Santa Anita Announces Sunshine Bonus To Draw Out-Of-State Horses To Winter Meet

With its traditional Winter/Spring Meeting set to begin Saturday, Dec. 26, Santa Anita Park has announced a lucrative Sunshine Bonus, which is intended to attract out-of-state horses throughout the meet, which concludes on June 20.

“Along with the 10 percent raise in our average daily purse distribution which now totals  $533,000, we're hopeful this new Sunshine Bonus program will help to attract horses that have not run in California over the past 12 months,” said Chris Merz, Santa Anita's Director of Racing. “With a guaranteed bonus of $3,000 to be paid to the owners of any eligible horse making their first start here, excluding stakes races and first-time starters, this is a very significant enticement to train and race at what we believe is a magnificent year-round facility.”

In addition to the initial $3,000 starter's bonus, Merz pointed out that sizable bonuses will be paid to those same horses predicated upon where they finish in their Santa Anita debuts.

“Excluding stakes and first-time starters, the Sunshine Bonus will also offer a 35 percent bonus to the owners of those horses finishing first through fifth in their first starts here. So for instance, if a horse ships in and wins a $61,000 maiden special weight race, the owner will not only receive the standard winner's share of $36,600, he'll get the first time Santa Anita starter bonus of $3,000 as well as the 35 percent bonus of $12,810.

“This adds up to total money-won of $52,410 in a $61,000 race.  The numbers speak for themselves and we're hoping horsemen nationwide will take this into account when they consider sending horses here this winter and spring.”

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This Year’s Sporting Art Auction Offers Racing Legends, Beautiful Landscapes, And A Bit Of Humor

In a year when nothing is quite normal, it's nice to have a few things you can count on. For the Keeneland auction pavilion, the switch from horses to art is as reliable as the changing of the seasons. For the eighth year, broodmares and weanlings made their annual November parade through the auction ring while paintings and sculpture decorated the pavilion's halls, awaiting their turn to change hands in the Sporting Art Auction.

While in previous years, the Sporting Art Auction sees paintings and sculpture auctioned from the iconic Keeneland ring, this year's sale will be conducted virtually. Those who were at Keeneland for the November Sale may also have noticed fewer works of art lighting their passage between the café and the back walking ring, as organizer Cross Gate Gallery sought to display this year's catalogue in smaller groups to discourage crowding from viewers.

Much like the sale that precedes it, the catalogue for the Sporting Art Auction varies a bit year by year.

“We want everyone to be able to find something that we like, so we do have 19th Century British, and we extend all the way up,” said Bill Evans Meng, gallery director for Cross Gate Gallery in Lexington, Ky. “There are a lot of contemporary painters. I'm 37 and everyone my age is buying the new things. [The catalog] is maybe is a little more contemporary this year but sometimes you have to go with what you can find.”

Meng said he aims to have a healthy mix of time periods, styles, and subjects each year. While most feature horses either in racing or foxhunting contexts, there are often a few pastoral scenes as well as a few of hunting dogs, farm creatures, or fowl.

A few works were commissioned to depict specific horses. A trio of portraits from well-known equine painter Richard Stone Reeves depict Law Society, Coup De Feu and Mr. Right, while a signed collection of 12 prints from Franklin B. Voss (no relation to the author) is a fond look back at the top runners of the 1920s and 1930s, including Man o' War, Gallant Fox, Seabiscuit, and Discovery.

For Meng, works designed to immortalize a particular subject sometimes come along with the most interesting stories.

“The ones that are specific, they have a story and people like that,” said Meng. “I feel like all three of the Reeves this year, they had real connections to the connections. The one of the Coup de Feu was a father and son story – the father owned it and got his son started racing. Law Society was a big horse for Vincent O'Brien and of course shows his incredible training facility. The third Reeves, Mr. Right, came from the trainer and I got to talk to him a lot and he really liked the horse. When you do these specific ones, there's always a story and I think people connect to that.

“Of course a lot of our clients are horsemen and they're into bloodlines. They might know this was their horse's great-great-grandsire and that means something to them.”

In a somewhat unusual twist, this year's auction also features a human portrait from German/American artist Nicola Marschall of Daniel Swigert. Swigert and his Elmendorf Farm are two of the oldest names in the Kentucky Thoroughbred business, tracing back from the 1870s.

(We wrote about Elmendorf and Swigert in our Kentucky Farm Time Capsule series. Read that profile piece here.)

“When he was young he tried to build up what became Buffalo Trace Distillery and then he went on to become a great horsemen,” he said. “I knew about him, but I didn't know enough about him to appreciate it when I saw the painting the first time [10 or 12 years ago.]”

Lot 120, Early Morning Exercise, Green Lane as painted by Peter Howell

Other pieces are looser or more interpretative, allowing an owner or fan to see their own favorite horse in the lights and shadows. Painter Peter Howell's depictions of morning training at Keeneland and Newmarket are particularly good examples of this.

Then there are pieces likely to garner attention on name recognition alone. The catalog contains a number of sketches from the well-known Sir Alfred Munnings, as well as brightly-colored scenes from popular Henry Lawrence Faulkner and a landscape from Andrew Wyeth.

(Read more about Sir Alfred Munnings in this 2017 feature.)

There are also pieces with a sense of humor. Andrew Pater's 'The Empty Bowl' features a hound next to his empty dish wearing the dry, humorless expression all pet owners have experienced when they've dared to come home late. 'Antagonizing the Barn Cat' from George Armfield shows a faceoff between an irritated tabby and a trio of terriers poised to hop and play. Then there's Philip Eustace Stretton's 'Study of A Ginger Cat' displaying an enormous orange feline upon a regal crimson cushion.

“I've chuckled myself walking by it,” said Meng. “We don't get a lot of cat paintings, but we do have some clients that sort of got on a cat kick, so there you go. He's sort of looking majestic.

“They kind of would paint these animal genre scenes like that, where you'd see them acting out. Animals are going to be animals. I think they're something people can relate to, something lighthearted. Those do well, because people like to laugh.”

Lot 73, Study Of A Ginger Cat, 1908 by Philip Eustace Stretton

Art collectors, like breeders with an impressive base of broodmares, do not necessarily have a time clock on their investments. Some pieces may come to auction when an owner disperses their collection or as part of an estate sale. Other owners may look at the market and their particular piece's merits and try to read the tea leaves, deciding if this is the time to benefit from an increase in value. Meng tells people that their decision should ultimately come down to their relationship with a piece – and for some, that means they may decide to rebuff his overtures to selling.

“That's why we generally have 180 lots instead of 5,000 like at the Keeneland sale,” said Meng. “I tell people, you're the one who has to love it. You're the one who has to look at it every day. And if you love it, you shouldn't let it go.”

See this year's Sporting Art Auction catalog online here.

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Thoroughbred Makeover Diaries Presented By Excel Equine: Horowitz Learns That In Eventing, Winning Isn’t Everything

“For when the one Great Scorer comes to write against your name,

He marks—not that you won or lost—but how you played the Game.”

—Grantland Rice, sportswriter, in “Alumnus Football”

 

“Winning isn't everything; it's the only thing.”

—Vince Lombardi, NFL coach

Grantland Rice is a major reason why sports are such a big deal in the United States. His syndicated column, “The Sportlight,” described by Britannica as “the most influential of its day,” anointed some of sport's greatest legends. It helped college and professional sports tug at America's heartstrings during the Roaring 1920s, and a nation of sports fans has never second-guessed its devotion since.

Rice created the “Four Horsemen” of Notre Dame and the “Galloping Ghost” of Red Grange—monikers still steeped in lore 100 years later and so influential that I once embarrassingly asked my high school English literature teacher how was it possible for there to be “Four Horsemen of the Apocalypse” in the New Testament when I thought Grantland Rice coined the term.

Not only did Grantland Rice write and broadcast sports, but he also gave advice about how it should be played. It's “not that you won or lost—but how you played the Game,” he wrote in his oft-quoted 1908 poem “Alumnus Football.”

Yet, as much as I admired Rice—again, I instinctively believed he was also the author of the Book of Revelation—I thought his advice about “how you played the Game” was a bunch of crap.

That's because Vince Lombardi, the coach of the NFL's Green Bay Packers who was so influential that the trophy awarded to the winners of the Super Bowl is named in his honor, came along about five decades later and said, “Winning isn't everything; it's the only thing.”

That's what the goal of sports has come to be about. There are similar phrases that roll off the tongue.

“Second place is the first loser.”

“No one remembers who finished second.”

“Nice guys finish last.”

And so on.

I started competing in the equestrian sport of eventing in 2018 at the age of 33 with my sights set on winning ribbons. Never mind that I had only been riding for three years on my journey from announcer to rider. Never mind that my first horse, the 2013 chestnut mare Sorority Girl (JC: Grand Moony) that I used to announce at Arapahoe Park, had never competed in a recognized event either, although she had performed well in freestyle and show jumpers at the 2017 Retired Racehorse Project Thoroughbred Makeover with my trainer and wife, Ashley Horowitz.

Our first recognized event was the 2018 Spring Gulch Horse Trials in Colorado at the Beginner Novice level of 2-feet-7. I also announced the show and would take a break from announcing for our dressage, stadium jumping, and cross country rounds.

I made it through all three phases, which eventers treat as a significant achievement given the number of obstacles that have the potential to eliminate a competitor. I even managed to place 12th of 21 in my division. So, I honestly thought that the ribbons would start to come — no, they would have to come for me to prove my worth in my new sport.

The ribbons did not come. I found a variety of ways to be eliminated from my next few shows. We were eliminated for too many refusals at cross country jumps at our next recognized event, the 2018 Round Top Horse Trials in Colorado. Then, I fell at the ditch on the cross country course at the 2018 Event at Archer in Wyoming.

A disagreement about a ditch at the 2018 Archer event resulted in Horowitz and Sorority Girl parting company

And then came the coup de grâce at the Spring Gulch Horse Trials in May 2019 when Sorority Girl put on the brakes during our dressage test, refused to move despite my kicking her to go forward, and backed out of the dressage arena. Adding insult to injury, she kicked over the “A” block for good measure.

I thought these results made me an outcast, but the eventing community, especially in our area, is incredibly supportive.

“Everyone has been there before,” Ashley said. “This is how you learn.”

Things then started to click for Sorority Girl and me. We had our best dressage test to date at the 2019 Round Top Horse Trials and didn't add any penalties on cross country or in stadium jumping to finish on our dressage score in sixth place out of 18 at Beginner Novice. That earned us earn our first ribbon. I realized that going through the challenges of being eliminated the year before made this achievement more rewarding than if it had all just happened perfectly as I scripted in my head.

We ribboned again at our next show, a return to Spring Gulch where the announcer filling in while I competed made sure to remind the crowd, “Hey, everybody, fingers crossed Jonathan and Moo stay in the arena.” One of the dressage judges, whom I knew through my role of announcing the show as well, told me that she caught glimpses of my dressage test from the other arena while judging a rider in her arena to see what fireworks there might be in my test.

So, lesson learned, right? I appreciated how my failures made my successes more rewarding and embraced the importance of both Grantland Rice's “how you played the game” and Vince Lombardi's “winning.”

Unfortunately, that wasn't the case.

Just as things were starting to click for Sorority Girl and me, I started retraining a Thoroughbred straight off the track, the young 2016 bay filly Cubbie Girl North, who has provided me with a roller coaster ride that I've been chronicling during a roller coaster 2020 in this “Thoroughbred Makeover Diaries” series.

Looking back on our first year of retraining, I realize it would have been absurd to think that “winning” should be on the table immediately given that Cubbie was completely new to eventing and I was still learning. While I appreciated some of the moments where we would click, I wasn't appreciating the end result.

Things came to a head at Spring Gulch in August when we finished with an improved score, but I was sour about the mistakes a green-horse-with-green-rider combination are inevitably going to make. Instead of seeing the progress, I saw the failure — even though nearly everyone that has followed our journey has been encouraging.

Ashley sternly and tactfully told me that I was entirely missing the point of eventing and that if I continued to be this way at shows that I could get someone else to coach me at them.

That's when I made the biggest change and the most progress in my three years of competing. It didn't come from adjusting how I rode or what equipment I used or anything physical between me and my horses. It came from embracing what the sport is all about and why the people that compete are so attracted to it. It came from putting more of an emphasis on how I played the game over winning the game.

I started changing my focus to how much fun it was to travel to shows, especially if I was also announcing, and on how rewarding it was to spend time doing what I love with the horses and people that mean so much to me, especially on the adrenaline-inducing cross country courses.

This all took the pressure off winning, but, frankly, winning is incredibly elusive in eventing. The sport requires nearly flawless dressage, cross country, and stadium jumping rounds where one missed movement or one dropped rail can knock a competitor down the standings. At the USEF CCI4*-L Eventing National Championship — the highest level offered in the United States this year — held at Tryon, N.C., this month, a rail that fell on the very final fence knocked leader Elisabeth Halliday-Sharp and Deniro Z from first to fifth.

With a new outlook on the sport, I did manage some good results. Sorority Girl and I finished on our dressage score in seventh of 16 at Beginner Novice at The Event at Archer in August. Then, we moved up to the Novice level of 2-feet-11 and again finish on our dressage in sixth of 18 at The Event at Archer in September.

Horowitz and Cubbie go through the water at the Event at Archer

However, the “result” I'm most proud of came during the first time I've traveled a long distance for a show to the Windermere Run Horse Trials in Missouri a month ago. That was also the first time that I've competed two horses at a recognized event—perhaps because it was the first time in more than a year that I wasn't also announcing.

Needless to say, we didn't get the “results” as Lombardi would have liked.

About two minutes before Cubbie and I were scheduled to enter the dressage arena for our Beginner Novice test, Ashley asked me to try to take up more contact on the reins during our warmup. Three days prior, Cubbie told me exactly how she felt about contact on the reins when she ran me into the walls of the arena on our farm. So now at our final show together for the season, she planted her feet and decided not to move.

“Don't do anything,” Ashley said. “Just go in and get through the test.”

We pulled off the second-worst dressage score in the entire competition across all levels. The dressage scribe, a friend that had traveled with us from Colorado and was volunteering at the show, told me that the judge, whom I also knew from announcing at previous shows she's worked at, turned to her during my test and said, “I thought Jonathan was a better rider than this.”

It's true. I did no actual riding because I really had no other option if I was going to finish the test. We even scored a 1.0 out of 10 for one of our movements that I knew Cubbie and I were doing wrong but knew she would not allow me to correct. However, after this glorious performance, we had clear cross country and stadium jumping rounds because Cubbie likes to jump and I could effectively manage her crappy attitude for those disciplines.

Sorority Girl and I competed at Novice at Windermere and had a good dressage test for where we're at, as well as a clear stadium jumping round. However, we had two refusals during the last three jumps on cross country.

“I need five minutes, and then I'll be good,” I told Ashley when I came off course, determined to appreciate what went positively and not dwell on what went negatively.

“That's fair,” Ashley responded.

What I ultimately took away was how this was a learning opportunity. I had slowed our tempo at the end of the course because I was worried about getting speed faults. Sorority Girl took my cue and backed off, so she, understandably, wasn't as bold as she had been for the first three-quarters of the course. For those keeping score, we ended up last of 13 in our division.

We fixed this the next month at the Texas Rose Horse Park Fall Horse Trials and went clear on cross country with a more consistent pace that helped my mare gain more confidence as we progressed through the course. I had my best finish ever at any event, placing fifth of 11 at Novice and, unexpectedly but happily, taking home a large pink ribbon.

Travel to events can be hundreds of miles, and there's a significant cost when you add up transportation, lodging for people and horses, entry fees, and more. The time actually spent competing across all three disciplines of an event is a total of about 10 minutes. However, there's so much more—the experience, the camaraderie, the bond we get to have with these special animals through the moments that click and the moments that frustrate—that make eventers so addicted to the game.

After three years and 12 recognized events, I'm glad that I've finally learned how to play the game.

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TAA Announces Grants Of $3.5 Million To 81 Accredited Organizations

The Thoroughbred Aftercare Alliance announced today that $3,500,000 will be awarded as grants to 81 Thoroughbred aftercare organizations that currently hold TAA accreditation.

Since inception in 2012, the TAA has now awarded more than $20.7 million in grants to accredited Thoroughbred aftercare organizations.

“We are grateful to the TAA's many supporters that have allowed us to award $3.5 million this year,” TAA President John Phillips said. “We know these funds will significantly assist the work of TAA-accredited organizations during this challenging time. As we look forward to 2021, we ask industry participants to continue to support accredited Thoroughbred aftercare and our equine athletes.”

Earmarked specifically for equine care, TAA grants have helped accredited organizations assist more than 11,000 Thoroughbreds at approximately 170 facilities across North America.

TAA-accredited organizations undergo a thorough application and inspection process prior to accreditation being awarded to ensure they meet the TAA's Code of Standards, which covers five key areas: operations, education, horse health care management, facility standards and services, and adoption policies and protocols. Facility inspections are conducted at all facilities housing Thoroughbreds for each organization. Ongoing updates and re-inspections are required of all organizations as a condition of TAA accreditation.

The TAA is supported by members from every aspect of the Thoroughbred industry, including owners, breeders, trainers, stallion farms, racetracks, sales companies, horsemen's groups, foundations, veterinarians, horseplayers, racing fans, wagering technology companies, and many others.

The full list of TAA-accredited organizations, information about the accreditation process, and a list of the TAA's industry supporters is available on ThoroughbredAftercare.org.

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