Thoroughbred Makeover

We traveled to Lexington, Kentucky last week to participate as a vendor at the Thoroughbred Makeover and National Symposium organized by The Retired Racehorse Project. I'm not an overly emotional person but several times throughout the event my eyes misted as I felt a surge of wonder.

Barrel racing thoroughbred

 The race track has no shortage of critics. Most have never experienced the life and harshly judge by appearances. Some don't possess the fortitude required and become disgruntled. Some formulate an opinion from hearsay. Here's my account gained from twenty-five years of working at the track not because I had to and certainly not for the money.

Thoroughbreds waiting to cut cattle

It's immediate and it's fast, almost as fast as the horses. Daily occurrences are unpredictable and outcomes unknown. Routine exists in repetition that can quickly derail. Flexibility rules throughout the twists and turns of managed chaos. In this environment, there's not much time for those who long for nurturing, patience and most of all, the sweet essence of bonding. There's not much time to accomplish honorable goals with an eternally revolving door of horses and their connections.

Big, bad, high-strung thoroughbred being ridden off into the sunset by a red-caped five-year-old child.

When the horses are sold, claimed or otherwise leave the stable, all we can do is whisper a prayer on their behalf and wish them the best. This is why I was so profoundly blown away as I witnessed these thoroughbreds being transitioned into second careers. Show requirements state that eligible thoroughbreds must have raced within the last year. The people who take them on are keenly respectful of the talent, athleticism and intelligence inherent in the breed. I've always said, after they come down from the demanding race track life, they're just like any other horse...only much smarter.

Thoroughbreds are natural cross-country competitors.

This horse is ready to jump a 10-foot fence, if you ask him to.

Two-time Horse of the Year, tough as nails, incredible champion, Wise Dan.

God's horse,
Sharon

This and That

A few thoughts, experiences and happenings from the summer.

August 24, 2016 was the tenth anniversary of this blog. Web logs, soon to be called blogs were the latest thing ten years ago and there was a full-out popularity contest for readership and numbers of comments. Monetized blogs actually made a profit and blogs like mine were public journals of trials and successes. Michael was nearing the limit for his tolerance of the unscrupulous ethics in the racing biz and I was at the zenith of a successful painting career.

Some of my posts were negative and I pissed off some individuals by invoking my first amendment rights. However, some of my posts were quite good...like this one: Pulp Fiction written in March of 2007. It's interesting to read over some old posts from back when I was trying to find my voice.

Summer at Saratoga was hot and steamy. It was politics as usual and because I desire to exhibit there again next year I won't go into detail (no way gang). Overall, it's an honor to be there as an artist and I willingly persevered the bull***t. It's still the best racing in the country and witnessing the champion horses, trainers, jockeys and owners is a privilege even though it's an exhausting feat beyond measure. We achieve the marathon only with a huge reserve of adrenaline.

The best sellers were the prints on aluminum. They are vividly colorful, contemporary and something new. I also managed to create two oil portraits of champions Frosted and Songbird who both raced at the track twice. We experimented with prints on paper and that turned out very well.

I participated in a group equine art show at the Brookside Museum in Ballston Spa just south of Saratoga. Organized by my dear friend Sue Clark, it was fun and another entry for the resume. I wish I could have been more proactive with promotion but the show coincided with the race meet and dang, I still haven't figured out how to extend the day to thirty six hours.

My decision to exhibit my original oils at Spa Gallery was correct. They sold four pieces and were reluctant to hand over the ones that garnered interest. So, you can still see a few there.

Filling orders took up the weeks following the meet's end. Crossing off most from the dry erase board, we managed four days at the beach while it was still nice and warm. I was never so content to do absolutely nothing.

Last weekend I participated in a plein air event organized by the OPA (Oil Painters of America) in Londonderry, VT. No competition, just painting at a charming working farm. The drive alone was worth the effort. What a (still) beautiful state.

This week I made my way back to Oklahoma to plein air paint. Akin to a homecoming.

Next week I drive out to Geneva, NY for the Seneca Lake Plein Air Festival. It's a five day event and I sold well there last year.

Please stay tuned, some cool things in the making.
Sharon

Bright Ideas

In our morning business meeting, Michael and I decide to try something different, at least different for us. We've never printed any of my images on paper (other than the small 8"x10" matted). The idea train takes off, along with some major derailments.

Size agreed upon: 18"x24" total including white border. Will fit in a standard frame with glass, eliminating excessive costs for clients.

Paper is chosen and ordered. Thick and canvas textured, I love it.

Backing board and glassine envelopes ordered. Will be sold and shipped flat.

A few days go by and it's last Monday. I decide to paint Frosted, in part because of his massive win in the Met Mile and because he's nominated for the upcoming Whitney on Saturday. And he's a gray and so many adore the grays (thank you Tapit for ensuring a strong generational bloodline of grays for the future). Will know for sure with the draw on Tuesday evening.

Tuesday night - he's in.

Wednesday arrives and I'd better get painting. Going well until Michael calls from the track and says FedEx tracking confirms delivery for backing boards and envelopes (and something else not related to this story, but it will be). I check the front door. No boxes. Off I go to my neighbors. You see, I have a sweet neighbor who lives at 8 Nelson Ave. and we live at 8 Nelson Ave. Extension. She and I are well acquainted because of the continuous confusion of mail delivery and shipping companies between these two very similar addresses. Guess Saratoga couldn't creatively think of another street name so they called it extension.

To no avail. I check with several neighbors. Time to get on the phone with FedEx. You all know what it's like to try to contact a helpful human being within a gigantic corporation. Time is passing.

Turns out each package requires a different case number with different agents. Will contact me in 24-48 hours after they conduct their investigation. Huh? I ask (politely at first), why not contact the driver? Can't, he's on his delivery route. I ask (getting agitated) doesn't he have a cell phone? The conversation quickly deescalates to a bad place. Bottom line: they don't give a crap.

Back to the studio in a very aggravated mood. If we don't get the backing board and envelopes, how the heck will we sell these proposed prints?

About 3:00 in the afternoon, here comes the delivery guy (in a Budget truck, no less) with the packages. Says he mistakenly delivered to 8 Nelson Ave. I say no, you didn't. He mumbles a few more lame excuses and I'm just grateful they're here and it's getting late.

Thursday: In the studio to finish painting. The acid lime green of the turf course must be an outward expression of my prior irritation on Wednesday. Now here comes the mower. I do my best to ignore the racket and concentrate. It's finished around 4:00 and I shoot it, pull it into Photoshop and create the finished file.

Friday: I'm in tent at the track while Michael is printing the new image on this new great paper. The cutter on the big plotter is not working correctly and the font I chose for the title is not in the computer running the plotter. He reminds me this computer is NOT connected to the internet when I suggest he simply download it. The image also isn't formatting like the file I provided. Several compromises and several terse phone calls later and the design is changed and the decision is made to hand cut each print. Until...the yellow ink runs out. Inks like these are not available at your local Staples and Michael pays $20 extra for Saturday delivery. Time is growing alarmingly short.

Saturday: Whitney Day. I'm at the tent by myself. As Michael awaits delivery of the ink he puts my Frosted image on some aluminum, coasters and mousepads. The ink finally arrives and now I'm sweating it out that he'll at least get a few prints to the track in time and...oh...please...may the horse win the damn race. We're about out of time.

Around 4:00 here comes my man with the goods! I'm quickly signing and numbering and putting the merchandise in place. The horses are finally loading in the gate for the Whitney and God bless that professional racehorse...he does not disappoint. We sell all the aluminum and prints in the short time left after the race.

Just another day in the life of an artist and her patient and loyal partner,
Sharon

Past Meets Present

I know I told this story last year but it's worth repeating. As trainer Leon (Blue) Blusiewicz stood over my shoulder last fall watching me paint the brilliant foliage at Oklahoma, he said an old-time trainer from the 1950's told him (Leon) that the last stall in this barn was occupied by none other that the great Man 'O War. Here's a link back to my original post Oklahoma Lore.

You all know I love a great story. It's certainly plausible as so many famous horses down through history have passed through the stable gates of Saratoga. So I just had to return to Barn 61 and set up behind Gary Sciacca's barn to paint the scene from the opposite side. I had a clear view of the infamous stall with the training track in the distance. Right now Barn 61 and about six others are housing Todd Pletcher's many two-year-olds.

The weather was beautiful and forecast to stay that way for a few days. I worked on a fairly large panel (for plein air), 16"x20" intending to take my time on this piece and return multiple days. In three days, painting about 2-2 1/2 hours each session, I completed  the painting I'm calling Past Meets Present. 

I was smitten by the Italian exercise boy who snuck down to the end of the barn for a smoke and a text. Into my painting he went. Later, the barn foreman came over to check out my progress and exclaimed "hey, he's not supposed to be back here!" 

Inadvertently busted.

Past Meets Present, 16"x20", oil on panel

You can make out a chestnut in the first stall. He's possibly looking for something or someone, or perhaps the scent is unfamiliar.

Okay, I couldn't resist.
Sharon

American Pharoah Craze

I rarely do spec paintings. My partner requested that I create a couple of paintings to celebrate the new Triple Crown winner and I decided to oblige as people will be visiting my tent and asking for American Pharoah. But I had to enjoy it as sometimes these projects can turn into a tedious chore.

Due to all the copyright issues and permission requirements, I used a couple of my old paintings as "models". It wasn't at all difficult as I've become proficient at understanding the anatomy of strides (years of studying Muybridge) and confirmation. I also had help from a racing friend in California who's deft with a camera. Overall, it was challenging enough to hold my interest.

American Pharoah is a brown horse with no chrome and a short tail. Frosted is medium gray, also with no chrome. Straightforward. Hopefully, the owners won't be cranky that I've used their racing silks. This is a slippery slope...remember Funny Cide and the Funny Cide store in Saratoga selling all things Funny Cide (even Funny Cide beer)?

I love the process of gold leafing. Laying down the gold as it tears unpredictably is a wonderful thing. I don't trust my oils to behave well with the medium therefore it gives me an excuse to practice with acrylics.

American Pharoah on a Morning Gallop, 7"x5" gold leaf and acrylic on panel.

I have a longing to become proficient with watercolors. It won't happen but I let myself play now and then. This was pure experimentation and a blast:

American Pharoah in Training, apprx. 14"x20" watercolor on paper.

Frosted had the misfortune of being a three-year-old the same year as AP. I think he's a really nice horse...I even bet on him somewhere back during the prep races. I hope he'll be around for a while as he could mature into a the champion he deserves to be:

Chasing American Pharoah, 24"x18", oil on canvas

I'm finished with it all and my partner is pleased. It remains to be seen how popular this west coast horse will be here on the Atlantic side. If he does indeed make the Travers, I will be one very happy artist!

Still painting horses...
Sharon

My Reluctant Goodbye

It's bittersweet. I'm both sad for the end and relieved it's over. Another year at Saratoga Race Course concluded on Labor Day and I'm still humming on exhausting energy that just won't quit. I've got orders to fill, deliveries to make and people to contact but I can't seem to focus. Must be symptomatic of PSB (post show blues) or lack of sleep or a combination.

This summer I did make a commitment to eat well and I more or less managed, only sashaying over to the Snack Shack for breakfast on Saturday mornings when both Michael and I opened the booth early. There were some late nights when we were too wired/tired to eat but it didn't hurt us to skip an occasional meal.

It was an improving year for us. I welcomed many repeat clients, realizing how important it is to continue building my equine brand and be where people can dependably find me in the same location. Undeniably, it's an affirming and humbling experience to be sought out by those who love my artwork. The vast majority of folks who visited my booth were wonderful, gracious with their admiration of my artwork and fun to talk to even if they couldn't spend any of their hard-earned dollars. Others freely pulled out a credit card often enough to give me faith that we may indeed be in a recovering economy. May it please be so. It's a relaxed and ambient atmosphere as most are vacationing and enjoying their time from whatever demands the serious. 

And of course, they're visiting the most beautiful, historic and prestigious race track in the USA. Saratoga never, ever disappoints. This summer I said a misty goodbye to Tom Durkin and fell in love with Wicked Strong. Cheered on our girl jock Rosie Napravnik who made the impressive top ten list and was awed by the miraculous comeback of Wise Dan. The best of horse racing's best is all here and it's non-stop entertainment to observe the unfolding dramas from my ringside seat. How can I not show up every summer?

I did my best to do some plein air painting but it's demanding and creates an even longer day. Showed up on the Oklahoma side several mornings before fatigue began to set in. Photographed early mornings with my friend Jim in the main stable area while I picked his brain for marketing ideas (he's a former ad exec). I'm determined to to be present when the foliage changes. I promise myself.

Wonder how many submissions there will be to the Jockey Club for Splashtastic?
It's all good...no...great,
Sharon

God's Horse

I've recently completed two new racing paintings. Feels so good to spend some time with the Muse. We still get along great and had some enlightening conversations!

A photographer friend sent me a series of sequential shots of horses breaking out the starting gate at Saratoga. Taken last summer, they were excellent, and I asked his permission to use them as reference for a painting I had in mind. His photos were taken somewhere between the 3/4 to the 5/8 pole from the main stable area. I manipulated the space – in his photos the grandstand in the background was much nearer so I ended up using one of my photos to push the iconic building back. Also, there wasn't one single photo of the horses that I based my painting on. I didn't like the heads in this one and preferred the legs in that one, etc. You get the idea, it's a compilation (not that they weren't outstanding photos, I just have a feel for what makes a suitable composition for a painting). My friend was wondering if I used Photoshop to put together the perfect photo. Nope, there were several preliminary drawings made until I had the image just right. Like I'm that talented with Photoshop...I wish!

Here's the piece with the info, clickhere.

Saratoga Break, oil on canvas, 30"x40"

Two summers ago Ron Turcotte visited my booth at Saratoga and asked why I had never painted Secretariat. I uncomfortably mumbled something about not painting champions unless commissioned, feeling quite stupid. Champions? Secretariat is THE CHAMPION, Super Horse, God's Horse, the Tremendous Machine! And here was the famous Triple Crown jockey in my booth, admiring my artwork, not seeing any paintings of his favorite and one of the greatest racehorses ever. EVER.

I've had some time to think about that meeting and now sheepishly admit that for an artist who has made a career of painting horse racing, I've missed the boat. And why did it take me almost two years to get “it?” Well, that's another story entirely but suffice to say, I didn't just paint Secretariat, I immersed myself in the history of his greatness. He ignited a passion and sent me on a journey to discover the entire remarkable story.

I began with watching the Disney move (again). Inaccurate to a fault in the details of track life but a great story regardless as it clearly illustrates the courage of Penny Chenery. Then I watched the classice ESPN documentary (again and again), loving the shock and awe of the sports reporters who convered his racing triumphs. I watched the real Belmont race (over and over, with chills every time). That race is a marker in the personal history of so many. If you are old enough to have witnessed it live, you'll always remember where you were and who you were with. Then it was off to the library to pour over some books, especially the one authored by Penny Chenery's daughter Kate, Secretariat's Meadow, who wrote a lovely portrait of her mother's relationships with all the connections. Then I consulted my Muybridge book to see how extreme I could portray the stride of a great race horse. In my opinion, there are two points in the all-out running stride that effectively dipict the dynamism characteristic of this magnificent animal. One is when all four feet are off the ground and the other is the one I've portrayed – the hind legs have just powerfully pushed the massive body forward, the extension of the shoulders and neck reveal tremendous musculature while the front legs act like the spokes of a wheel. Oh yes, God's Horse. 

Click here for the info.

Secretariat, oil on canvas, 24"x36"

I hope Ron will be pleased.

Sharon

Breeders' Cup 2011

Here's a few of my personal Breeders' Cup connections as experienced via my long summer at the Saratoga meet:

Think names aren't important? Sometimes they're everything. Stopshoppingmaria became an instant fan favorite at Saratoga even before she broke her maiden which she accomplished easily in her second start by over nine lengths. She became the talk of the two-year-old fillies. Not a bad second place finish in the BC Juvenile Fillies Turf either.

Some of the owners of Turbulent Descent (there are several and some are first timers) came into my booth to see my artwork but I wasn't there (argh)! Michael did his best to coax them into returning to meet me. Their excitement of being at Saratoga with such a nice filly was understandable, but a few did come back. When we were in California many years ago, Michael galloped a couple of horses for Turbulent Descent's trainer Mike Puype - most notably, Old Trieste. The two of them had a few minutes to chat when Mike P. also visited my booth. The next day Turbulent Descent blasted the field in the Test Stakes. The gang had to be so disappointed with the trouble she experienced in the BC Filly and Mare Sprint, finishing fifth.

Early one morning I was photographing reference at the Oklahoma training track. A very amiable boyish-looking man walked up to me and introduce himself - George Bolton. Okay, I'm embarrassed that I didn't know who he was at first but quickly assessed his connection to Stonestreet Stable. We discussed The Factor and he invited me into the paddock that afternoon to photograph a filly he was extremely high on - My Miss Aurelia who was running in the Adirondack Stakes. In the paddock, George was too busy to talk to me as he was engaged in crowd control and ambassadorship, but I did manage to invite him to my booth. Unfortunately, he never made it. But his filly won the Adirondack and she also won the BC Juvenile Fillies convincingly.

My Miss Aurelia prior to winning the Adirondack Stakes.

Last year I had the honor of creating the commission of Big Drama as a gift for his owner, Harold Queen. Winner of last year's Sprint Eclipse Award and last year's BC Sprint, this year he didn't repeat and finished seventh. I still enjoy my personal connection and loyalty to this professional racehorse. Just love him.

BC Classic winner Drosselmeyer looked small and thin to me as he was brought to the paddock for the Sword Dancer Stakes.

Drosselmeyer

This gal, however, looked magnificent...

Havre de Grace on her way to her victory in the Woodward Stakes.

So there you go. From the artist's perpective.

Love to all the horses who ran their best, Sharon

Champions Now and Future

Great day of racing, huh? Curlin didn't disappoint and performed as the bona fide champion he is. Let the glut of Curlin paintings begin! Got art?

All the races from Dubai were broadcast on HRTV today. Way cool.

Congrats to the connections of Diamond Stripes as well. A card of well wishes is in order seeing that they're my clients. Their farm is just up the road from moi. I'm thrilled for them and it was fun to see the joy in the winner's circle. Oh yeah, and the big gray is a Florida-bred.

Big Brown hammered the Florida Derby easily and was reminiscent of another three-year-old monster who campaigned a couple of years ago. Oh so impressive.

In between the races, we ran over to the Live Oak Championship Combined Driving. I wanted to visit with some artist friends who were there exhibiting as I'm only mildly interested in driving. Anticipated event is the obstacle course which was in progress when we arrived. As I wandered over to take a look, a horse had fallen over a fence in an obstacle and got tangled up. Who knew such a genteel sport could be so dangerous?

Someone quickly showed up with a - get this - chain saw. Um, what, no hammer and crowbar? They even put up the blue screens for I what imagine was in case of a slip and/or wayward flailing leg.

The rest of the team would have no part of the buzz saw and broke loose. I don't blame them.

Thankfully, the freed horse walks away unscathed from the horrifying power tool.

And the games go on...

Rooneyitis

The list of Kentucky Derby hopefuls is gearing up and getting my attention. This is old news, but I was reminiscing with Michael about how the racing secretary writes condition allowance races as preps for the monsters. Of course I'm referring to the recent romp by War Pass in just such a tailored allowance at Gulfstream a few weeks ago. This is useful for the big guns but a dirge for the rest of the entrants.

War Pass cruising to an easy 7 1/2 length victory in his conditional allowance on Feb. 24th.

The race is usually customized with a provision by date, such as, non-winners of a race (of the winner's share of the purse), oh say, $60,830 since December 1st. This date typically is one day after the last winning race for more than that amount (i.e. Nov. 31st, by maybe one dollar). This tactic is useful for the connections to get a relatively easy race for a big horse that's been freshened up. It's complicated but commonplace. If you can read a condition book, you're familiar with the process.

It happened to us during the eighties at the Meadowlands. Michael was training a solid allowance filly, Continuous Pursuit, who was at the end of her career and broodmare-bound. Imagine looking over our race on the overnight and seeing that we're in against Princess Rooney. Remember her? The 1984 winner of the Breeders' Cup Distaff? The first Breeders' Cup victor to be inducted into the Hall of Fame?

You'd like to exit a horse's career on a win, not a distant second. Our filly's stable mate had unfortunately (or fortunately) become caste the night before our scheduled duel with the Princess. Stated neighbor was done up in poultice and left white streaks on the stall walls. So, in order to get scratched from race, we swapped stalls with the neighbor. When the state vet arrived to inspect our filly, we exclaimed that SHE had been the damsel in distress on the previous night by getting caste as evidenced by the white stuff. We then jogged her as required, and being a bit gimpy anyway, our claims were substantiated.

Exasperated, the state vet mumbled, "looks like another case of Rooneyitis."

Best of luck to War Pass in the Tampa Bay Derby tomorrow.

Gross Simplification

WARNING: I'm about to go off on a rant. It's your choice to read on or click on.

The internet has recently been buzzing about the latest work of controversial sculptor Daniel Edwards. Censorship in any form is un-American. However, there is that annoying asterisk of artistic responsibility. Edwards has garnered lots of notoriety from his previous works defensible by their inherent lofty meaning and "purpose". Britney Spears naked on a bearskin rug giving birth becomes an ideal model for Pro-Life. Although this seems like further exploitation for a sadly troubled famous young woman, apparently there's a moral to this artwork. Whatever.

Ah, but now Edwards has ventured into my backyard:

"The Barbaro Memorial"

A press release from the Leo Kesting Gallery who reps Edwards, states that the sculpture represents the "Right To Die and Death With Dignity movement". Oh. The sculpture will be unveiled at the spot where a carriage horse met it's demise in Central Park after being spooked and running into a tree. And the connection is...?

Just a few statements from the press release to take issue: "...fueling speculation his life was prolonged for stud fee earnings". Speculation was the horse would never be sound enough for the breeding shed even if he had survived. Could it be that some of us just love our animals - be they heroic race horses or smile inducing fur balls? Barbaro owners Roy and Gretchen Jackson poured millions into New Bolton Center. Of course there was no pressure from the daily media blitz of updates concerning Barbaro's prognosis. And there's the self-described egotistical Dr. Dean Richardson, chief surgeon at the center. FACTOID: the early signs of founder (laminitus) likely occurred shortly after the first surgery. But as Dr. Richardson passed the wall of cards, flowers, treats and other tokens of well-wishes from thousands of school children on his way to work every morning, he may have been inclined to attempt the impossible. Or could it have been a collective consciousness of affirmative well wishes on an unprecedented scale that prolonged the inevitable?

Another: "It was reported that in the end, Barbaro was biting at people before he was finally allowed to die with dignity". FACTOID: three year old colts bite. The healthier and fitter they get, the more they bite. It's what they do. Something to do with those darn male hormones.

Supposedly, the sculpture is helping to launch "the Barbaro Law" requiring racetracks to disclose race-related injury and fatality statistics. FACTOID: all practicing race track veterinarians are required to fill out a daily report submitted to the on site, highly regulated State Veterinarians Office. All horses entered in races absolutely MUST be examined by a state appointed vet on the morning of the scheduled race. Have I ever mentioned the "Absolute Insurer Rule"?

Daniel Edwards was hitherto unknown to moi. There is a cartoon stating: "if you want to be a successful artist you must create some controversy" on my studio wall, where I should be now.

John Henry's Service

Some poignant scenes from John Henry's memorial service at the Kentucky Horse Park:

Sam Rubin's step-son with a touching eulogy. Original PEB in frame.

Emotionally touching how so many humans love this horse.

Young and old paid respects. Notice the riding clothes.

The grave complete with John Henry's favorite treat, a chocolate doughnut.

Moving, fittingly beautiful bagpipe tribute.

Chris McCarron, moi, and Michael

John Henry's Memorial Service

Upon hearing that John Henry's Memorial Service would be held at the Kentucky Horse Park on Friday, October 19th - the same day as my opening reception at Fayette Gallery in Lexington, I had a knee-jerk reaction to the timing. Oh ____! Then, I reconsidered...I knew John Henry as a distant observer: I saw him take half an hour or more to walk to the track to train in the morning on several occasions. Stubborn, obstinate, what could you do to move a multi-millionaire champion along at a bit quicker pace when there was so much work to be done back at the barn? And then, I did get to witness the last winning race of his career at the Meadowland's Ballantine's Scotch Classic as mentioned in an earlier post. So, why not pay my last respects at the service? I'll have plenty of time to get back to the room to change before the reception.

So, if you plan to attend, I'll be there somewhere, camera in hand, choking back the realization that the last of the super champions to imprint their greatness into our memory chips are quickly disappearing. It's an elite group, something to be savored and honored.

John Henry in happy times.

I'm thinking of his handlers for the past 25+ years. Bless you all, this will be difficult.

Good Bye John Henry

I've been blessed to witness some very cool events throughout my life. One of my fondest memorable experiences was watching John Henry run and win the last race of his career. It was the Ballantine's Scotch Classic at the Meadowlands on October 13th, 1984. I know this because I still have pin that was given away that night.

I vividly remember him jogging back to the winner's circle and stopping along the way, turning his back to a madly cheering crowd while he looked intently at the tote board. Chris McCarron sat patiently waiting until John Henry was good and ready to proceed. We all joined in on a resounding standing ovation. What a thrill.

Farewell and God bless to a magnificent champion.