"Every once in a while I run the Olympic downhill in Japan in my head. I think of how the energy is going to flow and then I make it all work for myself"
About this Quote
Street is describing a private kind of training that looks suspiciously like daydreaming until you remember what downhill skiing actually is: a few minutes where physics, fear, and split-second decision-making all collide at highway speeds. By “run[ning] the Olympic downhill in Japan in my head,” she’s naming a ritual of control in a sport that punishes hesitation. The intent isn’t mystical. It’s tactical. She’s rehearsing the course as a story her body can recognize when the starting gate snaps open.
The key phrase is “how the energy is going to flow.” That’s athlete-language for rhythm, line choice, and momentum - not just where to turn, but how aggression and restraint trade places over each pitch. “Energy” also smuggles in crowd noise, weather, nerves, and adrenaline: the invisible variables that can hijack a run. Street implies you can’t eliminate them, but you can route them. Visualization becomes emotional choreography.
Then she lands on the most revealing claim: “I make it all work for myself.” It’s a blunt declaration of agency in a setting designed to make you feel small - mountains, international scrutiny, the Olympics’ glare. Coming from a 1990s American ski star, it also reads as a rejection of the myth that elite performance is pure instinct. She’s saying excellence is constructed, premeditated, almost edited. The subtext is confidence with teeth: when the moment arrives, it won’t be new. She’s already been there, repeatedly, in her head.
The key phrase is “how the energy is going to flow.” That’s athlete-language for rhythm, line choice, and momentum - not just where to turn, but how aggression and restraint trade places over each pitch. “Energy” also smuggles in crowd noise, weather, nerves, and adrenaline: the invisible variables that can hijack a run. Street implies you can’t eliminate them, but you can route them. Visualization becomes emotional choreography.
Then she lands on the most revealing claim: “I make it all work for myself.” It’s a blunt declaration of agency in a setting designed to make you feel small - mountains, international scrutiny, the Olympics’ glare. Coming from a 1990s American ski star, it also reads as a rejection of the myth that elite performance is pure instinct. She’s saying excellence is constructed, premeditated, almost edited. The subtext is confidence with teeth: when the moment arrives, it won’t be new. She’s already been there, repeatedly, in her head.
Quote Details
| Topic | Training & Practice |
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