Wednesday’s Racing Insights: GISW Clairiere Returns At Fair Grounds

Sponsored by Alex Nichols Agency

By Stefanie Grimm

7th-FG, $56K, Alw/Opt. Clm ($80k), 4yo/up, f/m, 1 1/16m, 5:05 p.m. ET

After a last-out fourth in the GI Longines Breeders' Cup Distaff where she was defeated only three-quarters of a length by longshot Marche Lorraine (Jpn) (Orfevre {Jpn}), GISW & MGSP CLAIRIERE (Curlin) starts her 2022 season Wednesday at the site of some her greatest successes. Prior to her defeat in the Breeders' Cup, she took the GI Cotillion S. Sept. 25 at Parx and, earlier that season, captured the GII Rachel Alexandra S. Feb. 13 and was a close second in the GII Fair Grounds Oaks Mar. 20, both at today's 1 1/16-mile distance. The newly turned 4-year-old has been training lights out, including a bullet five-furlong work Feb. 28 in :59 3/5, the fastest of 24 works at the distance, for trainer Steve Asmussen.

“In all honesty, all we need to do is be a length better than we were last year,” Asmussen said. “She couldn't be giving us any more confidence with the way she's training. It's worked out really well for Stonestreet, having two nice fillies in Pauline's Pearl and Clairiere. With an ideal spot to start Clairiere in a conditioned allowance race, we will see which one of the two gets to run in the Apple Blossom.”

Clairiere adds Lasix for the first time Wednesday and picks up Joel Rosario for the ride. To get the win, she'll need to hold off both the aptly named SUPER QUICK (Super Saver) as well as TIZAFEELIN (Jimmy Creed) who each ride respective three-race win streaks into Wednesday's allowance. TJCIS PPs

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Taking Stock: Tampa Bay’s Big Day Showcased Top Outfits, Bloodstock

Tampa Bay Downs in Oldsmar, Florida, is a gem of a racecourse that doesn't get the accolades it should. Owned by Stella Thayer, president of the track and a member of The Jockey Club, and her brother, Howell Ferguson, Tampa Bay Downs is expertly managed day to day by Peter Berube, vice president and general manager, and Margo Flynn, vice president of marketing. This was obvious on Saturday–“Festival Day 42”–when the track showcased its signature event, the Gll Lambholm South Tampa Bay Derby, one of five black-type events on the day that attracted some of the best horsemen and outfits on the East Coast as well as a full house of racegoers and bettors. Handle for the day was a record $20.7 million.

The track is one of the few successes in N. America that operates without the benefit of slots money, although a card room does contribute minimally. Purses, therefore, pale next to other tracks with casino affiliations, but Tampa Bay Downs is the model for sustainable racing without the slots subsidies and it continues to attract South Florida-based powerhouses like Chad Brown, Todd Pletcher, Bill Mott, Mark Casse, Graham Motion, and Shug McGaughey, to name a few, for the quality of its racing on turf and dirt, despite its lower overall purse structure.

The big stables usually have the better stock, and this was evident in the black-type events Saturday. Heavy rain had pelted the track before noon, notably softening the turf course, but by race time for the first stakes race on the 12-race program, the Gll Hillsborough S. at 1 1/8 miles on turf for fillies and mares, carded as the seventh race, the weather was sunny and windy and both the main course and the turf were labelled as “good.”

Bleecker Street

Chad Brown had two in the $225,000 race for owner Peter Brant, Bleecker Street (Quality Road), the favorite; and imported Rocky Sky (Ire) (Rock of Gibralter {Ire}). They ran one-two, with Bleeker Street almost four lengths the better as the easiest kind of winner. Charles Fipke's Grade l winner Lady Speightspeare (Speightstown), the second choice trained by Roger Attfield, had a dream trip prompting the pace but the give in the ground and her first attempt past a mile and a sixteenth took its toll. She finished fourth, almost a length behind Gladys (Medaglia d'Oro), Rachel Alexandra's full sister, in third.

Bleecker Street is a lightly raced 4-year-old filly and is a star in the making, and it's important to note that she's done most of her important work to date at Tampa. Undefeated now in five starts, Bleecker Street's Hillsborough was her third consecutive race at Tampa, following an earlier defeat of the aforementioned Lady Speightspeare in the Glll Endeavour over the same course at a mile and a sixteenth last month. She's now ready to take on Grade l competition, perhaps at Keeneland next, and will likely become a full-fledged star on the national stage as the year progresses. If she does, it's because Tampa Bay Downs afforded her the early opportunity for development.

Bleecker Street's sire Quality Road is one of the elite stallions in N. America and is adept at getting high-quality horses on dirt and turf; he stands for $150,000 at Lane's End. Bred in Kentucky by Branch Equine, Bleecker Street was purchased by Brant's White Birch Farm for $400,000 at the Fasig-Tipton Saratoga select sale. From the restricted stakes-placed Exchange Rate mare Lemon Liqueur, she's her dam's first black-type winner. The next dam, the stakes-placed Lemon Drop Kid mare Limoncella, had only one stakes horse–Bleecker Street's dam. This isn't a particularly strong pedigree in terms of black-type production until the fourth dam, Key to Flight, by Key to the Kingdom. She's a half-sister to Group 1 winner and Irish champion 2-year-old filly Minstrella and Grade ll winner Misty Gallore–all of them produced by the influential Flight Dancer, Bleecker Street's fifth dam and Gun Runner's (Candy Ride) fourth dam.

Ned Evans owned Flight Dancer and bred Key to Flight as well as her Halo daughter Trip Around Heaven, Bleecker Street's third dam, and there's some symmetry to this mating as Evans also bred and raced Quality Road, giving Bleecker Street Evans's touch on top and bottom.

Bleecker Street is one of six black-type winners bred on the Quality Road/Danzig cross and others include Illuminant, a Grade l winner on the turf; and Captain Scotty, a Grade ll winner on dirt.

Tampa Bay Downs carded its five black-type races consecutively and the winners of those races are discussed in order below.

Scalding

Scalding (Nyquist), a 4-year-old colt trained by McGaughey for Grandview Equine, Cheyenne Stable, and LNJ Foxwoods, won the $100,000 Glll Michelob Ultra Challenger S. by a neck on the main track at a mile and a sixteenth from the Mott-trained and Godolphin-owned Cody's Wish (Curlin). Dynamic One (Union Rags), trained by Pletcher and owned by Repole Stable, Phipps Stable, and St. Elias Stable, was third. McGaughey's highly regarded Greatest Honour (Tapit) finished sixth of seven. The colts in this race were an incredibly well-bred and well-connected group.

Scalding was bred by Godolphin and Cobalt Investments and was purchased by Solis/Litt at the same sale and for the same price as Bleecker Street. He's a first-crop son of Nyquist, who led the freshman sire list in 2020, and he's the second black-type winner and graded winner for his sire this year. The 3-year-old Nyquist filly Turnerloose won the Gll Rachel Alexandra S. at Fair Grounds last month.

Scalding's dam is the unraced Medaglia d'Oro mare Hot Water, who also is the dam of Grade lll-placed black-type winner Tracksmith (Street Sense) and black-type placed Tortuga (Bodemeister). The next dam is the Elusive Quality Grade lll-placed restricted black-type winner Elusive Heat, one of two black-type winners for her Grade l-winning champion dam Xtra Heat, a daughter of Dixieland Heat who won 26 races from 34 starts and earned $2.4 million.

Dolce Zel (Fr)

Chad Brown was back at it again on the turf in the $200,000 Glll Florida Oaks at a mile and sixteenth, running one-two again, this time with French import Dolce Zel (Fr) (Zelzal {Fr}) getting the better of stablemate Spicer (Quality Road) by a head. The McGaughey-trained On Alert (Medaglia d'Oro) was third. The latter was a $500,000 Fasig-Tipton Saratoga yearling while Spicer sold for $300,000 at Keeneland September.

Michael Dubb, Madaket, and Robert LaPenta purchased the pint-sized Dolce Zel privately. She is from the first crop of Zelzal, a Group 1 winner by Sea the Stars (Ire) who stands this year for 15,000 euros at Haras de Bouquetot and is represented by three black-type winners to date, including Ouraika (Fr), who also happens to be campaigned by Madaket and Michael Dubb. Ouraika won the Glll Sweet Life S. on the downhill turf at Santa Anita last month for Graham Motion, also by a head like Dolce Zel. Madaket and partners clearly know how to source lightly raced European runners off the beaten path for N. America and spread them out among top trainers here. And they're lucky in photo finishes, too.

Madaket is also involved with “The Avengers” group of SF Bloodstock and Starlight Racing that have campaigned so many notable 3-year-olds with Bob Baffert, including Gl Kentucky Derby winner Authentic, and, earlier, Triple Crown winner Justify.

Dolce Zel is a member of a strong and productive American family after the first dam, the Dr Fong mare Dolce Attesa (GB), who is also the dam of Group 2-placed black-type winner Pure Zen (Fr) (Zoffany {Ire}). Dolce Zel's second dam is the Saint Ballado black-type winner Lady Gin, and this is the immediate family of Grade l winners Musical Romance (Concorde's Tune), a champion sprinter; and the ill-fated Battle of Midway (Smart Strike).

Heaven Street

Trainer Christophe Clement got into the action in the next race, the Listed $75,000 Columbia S. at a mile on turf for 3-year-olds, winning with Heaven Street (Street Sense). Bred by Siena Farms, Heaven Street was a $275,000 RNA at Keeneland September. He's now campaigned by Siena and Asmussenequine.com and entered the Columbia a winner of two of six starts, both wins, however, on turf.

Heaven Street won the Columbia by a length, defeating horses trained by such as McGaughey, Rusty Arnold, Jonathan Thomas, Arnaud Delacour, and Brian Lynch, among others.

Street Sense stands for $75,000 at Darley and has been on a tear the last few years. His Azure Coast won the G3 UAE 2000 Guineas last month. One of Street Sense's best is Grade l winner Maxfield, who was produced from a Bernardini mare. Speaker's Corner, who won the Gll Gulfstream Park Mile S. the weekend before, is also from a Bernardini mare, and this larger cross of Street Sense/A.P. Indy is at work with Heaven Street, who is from a mare by Congrats, a son of A.P. Indy like Bernardini.

Heaven Street's dam Heavenly View is a half-sister to four black-type winners, including Mr Freeze (To Honor and Serve), a millionaire Grade ll winner who was also second in the Gl Pegasus World Cup, and she's also a half-sister to the Bernardini mare Zayanna–dam of Grade l winner Wicked Whisper (Liam's Map) and Grade ll winner and Grade l-placed Point of Honor (Curlin). This is a strong and productive black-type family and it's not surprising that Heaven Street was offered for sale on day one at Keeneland.

Classic Causeway

The Brian Lynch-trained Classic Causeway (Giant's Causeway) won the $350,000 Gll Tampa Bay Derby at a mile and a sixteenth as the favorite, duplicating his effort from last month's Glll Sam F. Davis at the same distance at Tampa Bay. In both races, Classic Causeway, a homebred for Kentucky West Racing and Clarke Cooper, broke like a shot and won wire-to-wire, and he's done everything that's been asked of him but nevertheless gets the Rodney Dangerfield treatment. He now sports a record of three wins from five starts, but the 84 Beyer Speed Figure that he earned in the Tampa Bay Derby–he'd run an 88 in the Sam F. Davis–has led to speculation that he may not be good enough to win the Gl Kentucky Derby.

Part of this comes from the competition he's beaten. Classic Causeway defeated 38-1 shot Grantham (Declaration of War) by 2 1/2 lengths in the Tampa Bay Derby, but Grantham's previous high Beyer was a 71, though he'd finished fourth in the Glll Withers with a 68 Beyer. Shipsational (Midshipman), a New York-bred, was third in the race and had run an 83 in the Sam F. Davis when second to Classic Causeway.

Perhaps more telling was the performance of the Graham Motion-trained Belgrade (Hard Spun) in seventh, beaten about six-plus lengths by Classic Causeway. Belgrade had debuted in a six-furlong maiden special restricted to horses sold at auction for $45,000 or less at Fair Grounds in December and won by six lengths with a 79 Beyer, and off that race he'd been sold for an astonishing $700,000 at Keeneland January. The runner-up in that Fair Grounds race, Tee Burns (Klimt), finished eighth of nine in a $50,000 maiden claimer at Fair Grounds last month at 10-1.

Belgrade reappeared at Tampa last month for Motion to win a seven-furlong optional claimer by a head from a local horse with a 72 Beyer, and he probably ran an even better race in the Tampa Bay Derby, suggesting that Classic Causeway's figure is probably legitimate.

Speed figures aside, Classic Causeway is one of three winners from Giant's Causeway's last crop of three foals. One of the others is Giant Game, who was third in the Gl Breeders' Cup Juvenile but eighth in the Tampa Bay Derby, and the other is Monaadah, who won his debut at Meydan two weeks ago.

Giant's Causeway, who died in 2018, has sired 195 black-type winners, many of them from mares with some of the best pedigrees in the world. That's not the case with Classic Causeway, whose stakes-winning Thunder Gulch dam Private World was the only black-type winner under the first three dams of the pedigree until Classic Causeway arrived.

Private World won two stakes races at two, the Listed Anoakia S. at Oak Tree at six furlongs and the Moccasin S. at Hollywood Park at seven furlongs. She either led or prompted the pace in both races and her son obviously gets some of his speedy tendencies from her.

Giant's Causeway, however, can provide the stamina required for Classic Causeway to keep progressing up the distance ladder, and so far, all Classic Causeway does is win, which is hard not to like.

Sid Fernando is president and CEO of Werk Thoroughbred Consultants, Inc., originator of the Werk Nick Rating and eNicks.

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Behind the Lens: Bill Denver

New Jersey native Bill Denver is today's subject in TDN's rotating series profiling racetrack photographers. We ask about memorable horses, races, and people they've viewed through the lens, and also talk about how the craft of equine imagery has evolved.

Denver, 60, is the founder of Equi-Photo, which currently shoots the races and provides winner's circle photographs at Monmouth Park, the Meadowlands Thoroughbred meet, Parx, and Penn National.

Separate from his work at East Coast tracks, Denver has previously freelanced for college athletic departments and numerous newspapers, including the New York Daily News, and he also shoots for corporate clients that range from hospitals to power plants. His nearly five-decade portfolio includes everything from space shuttle launches to the Triple Crown.

In an interview that has been edited for clarity and brevity, Denver began by telling how he had to travel far from his Jersey roots before coming back home to find his professional calling.

TDN: How did you first become interested in photography?

BD: I really got into it on a cross-country bicycle trip I did back when I was 22 years old. I rode a bike from my home in New Jersey with the intention of going straight across to Oregon. But when I got out to western Wyoming, I headed up through Yellowstone, then decided to go up to Glacier National Park. I continued on, crossing the Continental Divide eight times, believe it or not.

And then I went into Canada, and kept going through to British Columbia, then down to Seattle. I eventually did end up down in Oregon. Then I just said, “Ah, I'll just keep going,” so I went all the way to San Francisco. It ended up being 5,000 miles in two months. And I took a lot of photos, all across America–a great way to see the country.

TDN: Once you got bitten by the photography bug, how did it lead you to the track?

BD: I grew up in Rumson, right near Monmouth Park. I had gone there with my parents when I was a kid, and I just thought it would be a neat place to work. So in 1984, I went over to see [track photographer] Jim Raftery of Turfotos, and he ended up hiring me.

But Jim ended up hiring me to work at Atlantic City Race Course, even though I actually wanted to work at Monmouth. At that time, back in the early 1980s, Monmouth ran on weekends in April. So he brought me in for two weekends to train me, and then he said, “OK, you're in charge–at Atlantic City,” where Turfotos also shot.

So I kind of got thrown into the frying pan down at Atlantic City. It was night racing, five nights a week, and then I would help Jim at Monmouth for the bigger races. It was like a 90-mile drive, but Jim used to have a camper he would haul up from Florida and leave in Atlantic City, and I would stay in that. Then in the winters, I would go down and help out at Hialeah and Gulfstream.

In 1988, I took over at Monmouth. Then Meadowlands followed. And then Suffolk Downs, from 1992 until 2001. Then I did Gulfstream from 1995 until 2007. That was the year that my son, Ryan, was entering high school. And I figured that was enough of being away all the time.

TDN: And now Ryan has followed you into the business, sharing the workload at Monmouth. How old was he when he first showed an interest?

BD: He's been doing this for years, way before Monmouth hosted the Breeders' Cup in 2007. My daughter, Jessica, also helped for many years, but she's a mom now, so she really isn't involved anymore. Ryan started out when he was nine, and he's been doing it on and off for years–he's 28 now. I'll just never forget him helping out during the massive rainstorms during that '07 Breeders' Cup, just drying cameras and equipment, non-stop.

I was asked in 2017 to join the Eclipse Sportswire team that shoots at the Breeders' Cup. And then Ryan got asked the next year, so we both have been able to shoot that event together the last few years. Ryan's been doing really well and is enjoying it.

TDN: About those the monsoon conditions at Monmouth's first and only Breeders' Cup–how does a professional photographer work under such adverse elements?

BD: Your strategy changes. Obviously, it goes from having a plethora of ideas of where you're going to shoot to, “What's the most important shot and how do I keep the cameras working?” That's the main thing. It just was finish line, winner's circle, dry the cameras in the scale house. I just got stuck out there. If you don't keep those cameras dry, they're going to fail on you, and you don't want to miss anything shooting the Breeders' Cup.

TDN: You've now been shooting trackside for nearly 40 years. What have been the big game-changers in photography during that span?

BD: It all does come back to the transition from film to digital photography, whether it be in the printing or the editing. Or in the way we save photos–we don't have boxes of negatives anymore. It's all on hard drives, which makes it more mobile.

I'm finding that the ability to do things remotely is great–like if I don't go out to Penn one night, I can just check in with my staff and see the photos, or even post them on social media from our archives. That's something you could never do years ago. I think of way back when, we used to transport a whole, full-color darkroom down to Florida and back on a U-Haul.

TDN: Conveniences aside, do you ever pine for the aesthetics of film photography? I know some photographers say film produces richer prints with better color and contrast.

BD: I don't really feel that way. If I go out in the morning, it really doesn't matter if it's film or digital to me. Digital makes it a lot easier to see what you're getting, and you get a lot more shots. You can go right back [to the office] and see it on a screen. So that makes life easier. I see a lot of photographers now who are shooting film, but they end up scanning it anyway to try and do a digital image. I don't really see any disadvantage with digital as far as that's concerned.

TDN: How much of your time is spent managing Equi-Photo versus actually shooting? What's the ideal balance?

BD: Obviously, I have to manage the business, but I do still get out and shoot a lot. I always wish I had more time to shoot. But I keep a pretty good balance; the exact ratio I'm not sure of. I do go out and shoot a lot of races, edit a lot of photos, and things like that when it comes to publicity.

That's one of the things I want to stress: We've always made it a point, right from the beginning, how important it is to publicize racing and to publicize the tracks we work for. So we're always sending out photos with captions, whether it's a stakes race or just something interesting. We've also started to do that on our social media as well.

It can't be done without a good crew. We also have teams of two at Parx and Penn. They all understand what needs to be done–what the horsemen need, what the track needs, everything from action shots to marketing to win photos.

TDN: Photographers see things differently from the rest of us. What goes through your mind when you're prowling trackside for shots?

BD: That's something we try to do every day–get something artistic, try to see something that other people don't see, or from an angle that they can't see it, and get a good photo of it. But at the same time, it's just as important nowadays to edit. When you go back and look at those images, you really have to take your time and find the right one. You might end up in the editing process selecting a photo that isn't your best shot. You're looking for good light, emotion, and good action.

TDN: Today everyone with a smart phone has a fairly powerful camera with them for a day at the races. But the average joe can't access the restricted areas open only to credentialed photographers. Any advice for hobbyists who want to get good shots from the track apron or grandstand?

BD: Just find your own spot. There are so many great angles at racetracks that you don't have to go where the professional photographers are to get nice, beautiful pictures of horses the whole length of the track. And with today's phone cameras, you have the luxury of being able to take lots and lots of shots. Keep shooting. The more you shoot, the better you get. Just keep learning.

TDN: What's in your portfolio that stands out?

BD: I've got a few shots that I'm most proud of. I've got one from the 1997 [GII] Fountain of Youth [S.], with Shane Sellers on his way back after winning with Pulpit. The horse was covered in mud, and right as Shane reached forward to kiss him on the neck, Pulpit kind of bowed his head a little bit and the shot came out really nice.

And in 2010, Lookin At Lucky was here at Monmouth getting ready for the Haskell. I just got a great shot of him covered in soap while being bathed by his groom, Roberto Luna. Those were two that really stood out as memories.

TDN: To wrap it up, let's say you have a day off with no obligations. You can just grab a camera and go shoot, anywhere. Where do you go

BD: I'd go to the backstretch and get some good photos with the early morning light. That would be my preferable day-off thing to do.

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TDN Snippets: Week of March 7-13

Legacy pedigrees made their presence felt last week as debuters and Derby contenders alike took to the stage. Here's how things stand now that the dust has cleared.

One last hurrah for Giant's Causeway…
Classic Causeway flies his late sire's flag high as part of a very exclusive club. One of three members of Giant's Causeway's final crop–and all colts, the GII Lambholm South Tampa Bay Derby winner is the third son of the 'Iron Horse' to conquer the race behind Carpe Diem and Destin. With two generations of Classic-winning dam sires in his pedigree, the chestnut seeks to fly in further rarified air in May.

An American in the Land of Oz…
LNJ Foxwood's Lighthouse (Mizzen Mast) might have shown a new light on US participation in Australian racing when the mare came home strongest of all to win the G1 Coolmore Classic at Rosehill on Saturday. She's the second US-bred in three years to win the Coolmore, joining Con Te Partiro in 2020. Con Te Partiro was purchased privately from Newgate SF (after RNA-ing at Keeneland November in 2020) by Sheikh Fahad's Qatar Racing for $1.6 million.

A strong Constitution
We the People declared himself a voice unable to be ignored when the Constitution colt dominated his allowance rivals at Oaklawn Park en route to declaration of rising stardom. The $230,000 FTFMAR snag by Winstar Farm, CMNWLTH, & Siena Farm became his sire's seventh 'TDN Rising Star' in two years. We the People was bred on the same Constitution/Tiznow cross as MGISW Tiz the Law. Picked up by Henley Farms for $40,000 at the 2019 KEEJAN sale with We the People in utero, his dam, Letchworth produced an Always Dreaming colt in 2020 and an Audible colt in 2021. Both are May foals. She was bred back to More Than Ready.

Team Valor sees green with inexpensive filly…
Green Up (Upstart) might be a bit immature with room to grow, according to Barry Irwin, but the filly has already shown the only path for her is up. Coming off a big figure second place effort for prior connections, the globetrotting silks flew home in a 6 3/4 length masterclass in Hallendale with 'TDN Rising Star' honors as icing. A modest $10,000 Fasig-Tipton Midlantic yearling, and a later private acquisition by Irwin's syndicate, Green Up claims the solid runner Just Call Kenny (Jump Start) in her female family. She is her sire's second Rising Star along with Reinvestment Risk last year and Upstart also claims Kentucky Oaks prospect Kathleen O.

The Curlin Factor…
Juddmonte homebred Obligatory began her 2022 campaign the same way she ended 2021: with a graded win. Curlin, who is the sire of this filly and 46 other graded winners, has 86 black-type winners to his name, representing just over 11% of his starters. Incredible numbers especially when considering 16 of those are Grade I winners. Obligatory is a third-generation Juddmonte homebred. Juddmonte bought her unraced third dam, Nijinsky Star, for $700,000 at the 1987 Keeneland November sale.

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