2013 Calder Cup: Eakins will dress whoever gives Marlies best chance to win, D’Amigo more than just a shut-down guy versus Rochester

Jerry D'Amigo had five goals in three games last post-season against the Rochester Americans- Image Courtesy of Dave Abel

Jerry D’Amigo had five goals in three games last post-season against the Rochester Americans- Image Courtesy of Dave Abel

TORONTO– Dallas Eakins has enough players on his current roster to split into two teams, which could make it difficult when deciding who he is going to play.

But when his Toronto Marlies square off with the Rochester Americans on Saturday in Game 1 of their best-of-five first-round matchup, only one factor will determine who gets in.

“We will dress the lineup we think we can win with,” said Eakins. “Whether that means taking some guys out of the lineup, young guys who have played recently, or lean on veteran guys. Whatever that decision is, we will only have one concern on our mind and that’s winning the game.”

At Wednesday’s practice, one that the coach extended to 90 minutes, 26 skaters took the ice with the goal of improving the special teams.

While Toronto’s penalty kill fell out of the top spot in the AHL, which it held the past two seasons, to 15th, being down a man isn’t the biggest concern. Toronto’s power play, 19th overall, has had difficulty with consistency and finished the season with just three goals on 21 chances.

It’s Top-5 power-play producers are all currently with the Leafs, leaving Spencer Abbott as the club’s current leader with four goals and 13 points, so Eakins shuffled players through different lineups looking for any sort of chemistry.

“We spent almost the whole practice today just on (the power play),” said Eakins. “We’re constantly searching for the best group and best personal and we’ll keep doing that until we find that.”

One of those getting a chance to add some offence to the power play was forward Jerry D’Amigo.

The 22-year-old has carved out an every-day role as a shut-down guy, but earned some extra playing time near the end of the regular season and finished the year with 17 goals.

“His role has changed a little bit, especially over the last month,” said Eakins. “You keep juggling the lines and I’m not sure he’s going to be out there just to shut down.”

D’Amigo has had tremendous success in his short career against Rochester, which will aid in him getting more opportunities. In last season’s first-round series, D’Amigo scored five goals, including two game winners, in a three-game sweep versus the Americans and this year he had four goals and two assists in nine games.

“Whenever you’re successful like (last season) it helps,” said D’Amigo. “For me to be the guy to kind of do that, it’s a great feeling.

“Some teams you figure out and some you don’t. And Rochester’s one of those teams,” he added.

Carter Ashton skated in his second straight practice with hopes of being ready for Game 1. A broken foot has made wearing a skate an issue, which is why today he brought two pairs to the bench. While he’s made progress, he wasn’t available to speak with the media to give an update.

Tim Connolly also took part in his second practice since being shut down with a hip issue. Unlike Tuesday, when he left practice 15 minutes early, he stayed right until the end.

Paul Ranger both sat out practice on Wednesday, however it doesn’t seem to be too concerning. Eakins termed Ranger’s absence as a “maintenance” day.



4 Responses to 2013 Calder Cup: Eakins will dress whoever gives Marlies best chance to win, D’Amigo more than just a shut-down guy versus Rochester

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  2. “It was obviously a hard decision,” she says. “I thought Penn State was obviously a good distance and (the Penn State coaches) thought much the same way as my (high school graduation coaches) did when it comes to workouts.” The twotime defending Class AA state champion in the 800 she’ll opt for her third straight win next spring Fisher boasts two team state golds in the 4×800. She’ll run the 1,500 and 800 in college.

  3. Hari says:

    Everything is art . So there!However, Beuys did not say that everything was good art or whhteer all this everything art is qualitatively on a par throughout or not. Of course it isn’t. It all depends on who views it and what goes on inside this viewer. If the work in question leads to a reasonably extensive inner process so that it becomes to some extent unforgettable , he or she will perhaps rate this work as significant, as good art so to speak. So here we have a good work of art and one person who agrees with this judgement. What happens next? One of two things: more people will have a similar experience with this work of art and as this gets talked about, this work will acquire a certain aura which will transmit to more and more people. The other thing that might happen is that this viewer happens to be a bit of an authority in the field of art, like he has a couple of academic titles to his or her name, or runs a successful gallery, or whatever, and as they talk or write about this work, more and more people will nod and repeat the message as basically they haven’t a clue. This will also create quite a reputation and the prices will rise. Both will end up as significant and highly prized art.So far, nothing about illustration. No difference between one or the other. Someone will have to come in and make this difference. How would they go about it? Rather than just look for a printed medium I think I’d try and figure out whhteer a possible work of art is mostly expressing an interpretation, almost lecturing us and telling us what to think and what not to think or on the other hand is, like Simon said: mystery, abstraction and depth , calling on the viewer to start thinking and building his own personal interpretation and experience of this work of art, which could not only be different from person to person, but even different in the very same person each time they revisit the work and have a fresh look. The more the latter, the more this is a good work of art , and the more this is lacking, the lesser the work.Still nothing about illustration.Well, maybe it doesn’t come into things really. Maybe it is the wrong criterion that was created just because it seemed an easy tool for categorising things. Does it really matter whhteer a work of art is in a book or has been cut out and framed? I think not. There are even pictures in comic books or maybe even among countless storyboards which have a quality that could not easily be equalled by so much oil paint on a canvas.So that’s settled, right?And as for figurative art Why should that be mere illustration if it fulfils the criteria above? Why should non-figurative art be considered on a higher level? Maybe because the secret of it remains even after countless attempts to do something with it came to no avail? How much non-figurative art is really appreciated in the above sense and how much is merely decoration or part of an endless repetition of a similar aesthetic almost like a formula producing fractals by the million? Again, I would think, the wrong criterion. It may be useful to be able to put things into different drawers, but not really as important as it might have been when early abstract art broke open the harness of tradition, in how things had to be poured into the right forms, and which ones were „wrong“ as taught by the academies of the nineteenth century, which really didn’t have a nice word to say about, for example, Monet.Ok. Let’s say we have more or less chucked out the expressions illustration and figurative except for a minor descriptive use, and we have arrived back at fine art .So now we can look at the fine art of Norman Rockwell. And yes, some of his works I would appreciate more and some less, and someone else might see it the other way round. No one will be able to ignore the fact that this man was incredibly talented and there wasn’t really anything he could not have done well.Some of his illustrations might be kitsch in someone’s eyes, but who knows whhteer it is not especially these which refer to the mystery of (part of) a society that could live in a world that identified with just these works? Maybe we are still too involved and close to those times to even try and take an „objective“ look? And maybe these will live while others that meet today’s taste of fine art will turn out to be far less interesting, far less mysterious but merely more pleasing?Why do we always have to go round and brandish the club of our judgement? Yes, to make important. Indeed. Better to just look at the stuff and think Wow! He did this awfully well! or maybe „hmmm“ and leave it at that. There are enough important little men and women who will hold forth on what goes on in their minds when they look at these works. Better not to join these.Ah yes. I wrote this before I had quite finished Simon’s article and had not yet read about his suggestion to ban the expression illustration from the discussion of art. We appear to have come to a rather similar conclusion. Nice

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