic as possible and to also help build interest in joining the pro skaters' organization which I felt was important to the industry."

Judging for this competition was a scoring system "on an individual basis", with specific judges assigned to categories such as jumps, twists, lifts and throws, rapport and timing, profiency and quality, spins, lifts and dance manoeuvres, footwork and connecting moves, originality and creativity and audience appreciation. Judges included Brian Wright, Oleg Vasiliev, David Santee and Natalie and Wayne Seybold. Technical and artistic programs were skated in addition to a qualifying round that determined which skaters would advance to the general competition. Williams explained that the qualifying round process was designed to be "simple and consistent. The top 3 or 4 skaters always advanced. In the qualifying round they performed just the artistic program. It was meant to be understandable and fair, and not subject to the whims of a panel decision." Prescribed elements were required for technical programs or in the case of ice dance, the rhythm dance and props were only allowed in the show act category and artistic programs.  More freedom (obviously) was given to the skaters in the technical programs than in ISU competition. For instance, instead of a double Axel being strictly required in singles programs, skaters were given the option of performing a double Axel, double Lutz or double flip. Thrill elements like the backflip and adagio moves in pairs were permitted as well. In addition to Williams and Wong, many other people were involved in the organization, coordination and execution of an event of this calibre. "Through the process I had the pleasure of working with a number of passionate individuals and it was such a pleasure to see their enthusiasm. My family all participated substantially and I'm very grateful for their help! They did everything from scoring software to hospitality to legal counsel. Others who participated in major roles include  Susan Austin, Brian Klavano, Tony Kudrna, Ari Zakarian, Sylvia Froescher, Barbara Roles, Phil Valentine, Steve Disson, many fantastic skaters and judges, and skating fans," remembered Williams.

Left: Vladimir Besedin and Oleksiy Polishchuk. Right: Irina Grigorian.

Held from May 30 to June 1, 1997, the first American Open Professional Figure Skating Championships were presented at the Pickwick Ice Arena in Burbank, California. Competititions were made available for men's and women's singles, pairs, ice dancing and a new category, the "show act". On the importance of including a "show act" category, Scott Williams explained, "To me, this was the most important distinction to the event and also a statement about what we valued:  entertainment. Ari Zakarian was instrumental in creating excitement and participation in this category and it was always my favourite. I am very proud that the competition helped advance the careers of some of the most entertaining acts of the last decade as that was exactly our goal." In the first "show act" competition ever held, two teams of ice acrobats battled for the top two spots and in the end, Russians Vladimir Besedin and Oleksiy Polishchuk edged Armenians Ari (Zakarian) and Akop (Manoukian) for the title. Also competing in the Show Act category were Doug Mattis, Debbie Park, Chika Maruta, Beth-Anne Duxbury and Lisa Clinton. In the ice dance event, 2 time U.S. Champions Renee Roca and Gorsha Sur earned a cumulative score of 100.06 to place ahead of former World University Games competitors Mimi Wacholder and Colin Sullivan and Tamara Kuchiki and Neale Smull. The pairs event was won by Beth-Anne Duxbury and her partner Byron Darden, who defeated Kim Fowler and Grey Johnson (former Ice-Castle co-owners and coaches) for the win. The men's and women's competitions included qualifying rounds, where all skaters performed an artistic program and the top seven skaters advanced to compete in the technical and artistic programs. Skating to Alannah Myles' "Song Instead Of A Kiss", Lisa-Marie Allen narrowly defeated Charlene Wong to win the first American Open women's title. Finishing third was 1991 World Bronze Medallist in pairs Natasha Kuchiki, who skated to "Whoomp! There It Is!" by Tag Team. Also competing were Great Britain's Susan Jackson Wagner, Tracey Damigella, Natalie Shaby and Lisa Ware. Among the skaters competing in the qualifying rounds and not advancing that year were Amy Jaramillo, Bobbi Brown McRae and Edward Vancampen of Holland. The men who did advance proved to comprise a very strong field. Craig Heath, Axel Mederic, Aren Nielsen, Cameron Medhurst, Vadim Shebeco and Bobby Beauchamp were all within five points of the winner of the men's competition, Doug Mattis. With an overall score of 95.82, Doug's technical program "Shine On Your Shoes" featured a gorgeous double Axel, double toe/triple toe, triple Salchow, Cantilever, a backflip and Russian split jump and his artistic program "The History Of The World" was a tour de force that interpreted music telling the story of the world's evolution through its music. His artistic program, which like his technical program was choreographed by Chris Nolan, featured a a triple salchow, triple toe, double Axel, double flip, double toe, delayed single Axel, spread eagle into Cantilever, backflip and even a little Kristine W (who I love!). On the American Open experience, Doug stated, "During a time when non-former World Team members like me and Rory Flack were fortunate enough to have breakthrough performances at the U.S. Open, Scott Williams' American Open provided me with one more opportunity to show my creativity and gain exposure that I might not otherwise have. I am deeply grateful to him. I owe much of my wonderful pro career to the U.S. Open - and the American Open and Scott Williams. Having that opportunity to be an unknown with a voice - that has inspired me to be dedicated to giving others a megaphone for their voice whenever I can... including MK Young Artists Showcase 4."

Doug Mattis' winning artistic program in 1997

The next year, the competition moved from Burbank, California to the Fox Valley Ice Arena And Fitness Center in Geneva, illinois. The 1998 event was hosted by 1988 Olympic Gold Medallist Brian Boitano, and featured an incredibly deep field of competitors. In only their second performance together, former Olympians (for Italy and the United States with different partners) Lia Trovati and Russ Witherby captured the ice dance title with 68.2 points, edging out Andrea Barnova and Lyndon Johnson (who competed in pairs for Canada at the 1988 Winter Olympics in Calgary), 1991 Canadian Champions Michelle McDonald-Wheeler and Martin Smith, Emmanuelle Balmori and Jean-Pierre Boyer, Laura Gayton and Colin Sullivan and Samantha Liegner and Jonathan Stine. The pairs event was won by 1994 World Champions Evgenia Shishkova and Vadim Naumov, who outranked Canadian adagio team Christine and Dion Beleznay, Rosanna Tovi and Andrew Naylor, Irina Grigorian and Mikhail Panin, Laurilee and Rosstyn Eduardo Gudiño and Kim Fowler and Grey Johnson. In the show act category, hula hooping Irina Grigorian defeated reigning champions Vladimir Besedin and Oleksiy Polishchuk, her pairs partner Mikhail Panin, Akop Manoukian and Armen Sakien, Debbie Park, Lisa Clinton, Sergei Karelin and Boris Filipov and Greg Wittrock, who brought his drag persona Whorita to the ice. The men's competition was won by 1995 Canadian Champion Sebastien Britten. Placing second through seventh were David Liu, Gzregorz Filipowski, Craig Heath, Petr Barna, Richard Swenning and Igor Lioutikov. Failing to advance from qualifying were Stansilav Jirov, Edward Vancampen, Shin Amano and Marc Alexander. After finishing 6th in the qualifying round, Chrisha Leann Gossard rebounded to win both the technical and artistic programs in the ladies events, placing ahead of Russian Champion Olga Markova, Susan Jackson Wagner, Suzanna Szwed, 1997 Champion Lisa-Marie Allen, Canadian Champion Tracey Wainman and Tracey Damigella. Failing to advance from qualifying were Jennifer Hunt-Nestelberger, Amy Jaramillo, Beth-Anne Duxbury, Larissa Zamotina, Nancy Pluta, Debbie Park, Jennifer Lyles, Natalie Luccaro, Elise Ostiguy, Alicia Narby and Tori Tinari.

Greg Wittrock performing in the Show Act category as Whorita, skating to Donna Summer's "Love To Love You Baby"

The American Open returned to Geneva, Illinois in 2000 with more "big name" skaters as well as many super talented skaters trying to achieve that name and title. The show act competition in 2000 was once again won by 1997 Champions Vladimir Besedin and Oleksiy Polishchuk, who defeated Dan Hollander, Gia Guddat, Violetta Afanassieva, Debbie Park, Akop Manoukian and Armen Sakien, Oksana Anichkina and Michael Kho for the title. The ladies event was won by U.S. Open Champion Rory Flack Burghart. Aimee Marissa Micu, Lisa Bell, Beth-Anne Duxbury, Elin Gardiner Schran, Katherine Healy, Colleen Maguire and Amy Jaramillo Lambert finished 2nd through 8th, respectively. The men's title in 2000 was won by Dan Hollander, who won both the technical and artistic programs to take the title, ahead of Craig Heath, 1994 World Bronze Medallist Viascheslav Zagorodniuk, Matt Kessinger, Shin Amano and Edward Vancampen of Holland. After the withdrawal of Darlin Baker and Andrzej Dostatni, Sarah Simpson and Nicholas Clowers became ice dance champions, and the pairs event was won by 1994 World Champion and her partner Jason Dungjen, who beat 1995 World Champions Radka Kovarikova and Rene Novotny and Svetlana Butova and Maxim Fomin.

Left: Elena Leonova and Andrei Khvalko. Right: Caryn Kadavy.

The final time the American Open was held was from December 4 to 5, 2001 in Philadelphia, Pennyslvania. When asked how the event grew from the first year to the last year, Scott Williams explained, "It started as just my crazy idea while performing at Charles Schulz's wonderful Santa Rosa Show in December of 1996. It was a steep learning curve and a lot of work to get going and such a relief when skaters actually showed up. It took a lot of encouragement to get them to participate but I think everyone had a good time and that helped the event continue. The depth of skaters increased every year and it was very competitive! We started at Pickwick Ice Arena in Burbank, California and then we went to the Fox Valley Ice Arena in Geneva, Illinois for the next two events. In 2001, Steve Disson helped the event expand and move to the Comcast Arena in Philadelphia and get coverage on Comcast CN8." Sponsored by Motrin in its final year and again hosted by Brian Boitano, the format changed slightly. With more higher profile skaters added kto the roster of competitors, not all skaters were required to compete in the mens and ladies qualifying rounds. Instead, the top 3 in each of these rounds advanced to compete against invited skaters. The show act category was once again hugely popular, and Vladimir Besedin and Oleksiy Polishchuk won their third and final title here. Violetta Afanasieva and her future husband Pete Dack finished second, followed by Victor Baryshevtsev, Dan Hollander, Debbie and Lee Park and Gia Guddat. With programs to "Dr. Zhivago" and "Last Of The Mohicans", World Champions Angelika Krylova and Oleg Ovsiannikovv easily won the ice dance competition ahead of the team of Jones and Ortogero. Skating to music from Vivaldi's "The Four Seasons" and Ravel's "Bolero", World Professional Champions Elena Leonova and Andrei Khvalko placed ahead of Canadian medallists Jodeyne Higgins and Sean Rice and Rosanna Tovi and Andrei Bannikov to win the pairs event. Among the men, it was 1994 Olympic Gold Medallist who won the overall competition, skating to "Georgian Variations" and "Prince Of Egypt".

Steven Cousins

Winning the artistic program and finishing second was Steven Cousins. Also competing were Craig Heath, Viascheslav Zagorodniuk, David Liu, Evgeny Martynov, Dan Hollander and Masakazu Kagiyama of Japan. Failing to advance from qualifying were Shin Amano, Sergei Minaev and Edward Vancampen. Failing to advance among the ladies were Roselle Sousanna, Katherine Healy, Amy Jaramillo Lambert, Amber Leigh Anderson and Miriam Gelfand Pereira. Additionally, Hanae Yokoya, Lisa Bell, Donna Lewandowski, Joy Thomas all withdrew prior to the competition. There were nine entries in the women's event and there was certainly a great deal of depth to the field.

Nicole Bobek

Despite not winning either the technical or artistic program, the fabulous Nicole Bobek proved the most consistent overall, winning with programs to "Captain Corelli's Mandolin" and a Beatles medley. Winning the artistic program but hampered by a fifth place finish in the technical program, Rory Flack Burghart finished second overall, followed by Lucinda Ruh, Josee Chouinard, Caryn Kadavy, Junko Yaginuma, Lu Chen, Charlene Wong and Yukiko Kawasaki.

Left: Angelika Krylova and Oleg Ovsiannikov. Right: Alexei Urmanov.

After the 2001 event, Scott Williams and Turtle Island Productions found it was not financially possible to continue with the event. "I'd love to hold the event again, but since our last American Open in December of 2001 have not found a financially viable environment for it," explained Williams. He also explained that he believes many factors explain why professional skating is in the position it's in today. "I miss the good professional competitions and shows and I think that with an audience they could have continued to evolve into better and better entertainment but there are many factors which make it unlikely that we'll ever see a separate professional competitive arena for skating again. I think the elimination of 'amateur' skating also killed the best of 'professional' skating. Without professional competitions there is less motivation for professional skaters to reach their potential and create new and interesting programs. But to me that should only be one aspect of skating entertainment, as a solo can only go so far. We have been far outpaced by the world of dance and hopefully in time we will wake up as an industry and understand that doing the same thing over and over is not interesting.  Professional skating used to be innovative and exciting. That is missing now and I hope it can happen again in the future even if pro competitions do not." When asked to recall his favourite performance over the years at the American Open, Scott Williams could not pick just one: "There are quite a few for me: Vladimir and Oleksiy going head-to-head with Ari and Akop in the first Show Act event in 1997. Doug Mattis and Craig Heath competing so strongly for that same year's title. Seeing Elena & Andrei perform their Bolero program in 2001 was amazing, as well as Rory skating to Aretha that year. I was very impressed with Sebastien Britten's winning performance, and Lisa-Marie Allen was always one of my favorites. Irina Grigorian was fantastic to have in the event and always a showstopper." After reading the first two parts to this blog on open pro competitions, Scott talked about the main differences between the Jaca World Pro, the U.S. Open and the American Open events, he himself having won the titles in Jaca and at the U.S. Open previously and created this event. He explained that there was no real connection between the U.S. Open and the American Open beginning. "It was just that the era of professional skating competitions was ending and we were doing our best to keep it alive." He had great admiration for the other two events: "I was an admirer of what Pablo did for professional skaters by holding the World Pro in Jaca.  I also appreciated the U.S. Open and its excellent success here in the States. I tried to emulate what I thought worked best, but create an even more 'open' atmosphere that empowered the participants. As a professional skater I was very ambitious and these were the only competitive options available to me at first and doing well at them made it possible for me to participate in other competitions. That was the motivation to create another opportunity with the American Open and to give other skaters the opportunity I enjoyed. For that reason I tend to see more similarities in the important aspects than differences in some details."

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Interview With Nanoha Sato

A former competitor at the Japanese National Championships, Nanoha Sato is a professional skater and university student based in Japan and is one of the very popular competitors in the fourth edition of Young Artists Showcase 4. I was fortunate enough to have chance to interview Nanoha about her accomplishments, choreography, opportunities in Japan, YAS and more:

Q: Where are you currently living and working and how did you first hear of Young Artists Showcase?

A: I am currently in Tokyo, Japan. I am a student at International Christian University. I heard of YAS from Grassroots To Champions summer camp 3 years ago. 

Q: What do you consider your greatest achievement as a skater/choreographer?

A: My greatest successful memory was the competition in Finland after a recovery from pneumonia. I do not work as a choreographer yet. I do help out many skaters, and I always feel achieved and grateful when other coaches ask me to choreograph their student's programs.

Q: What made you personally decide to participate in YAS (Young Artists Showcase)?

A: I do not have choreography opportunities in Tokyo. This was one chance I could do some skating choreography.

Q: What makes YAS so important to figure skating right now? What can it help do to evolve the sport?

A: YAS is important because it gives choreography opportunities for people who does not have many opportunities. Also, critiques help because once being professional, I do not think there are very many opportunities to get advice from people.

Q: When it comes to creating choreography, what components of creating a new piece do you find to be the most fun and the most challenging?

A: It depends on the type of choreography. After entering YAS, I realized choreography could be very different depending on the type of choreography. Competition programs are the most challenging to make it special, because many people skate to similar music and similar choreography in order to do their jumps. For ice shows, you have to be able to make programs that attract any kind of audience. However, this choreography contest, we must concentrate in telling a story, either abstract or directly. I learned that it is all about doing the atypical skating, not about fitting and doing the best for the general public. In other words, you have to take a lot more risk.

Q: If you were to create an original piece of choreography for any 3 skaters in the world, who would they be, what would the piece be about and what would you choose as your music and costumes for the skaters?

A: Without considering time, I would love to choreograph for Yuka Sato, since she has been my idol and my choreographer. I would love to also choreograph for Yuna Kim. However, there are many skating friends I would love to choreograph for, since while skating with them every day, I sometimes imagine the most suitable program for them.

Q: Who do you believe are the greatest or most inspiring choreographers that figure skating has ever seen? What about the greatest or most inspiring skaters?

A: I was always inspired by Pasquale. I loved watching him choreograph Daisuke Takahashi's program when I trained in Detroit.

Q: What is one thing about you most people don't know?

A: Most people do not know that I was seriously into skiing before I started skating.

Q: What are your favourite book and your favourite song?

A: My favourite author is Sidney Sheldon. I don't have a favourite song... Longest favourite artist is probably Ingrid Michaelson. Favourite poem is "Fiddler Jones" by Edgar Lee Masters

Q: If you could pick just one word to describe yourself, what would it be and why?

A: Vivid. All of its meanings fit me. I love bright orange. I am often told to be very lively and spontaneous. I feel like anything I think or feel is very strong.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Interview With Katherine Hill

After years of axels and sit spins, Katherine Hill took her love of figure skating to the dance floor, attending university and studying dance from choreographers like Billy Siegenfeld, Laura Wade, Jeff Hancock, and Molly Shannahan. Now a choreographer both on and off the ice, Katherine is a competitor in this year's YAS (Young Artists Showcase) 4. When she's not skating, dancing or choreographing, Katherine is the chair of the Stephanie Joseph Memorial Fund, an organization dedicated to celebrating courage among young people in the face of adversity. The Fund (http://www.stephaniejoseph.com) has hosted events such as skater meet and greets, skate-a-thons and even a 5K run. Katherine is also a choreographer for the Wake Up! Waltz project (http://wakeupwaltz.com), a Chicago based initative that performs free shows on rooftops for morning commuters... which I have to say is one of the coolest things I have heard of in a long time. I had chance to talk to Katherine about her dance background, choreographing for other skaters, Young Artists Showcase and much more! I just know you'll love reading her answers as much as I did:

Q: You have a B.A. in Dance and Communication Studies from Northwestern University. How has your formal education in dance transated to your work on the ice?

A: In every way possible! I had many reasons for pursuing a degree in dance but one of the major factors included an interest in learning why I liked to move the way I did. I wanted to understand why I preferred certain movement qualities and where those tendencies came from. Understanding dance history and the factors playing into artistic movement choices dramatically changed the way I view, appreciate, and create dance/skating. If anything, it has expanded my range of movement qualities, techniques, and interests. The dance world takes artistic risks constantly. I think figure skating needs more of this.

Q: What do you consider your greatest achievement as a skater/choreographer?

A: I have had the privilege to work with many talented young athletes. The key word is athlete because they have not yet discovered their artistic potential. I consider it my personal mission to enable them in personal expression via movement. I begin my work by bringing the skaters into the dance studio and asking them to dance for me. To interpret music and move; to improv. National and world ranked skaters have looked at me like I was crazy. As if I had asked them to jump off a cliff! Months later I make the same request and have watched these athletes become artists as they burst with expressive movement. Acting as a catalyst in skaters' discovery of expression is by far the most rewarding and interesting to witness.

Q: What are your favourite book and your favourite song?

A: Hmm... favourites are always hard. There are too many great things to discover! With that said, Charlotte's Web was the first book to ever make me cry and I will always always appreciate anything Beyonce put out in the world.

Q: What made you personally decide to participate in YAS (Young Artists Showcase)?

A: Oh, I could write an article about this! Essentially, YAS encourages everything I want to do with figure skating and want to see in the future of the sport. YAS provides an excuse to take risks and have fun. While I truly enjoy creating for competitive figure skating, the required elements, skater abilities, and more can cause the process to become somewhat formulaic at times. I see YAS as the perfect opportunity to throw away all frameworks. To truly start with a blank canvas (or sheet of ice). It keeps creative juices flowing.

Q: What makes YAS so important to figure skating right now? What can it help do to evolve the sport?

A: Again, I could write an article about this. I have always been drawn to skating's innate ability to fuse sport and art. Very few activities provide such an opportunity. A star running back friend once admitted he "wished he could play football to music like we do in skating." YAS is a great opportunity to foster the artistic expression in skating and highlight it's importance in differentiating our sport from others.

Q: When it comes to creating choreography, what components of crafting a new piece do you find to be the most fun and the most challenging?

A: I find it most fun to experiment. When you have time to say "try this... wait, that doesn't work at all... what if we did this?... oh, that's cool... but how does it connect...?" Essentially, taking the time to create movement organically and to work off what simply feels good to skate. The most challenging moment is marrying this experimental phase with my original vision. There is the vision and then there is the reality of what  functionally works with the resources available. Aligning the two creates the most work.

Q: If you were to create an original piece of choreography for any 3 skaters in the world, who would they be, what would the piece be about and what would you choose as your music and costumes for the skaters?

A: What an interesting question! While I have a million things I'd like to create and skaters I'd have a blast creating for, I am currently most interested in the collaborative choreographic process. I've always been equally excited by the process as much as the product. While I have had the incredible opportunity to work with many highly talented choreographers, I would love to continue learning and growing through time spent with those I have yet to meet. Kurt Browning and Christopher Dean have inspired me for years. As for the talent, I would adore the opportunity to work with Shae-Lynn Bourne again.

Q: Who do you believe are the greatest or most inspiring choreographers that figure skating has ever seen? What about the greatest or most inspiring skaters?

A: Choreographers above... although there are so many people putting out great work these days. Too many to name. As for skaters, Michelle (Kwan) was a role model through and through. I have always respected her honor, dedication, and class. She, by far, is someone to value in our sport for years to come.

Q: What is one thing about you most people don't know?

A: My friends say I am somewhat of a human compass! I can always point you toward North regardless of location.

Q: If you could pick just one word to describe yourself, what would it be and why?

A: I will defer to friends and family on this one. Over the years, I have been told I am curious.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Interview With Jimmy Morgan

Hailing from the land of the cream donut (Homer Simpson drool), Boston's Jimmy Morgan is one of those rare hybrid skater/students who seems to be able to balance a full-time post secondary education with a career as an elite athlete... which leads us to explore the possibility he's in fact some sort of fabulous handsome robot. Robot he's not, but a skater who's going places he is. With his partner Alex Shaughnessy, he won a bronze medal on the novice level at U.S. Nationals in 2012 after finishing 5th as novices in 2011. Moving up to the junior ranks last year, Alex and Jimmy finished in the top ten in their third consecutive trip to U.S. Nationals. This interview with Jimmy takes a look at Jimmy and Alex's progress and plans for this season, Jimmy's remarkable balance of school and skating and how he maintains a positive attitude:

Q: In 2012, you and your partner Alex Shaughnessy won a medal on the novice level at the U.S. Figure Skating Championships. Having moved up and competed at Nationals as juniors last season, what do you consider to be the biggest differences and challenges from moving from novice to junior?

A: Aside from the obvious "we're doing harder stuff" answer, I'd have to say confidence. You are constantly being judged as a skater, whether you're on the ice or not. Being confident allows you to portray that you belong in the big leagues. My biggest challenge will be to become more confident in an area of skating that I have very little experience in: the big leagues.

Q: Will you be remaining as juniors this season or moving up to compete as seniors? What are your utmost goals for the 2013/2014 season?

A: We just passed our senior pair test! It was such an exciting day while being a big relief. Now, we can focus on improving our skating. The sky's the limit! We will be competing senior this year. We hope to make it to Nationals in our hometown this year.

Q: Do you think homophobia is a problem in skating and is it something you've ever encountered? What are your thoughts on the issues surrounding homophobia in Russia and the Sochi Games?

A: Homophobia is a problem everywhere, not just in skating. However, it's not the only type of discrimination in the world. People are discriminated against in countless other ways including their race, sex, and religion. Punishing the athletes who have worked so hard their whole lives by boycotting the Games is wrong, and could be more fairly resolved by allowing the athletes to choose on an individual basis.

Q: What can you share about your programs for this season? How did you decide on music and what do you like the most about your new programs?

A: We are skating to an Argentine tango for our short program, and "Umbrellas of Cherbourg" for our long. We decided on the music after seeing Julie Marcotte in Canada and skating with her for a day. After seeing our past programs, and how we relate to each other, she knew exactly what she wanted to see us skate to. I love the challenge that these two programs bring to the table. The short program allows me to step outside my "romantic, I love Alex" comfort zone and do something different. While the long allows us to do what we do best!

Q: What do you enjoy most about pairs skating as opposed to singles skating? What is your favourite and least favourite element?

A: Pairs skating is so much more fun (sorry singles guys!)... but it's true. There's just something about being able to share the ice with someone that creates a contrasting dynamic that you just don't get in singles skating. My favorite elements are lifts. There's so many variations that each one can be unique. My least favorite elements are side by side spins. Getting those babies to sync up is a PAIN.

Q: What do you think are the most improved areas of your skating in the last 6 months?

A: We've improved our general skating and choreography a lot. Injuries allowed us to focus on what will make us a great senior team down the road. We worked on choreography and skating skills because in time, the technical side will come. Sometimes, you just can't work on your skating enough.

Q: What's one thing most people don't know about you?

A: I'm a full-time student at BU, and I love it! It keeps me sane. I study P.R. at the College of Communication and it has been the most rewarding experience paired with skating. I was lucky enough to land an internship with the Boston 2014 U.S. Championships Marketing Team, and have been able to combine my expertise in skating with my knowledge from school. So, if you ever see @BOS2014 tweeting, make sure to say hi. (Psssst - It's me.)

Q: What is the most interesting thing you've learned about life by attending school and how have you applied that to your skating?

A: Find something that you love to do, and stick to it. I started out school as a chemistry major. Big mistake. I learned that standing in a lab all day was something that I did not enjoy. So, I went on to become a computer science major. Slightly less of a mistake, but I still wasn't enjoying myself. The day I found P.R., I knew that this is where I belonged. In the same way, I found my love for skating. I slowly weeded out what didn't interest me like soccer and karate to find the thing that I love to do most, and I'm stickin' to it.

Q: What would be your absolute favourite meal - appetizer, dinner and dessert?

A: Appetizer - It's a tie between a really delicious plate of fried calarmari with banana peppers, or the bread from Not Your Average Joe's. Dinner - ANYTHING with pesto on it. Seriously, I'm obsessed. Dessert - Mint chocolate chip ice cream is my jam.

Q: What's one song you can't get out of your head right now?

A: I love music, so I usually have at least ten songs floating though my head at any time. Right now, the concert in my head is featuring Justin Timberlake, Katy Perry, Bruno Mars, Emeli Sande, Green Day, Ke$ha, Matchbox 20, MIKA, and Fun.

Q: How do you think we can interest more people in the sport?

A: Skating needs to become more accessible. People aren't motivated enough to seek out skating. We have to go to them. So many of my friends from school, who wouldn't be caught dead in a skating rink, have become interested in the sport because they have been exposed to it through me. I think skaters ultimately need to become ambassadors for figure skating. Let's take it into our own hands and show that we participate in a really interesting sport!

Q: On those days when things aren't going well on the ice, what reminds you how much you love skating?

A: I have an awesome support team. Knowing that the people who care about me the most are behind me every step of the way allows me the security to allow myself to do it because I love it. My dad has always said, "Do it until it becomes a 'Have to Do'". I live by that motto. I started skating because I love it, and I will stop when I don't love it anymore. Having a bad day on the ice doesn't change the fact that I love what I do.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Interview With Stephanie Roth

Born in Red Bank, New Jersey, Stephanie Roth is the kind of skater who always marched to the beat of her own drum (which of course, I love!). Representing the Skating Club Of New York during her eligible career, she made five trips to the U.S. National Championships and is a former North Atlantic Regional Champion and U.S. Collegiate National Champion. Since ending her eligible career, she has been skating professionally - performing with Royal Caribbean cruise ships, Rosstyn Ice Shows and Rink Designs and Woodstock Ice Productions in addition to coaching. Most recently, she has put her choreography out there in Young Artists Showcase 4 (#MKYAS4 if you're on the Twitter). For more information on YAS, visit http://youngartistsshowcase.net/. It was my pleasure to talk to Stephanie about her skating career, YAS4 and her thoughts on choreography:

Q: You competed on an elite level for many years in the U.S., appearing 5 times at the U.S. National Championships. What are your favourite memories from your competitive skating days?

A: My favourite memory was actually my last Easterns in 2008. I had gone to World University Games the year before and skated really great, but being in Italy I wasn't really able to share that with the skating family I had made over my 17 years of qualifying events and my long wasn't even filmed. I wanted that one great moment in front of a crowd who knew me and knew how long I pushed through in competitions. So, I competed one more year with just the hopes of making Easterns because the East Coast was stacked that year. I think somewhere around 9 or 10 girls had gone to Nationals or been on Team USA the year before. I was just happy to be there, I felt great, I had choreographed and been in love with both my programs and just knew it was going to be great memories. I ended up skating 2 of the best programs of my life and actually couldn't get off the ice before I started bawling my eyes out. I wasn't even expecting to make Nationals because the group was so tough, but what everyone lacked was 2 great programs. I was able to sneak in because of my consistency and not only that, I was the by far the oldest competitor at a week shy of my 25th birthday, so that was pretty awesome!

Q: In deciding to skate professionally, what have been both the most scary and rewarding parts of making that decision and living it out?

A: I think the most rewarding part has been the ability to experience skating through a new atmosphere. It's a different type of pressure, but it's a different type of appreciation as well. I worked on cruise ships at first, and some people were seeing a live show for the first time and were just astonished that we could stand up let alone jump and spin. I've also been able to make life long friends and learn new styles of skating I never thought I'd be capable of performing. That last part, the new styles, was equally the scariest. There were a few solos that were entirely out of my normal realm of ability or even preference, but it was my solo and I had to learn it and master it. Some of them took a lot of adjusting, but I did it, because I didn't want to let anyone down.

Q: What made you personally decide to participate in YAS (Young Artists Showcase)?

A: I've always loved choreography (whether it was for me of my students) but I definitely have a style I stick to. I am really hoping to learn more about what I'm capable of by being pushed out of my normal box.

Q: What makes YAS so important to figure skating right now? What can it help do to evolve the sport?

A: YAS is important because it is bringing new choreographers into the spotlight. I competed in a time where there were very few choreographers and their work was so obviously theirs. It's not that the work was bad, it was just stereotypical. Now I'm seeing so many different "artists" and that's what a choreographer has really become. The numbers are our masterpieces drawn from many more mediums from inspiration and it's really playing right into the IJS with the separate marks for not only choreography, but interpretation.

Q: When it comes to creating choreography, what components of creating a new piece do you find to be the most fun and the most challenging?

A: The most fun for me is creating a storyline to act out though the piece. I find you can draw your movement from how you would be acting. The most challenging for me is I tend to get repetitive with some moves, I find something I like and I marry it to that program, I have to stop and be like, no you've done this enough, go about it a different way! I sometimes also just go on autopilot and forget what I just did, so I've taken to filming myself so I remember what I liked and didn't!

Q: If you were to create an original piece of choreography for any 3 skaters in the world, who would they be, what would the piece be about and what would you choose as your music and costumes for the skaters?

A: Anyone that knows me knows that I am basically a punk rocker and have an instant gravitation towards any skater that can relate to me music wise. I grew up training with Shaun Rogers and I met Colleen Maguire and Josiah Modes through Royal Caribbean and I would love to put a number together for them. The piece would be edgy and unconventional and I'd like to make it like a mock audience at a rock show with mosh style choreography, big leaps, crazy lifts, throws, and flips and would have to set to something fast, maybe a little offensive, I'm gonna have to say American Idiot by Green Day.

Q: Who do you believe are the greatest or most inspiring choreographers that figure skating has ever seen? What about the greatest or most inspiring skaters?

A: I grew up working with the Ice Theatre of New York and really anyone that has been at the helm of that program has brought amazing things to the skating world. I admire that program because instead of being at the elite somewhat unreachable level, their performances are all over the city and consist of all different types of skaters who have had different careers. It takes a certain something to be an ITNY performer, but it's a different something than we see in out elite athletes. I like that their program acknowledges that skating isn't all about the big tricks

Q: What is one thing about you most people don't know?

A: Hmm... I guess that I have 16 tattoos! It's also kind of my dream to choreograph a rock n' roll on ice show! I've always been this oddball skater, I grew up competing against the baby ballerinas, being their age, but 5'8 kinda put me in my own outcast league which was fine, because I was the girl backstage listening to punk rock and metal to get ready to compete while most of the skaters were into whatever big pop sensation was the thing. And ya know what? I made it my own way and I want skating to embrace the oddball...if they're talented, why should it matter?!

Q: What are your favourite book and your favourite song?

A: My favourite book would be Bloodsucking Fiends by Christopher Moore and I can't believe I have to pick just one song! I will have to go with a tie...The Devil in Stitches by Bad Religion and The Nerds, The Freaks, and The Romantics by the Bouncing Souls.

Q: If you could pick just one word to describe yourself, what would it be and why?

A: Unconventional. Like I said before, my first trips to Nationals were in the baby ballerina era. I skated to dark movie themed music like Pirates, Batman, and Once Upon a Time in Mexico. I was determined to make my goals my own way and people to this day still talk to me about how powerful I was and I revel in it. I don't think skating needs to fit in a pretty little box with a pink ribbon anymore...there's nothing wrong with glitter, but I think that glitter can be intertwined with studs.

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

Interview With Alexe Gilles

After winning the 2008 U.S. Junior ladies title, Alexe Gilles' skating career took off. The following season she won the Junior Grand Prix event in South Africa, finished 2nd at the Junior Grand Prix event in Mexico and won the bronze medal at the Junior Grand Prix Final. She has joined the world's best in competitions such as the Four Continents Championships, Skate America, Skate Canada and Trophee Eric Bompard. Now representing Canada along with her twin sister Piper, Alexe made her first trip to Canadian Nationals this past season. In this interview, she talked about her transition from skating for the U.S. to Canada, her training and new programs, relationship with her sister, thoughts about the judging of the sport and much more:

Q: After winning the 2008 U.S. Junior title, you continued to compete for the U.S. until you switched countries in 2012 and began competing for Canada. What were the main reasons for coming up and competing here and what are the main differences you perceive between both federations and National Championships?

A: One of the main reasons I switched to Canada was because my sister was competing up there and I had been thinking about switching for a little while before then. I also had a better chance at competing internationally with Canada but I still had to wait a year to be released from the U.S. Both federations are great and Skate Canada has been very helpful and patient through this process. Unfortunately, I do not know them as well as I know U.S. Figure Skating. The National Championships are very similar but each have different perks. At the U.S. Championships, the stadium size was bigger than Canadian Nationals, but both are about the same size now. The fans are equally great and supportive, but for some reason the Canadian Nationals feels a little calmer or less nerve-wracking than U.S. Nationals. I don't know what it is but U.S. Nationals feels like people are always watching your every move and Canada you have times like that but you also have a little more time to breathe.

Q: Your sister is Piper Gilles, who competed at the World Championships this year with Paul Poirier. What is your relationship with Piper like and how are you most alike and different?

A: My relationship with Piper (my twin) is really close. We have been through practically everything together. We have been living away from each other since we were 17 which was really hard at first, but now when we get together for holidays and competitions we really enjoy and cherish the moments together. We do have some differences though! I am about 4 inches taller than her but she is blonder than I am. She is very much a dancer! She is way more out there than I am but she can also be quiet. I am more shy at the beginning but once I know someone a little better I have a very funny sense of humour and am sarcastic at times, so we balance each other out pretty well.

Q: Do you prefer Coca Cola or Pepsi?

A: I am strange with the whole Pepsi and Coke. I don't drink much of either, but when I do I like regular Pepsi over Coke but Diet Coke over Diet Pepsi! So I would say both!

Q: You were coached by 1994 World Champion Yuka Sato and her partner Jason Dungjen. What was working with Yuka and Jason like? 

A: I am currently not coached by Yuka Sato and Jason Dungjen. I am working with Christy Krall and Damon Allen. Bob Emerson put me on the ice at this past Nationals. Working with Yuka and Jason was great for that point in my career. I learned a lot about myself and what I wanted with them and Yuka helped guide me in the right direction. I am so happy to be working with Christy and Damon though. They have known me since I was a little girl and I feel comfortable working with them because they are both so knowledgeable and we communicate very well.

Q: What can you share about your new programs for the 2013/2014 season and your goals this year?

A: My short program this year is a mix between "Sophisticated Lady" and "My Heart Belongs To Daddy" by Duke Ellington and my long is a Budapest and Hungarian Tango (concerto). My goals are a little bit up in the air right now. I have been struggling with tendinitis in my right knee (landing leg) and so the pressure coming down and on some take offs are forcing me to do everything I can off ice to heal it and cut back on jumps. So, I am mostly focusing on getting healed as of the moment and hopefully I will be ready for the season!

Q: What do you perceive as your biggest strength and your biggest weakness as a skater?

A: I believe my biggest strength is my height and strength. I can get those long lines that others cannot and I also have a great presence on the ice. One of my weaknesses is my height as well. It is more difficult getting into the power angles and smaller positions for spins. I wouldn't say it's a terrible weakness but it can be a little easier for shorter girls.

Q: Who are your favourite Canadian ladies skaters and why?

A: One of my favourite Canadian ladies skater has been Joannie Rochette! I loved her skating! She had a great strength and she had powerful moments. I looked to her as someone I wanted to resemble my skating after. She is also very kind off the ice. I always thought that she showed great respect and I want to do that on and off the ice as well!

Q: What is one thing about you most people don't know?

A: Oh Gosh, one thing people do not know about me... hmm. I am a twin. I am one of five kids in my family. We have five toy poodles (Missy, Bronco, Lily, Lincoln and Squeaker). They are awesome! I still share a room with my sister at home, when we are both there anyway which is only a week or two each year.

Q: When you're not on the ice, what are your favourite things to do with your time?

A: When I am not on the ice, I love to hang out with my friends and family. We go to the movies, go swimming, go snow and water skiing, hike, do yoga and biking - just anything to stay active and hang out if we are super tired after skating.

Q: What is your most embarrassing moment... and what is your favourite moment in your life so far?

A: Oh my... something embarrassing. Okay. Well, on my birth certificate I was a boy until I was about 9 years old. No one every caught it until I went to my first Regionals and was signed up in the Pre-Juvenile boys category. I was so upset! My parents, schools and other competitions never caught it! It was a long process to get it fixed because 9/11 had just happened and we had to get a lot of paperwork changed which was very difficult. It is all fixed now! My favourite moment so far has been winning my Junior National title. I had a blast at that Nationals. My performances were some of the best performances I have done in my career and that moment I landed the second triple lutz I was on fire. I was just giving it my all and for it to come together then and get that reaction was and still is amazing! I was so happy!

Q: If you could travel to any place in the world you haven't been to, where would it be and why?

A: I have been very privileged to have travelled to so many places around the world with figure skating! I would say I want to travel to Japan or Australia. I have heard Japan and the fans are so amazing over there and Australia because who wouldn't want to go to Australia! No, I want to go there because I have a few friends from skating that are from there and I want to help skating out there and see the different environment down there.

Q: The "new judging system" has received both a lot of praise and criticism. What do you think are the best and worst parts about the way skating is judged in 2013? What would you change or keep the same if it was solely up to you?

A: I think the new system has some negatives and positives. There are always going to be criticism about any way people judge. I believe it has helped since the 2002 Olympics, but it is very hard for the public to understand how it actually works. We have been working and progressing since the we changed systems and it is still confusing to skaters and coaches! If I could change anything about the new system it would to let the skaters (and choreographers) have more freedom! We can't express too much without being conscious about the time or pattern or which spin and position are we allowed to do next to get the most points. That is what can make it interesting but as well as very repetitive. Before, you could do three turns and toe steps and people went crazy! We are losing a lot of fans because we are too technical now. Don't get me wrong or anything because when someone does a clean program with 7 or 8 triples that is incredible itself but we miss the personality that came with the old system.

Q: What is your favourite part about being on the ice?

A: My favourite part about being on the ice is EVERYTHING! I love my boots and blades and being able to glide along and spin, jump, do spirals, footwork and stroking! It gives a sense of freedom and it is hard to duplicate anything like that off the ice! I think as I have grown up and matured more I appreciate all the little things that I can do on the ice because I won't be able to do everything when I'm 72! I will still probably try and skate but I will be a little more fragile then and wouldn't want to risk anything too serious. Skating really does teach you a lot and prepares you for anything life throws at you!

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.

The First Annual Skate Guard Hallowe'en Spooktacular

It's the ghost wonderful time of the year! Hallowe'en has once again fallen upon us and all of you loyal Skate Guard readers know that means. It's time for a yearly Skate Guard tradition... The Annual Skate Guard Hallowe'en Spooktacular! Dim the lights enjoy this creepy collection of darker stories that have peppered skating's history through the years!

JANET AND ROSETTA VAN DER VOORT

The Wollman Ice Rink/Central Park Pond at the southeast corner of the New Park, near 59th Street, was one of the few places that Janet and Rosetta Van Der Voort, the daughters of an overprotective wealthy helicopter pilot, were allowed to leave their home unaccompanied. The 19th century sisters lived in a brownstone mansion 14th Street just off of Fifth Avenue in Central Park South and were known to spend hours skating figure eights on the frozen pond every winter. They had no friends or close relatives and died within months of each other in 1880. "The sisters grew so close as they grew older that they spurned all potential suitors, dying as spinsters," reported a 1997 New York Times article. "But, as legend has it, the Van Der Voort sisters, decked out in the same red and purple outfits they wore more than 100 years ago, sometimes return to the pond to figure-skate, in the summer as well as the winter, haunting parents on Central Park South who continue to keep their daughters prisoner." Another variation of the story has the sisters skating in another part of the park. "Their ghosts were first spotted during World War I skating side by side on the frozen lake in Central Park," wrote Dennis William Huack in his book Haunted Places. "They were both dressed in huge bustles: one in a red dress, the other in a purple dress. The skating ghosts have been seen many times since, their silver skates gliding just above the ice in a never-ending series of figure eights." Many others believe that the story is an urban legend. Folklorist Libby Taylor wrote, "There's just one problem with this story. Wollman Rink was built in 1949, not the 1800's". That's not to say that the sisters didn't skate in Central Park during their lifetimes. After all, if you love skating enough you'll take ice time where you can get it.

MILFORD SKATING CENTER

Since opening its doors in 1982, Milford Skating Center in Milford, Delaware has employed dozens and played host to countless skaters. According the rink's owner Carmen Kemper, Skates at the rental counter tumble off of their racks ad land right side up on the counter several feet away. Cold spots plague the rink's DJ booth and music blares even when the P.A. system is turned off. A popular DJ manned the booth before dying unexpectedly. Rick Coherd and his team at Delmarva Historical Haunts investigated the site, using tools such a EVP (Electronic Voice Phenomena) and EMF (Electro Magnetic Field) meters and infrared cameras. In his investigation, Coherd's team revealed that "they observed some paranormal activity including unexplained sounds of movement, strange activity with electronic devices and even recognized voices". Is this young DJ the ghost of Milford Skating Center or is it someone else? Prior to being opened as a skating center by Charles Wahleg in 1982, the site was once a pharmacy and automotive shop dating back to the 19th century.

SERGEI GRINKOV AND THE LAKE PLACID CENTER

They called it "The Miracle On Ice" when the 1980 U.S. hockey team defeated the Soviet team at the Olympic Center in Lake Placid, New York, but in November 1995, 2 time Olympic Gold Medallist Sergei Grinkov passed away of a heart attack in the very same building while practicing for that year's Stars On Ice tour with his beloved wife and skating partner Ekaterina Gordeeva. According to local accounts, ever since Grinkov's tragic death many skaters claim to feel Sergei's presence in the rink where he passed away, especially early in the morning or late at night. There isn't much more here to substantiate this "feeling" than hearsay, however. In her book My Sergei, Katia talks about a dream where Sergei visited her. "The next day, I felt much better having told my mother about the dream, and I was smiling all day. It was February 4, Sergei's birthday, and it was like he didn't want me to be sad on his birthday. Before this dream, I'd blamed myself for his death, but afterward, it was like Sergei had told me, 'This is what I wanted, so leave me. Release me." The overwhelming release of emotion left in that space when Ekaterina skated alone for the first time in Sergei's Celebration Of A Life show with his family and friends present most certainly was that release and had to have imprinted that space with its pure love, beauty and sense of home on the ice and may leave skaters visiting with the feeling of a presence.

RICKETTS GLEN

In Benton, Pennsylvania, what is now Ricketts Glen State Park doesn't just play host to old-growth forest and rushing waterfalls. Ghost stories are abundant in the locale. The Susquehannock people who once inhabited the area told tales of evil spirits who roamed the nearby Sheshequin Path. A boy on the property met a tragic death when the tree he was chopping at a lumber company suddenly toppled on him and a white tree that never produced any leaves grew on the spot of the tragedy's place. Nothing supposedly was ever able to grow near this "ghost tree". The ghost tree story never deterred a young family who were staying in a lakeside cabin, who looked on their young son went out on the ice on Lake Jean to test out his new skates, which he'd received as a Christmas gift. They rushed to his rescue and both parents and the young son all perished in the freezing lake waters. Urban legend has it that if you go out on the lake where they fell through the ice, you might catch a glimpse of them looking out at you through the water. According to locals, strange lights can also be seen on the lake and whispers can be heard in the wind.

THE GHOST OF SONJA HENIE?

Photo courtesy Los Angeles Times Photographic Archive, UCLA Library. Copyright Regents of the University of California, UCLA Library. Used under Creative Commons Attribution 4.0 International License.

In the height of 3 time Olympic Gold Medallist Sonja Henie's career in 1939, a 7 bedroom, 8 bathroom mansion was built at 243 Delfern Drive, across the street from the real Sunset Boulevard in Los Angeles, California by Old Hollywood architect Paul Williams. Dubbed Chez Henie by the superstar that contracted the house's design, this mansion was every bit as luxurious as you'd expect. A sweeping circular driveway, a dramatic staircase, a swimming pool, sunken tennis courts and even a small private indoor skating rink built in the house's attic were included in the house's design. Actress Connie Stevens purchased the home in 1974 for $250,000 (a complete steal) from Sonja's late husband, Niels Onstad. Over the years, the home has been leased to legendary musician Herb Alpert and even played host to the filming of the motion picture Postcards From the Edge, based on Carrie Fisher's novel about a smart, drug prone actress much like Carrie herself and her intense Debbie Reynolds-like show business mother. In a feature on BIOGRAPHY's Celebrity Ghost Stories, Stevens recounts the sounds of someone walking around in the attic and going upstairs to investigate and finding beautiful old drawings of little Norwegian children playing and having fun and the remains of an old skating rink upstairs. Stevens believed it was an insight into Sonja's soul. Never having had children of her own, being childlike and loving children, this very well could have been Sonja's tribute in a way. She believes that the spirit of Sonja lives on in that attic, which was converted to a roller skating rink for Stevens' daughters. Attic lights flick on on their own, especially when Connie has guests are over for outside parties. About a year before her Sonja's death on October 12, 1969 at age fifty seven, she was planning on making a grand comeback in the form of a television special she was planning right up until her death. She went to the local rink at least 3 times a week getting back in shape, skating with one of her old skating partners from the early days, enjoying herself and completely unaware that the tiredness from her believed anemia was actually leukemia, a fact her husband and personal secretary never told her about, right up until the day of her death. Is the ghost in the attic really the ghost of Sonja Henie, still drawn to her attic ice rink and oblivious to her illness?

Skate Guard is a blog dedicated to preserving the rich, colourful and fascinating history of figure skating. Over ten years, the blog has featured over a thousand free articles covering all aspects of the sport's history, as well as four compelling in-depth features. To read the latest articles, follow the blog on Facebook, Twitter, Pinterest and YouTube. If you enjoy Skate Guard, please show your support for this archive by ordering a copy of the figure skating reference books "The Almanac of Canadian Figure Skating", "Technical Merit: A History of Figure Skating Jumps" and "A Bibliography of Figure Skating": https://skateguard1.blogspot.com/p/buy-book.html.