Category Archives: entertainment and popular culture

Another Belmont Stakes Post

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[Update: The filly won! Whoopee!]

One filly, Rags to Riches, will be running in the Belmont Stakes today. A filly hasn’t won the race in over a century. Rags to Riches is a daughter of A.P. Indy, who won the Belmont Stakes in 1992. A.P. Indy was sired by Seattle Slew. His dam was Morning Surprise, a daughter of Secretariat.

Rags to Riches is one of the favorites, after Curlin and Hard Spun. Hard Spun is a descendant of Man o’ War and War Admiral, through his grandma Pas de Nom. He is also a grandson of Northern Dancer (winner of the 1964 Kentucky Derby and Preakness) and a great-grandson of Alydar, famous for running second to Affirmed in all three races of the 1978 Triple Crown. Curlin is a great-great grandson of Northern Dancer, as is Rags to Riches on her ma’s side.

Update: Rags to Riches’s ancestry also goes back to Man o’ War, through her great-grandpa Buckpasser.

Once Upon a Time

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So we know there won’t be a Triple Crown winner this year, but thanks to video we can watch a Triple Crown Belmont Stakes victory anyway.

First, a story. Once upon a time, two thoroughbred breeders made a deal. They agreed that the owner of pedigree brood mares would send two mares to the champion stud owned by the other owner. They flipped a coin, and the winner of the coin toss got first choice of the two foals. Then the same two mares made the same trip the next year, and the loser of the coin toss got the first choice of the second two foals, except one of the two mares failed to produce a foal the second year.

So, the winner of the coin toss took home one foal, a filly that proved to be unexceptional. The loser got the second choice from the first year — a colt, also unexceptional — and the only foal born the second year. That foal was Secretariat.

If you saw the videos of the 1973 Kentucky Derby and Preakness, you might remember that in both those races Secretariat was in last place early in the race. Then he moved up to take the lead in the stretch. According to William Nack in Secretariat: The Making of a Champion, this was how the big horse ran most of his races. Jockey Ron Turcotte felt Secretariat usually needed to settle into his stride early in a race. But once he was in his stride, he kept accelerating. For example, in the 1 1/4 mile Derby he ran each quarter mile faster than the last one. This is unusual.

Beside Secretariat, there were only four other horses in the Belmont Stakes — Pvt. Smiles, Twice a Prince, My Gallant, and Sham. Only Sham’s owner admitted to thinking his horse could beat Secretariat. Sham had run great races in the Derby and Preakness and might well have won any other year. In fact, in the Derby he would have beat the track record had not Secretariat just set a new track record.

The Belmont Stakes is the longest of the three Triple Crown races — 1 1/2 miles. Sham’s owner instructed the jockey, Laffit Pincay, to go to the lead at the beginning of the race and to try to keep the pace moderate. They probably expected Secretariat to hang back at the beginning of the race, as he usually did. But Ron Turcotte decided that if no other horse set a strong pace he’d let the big horse go to the front and set his own pace.

So, in the video below (there’s a bigger version here) you see Sham and Secretariat both going to the front at the beginning, and they pull away from the other three horses. As they go into the first turn, they both pick up the pace. Pretty soon the two of them are running as if they were in a sprint, not a 1 1/2 mile race. Pincay knows that Sham is running too hard, but he had been ordered not to let Secretariat get ahead. Turcotte, meanwhile, feels the big horse running easily and figures he can keep it up for a while. So the two horses sprint, and reach the half-mile pole at 0:46 1/5, which was the fastest opening half mile in the history of the race.

By now Secretariat’s owners and his trainer are tearing out their hair, convinced that Ron Turcotte has gone out of his mind and will cause the horse to collapse of exhaustion before he gets to the wire. But because Secretariat is running so easily, Turcotte doesn’t realize how fast the horse is going.

At about five-eighths of a mile, Sham begins to fall apart. They’re still running at a faster pace than Man o’ War, Count Fleet, or Citation had run at that same point in the race. Over the next eighth of a mile Sham struggles, and Secretariat just glides along. At three quarters of a mile into the race, Sham is done. He drifts back and eventually finishes last. But Secretariat maintains the same sprint speed. His owners and trainer still think the horse will break down any minute. But Turcotte hasn’t taken out his whip or pushed the big horse; he is just letting him run, still not realizing they’re going at a record clip.

Now Secretariat opens the lead. On the video, you can hear the announcer Chick Anderson:

“Secretariat is blazing along! The first three-quarters of a mile in 1:09 4/5. Secretariat is widening now. He is moving like a tremendous machine!”

Secretariat pulls further and further away from the rest of the horses. His frantic owners watch for any sign the horse is hurting or stressed. There is no such sign. As he turns into the home stretch, Secretariat is running faster than he ran past the half-mile pole. The lead widens. The horse maintains his record pace. At about the point Secretariat is 26 lengths in front — I’m sorry you can’t make this out in the video — Turcotte glanced behind and saw the rest of the field in another county. Then he glanced at the timer and realized he was ahead of record pace. So at the very end of the race, you can make out that he is pumping his arms — for the first time since early in the race — to be sure Secretariat doesn’t slow down at the end and blow the record.

Secretariat goes under the wire at 2:24, 31 lengths in the lead (the announcers says 29 lengths, but the horse was so far out in front it was hard to count). The previous record had been Gallant Man’s 2:26.6, set in 1957.

Since then, the second-fastest clocking is shared by Easy Goer (1989) and A. P. Indy (1992) at 2:26, while Risen Star (1988) and Point Given (2001) hold the fourth-fastest time at 2:26 2/5, it says here.

OK, now you can watch the race. (Or click here.)

You can read about the rest of Secretariat’s life here. In short, the big horse was retired to stud at the end of the 1973 racing reason and euthanized in 1983 after developing laminitis. On the whole his offspring were not exceptional, but his daughters have an outstanding record as brood mares. The fillies got all his good genes, it seems.

Sham was also retired to stud in 1973, after a leg fracture ended his racing career, and died in 1993. In 1978, Ron Turcotte fell from a mount during a race and was paralyzed from the waist down.

To this day, many people still consider Secretariat’s 1973 Belmont Stakes race to be the greatest single performance by a running horse. Certainly, it’s the best performance ever captured on film.

Let the Sunshine In

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I’ve been looking for an appropriate Memorial Day video. The best I could come up with are a couple of clips from the 1979 film version of Hair, which was actually pretty good even though only about 36 people went to see it in theaters.

This is my favorite bit; Treat Williams as Berger sings “I Got Life.”

Here’s the last scene of the film. Berger takes Claude’s place in training camp — temporarily, he thought — so that Claude (John Savage) can go on a picnic. The rest is self-explanatory.

Inconvenient Facts

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Rightie bloggers are gleefully linking to an item in the Toronto Star that pans Michael Moore’s new documentary Sicko. The author of the item, Peter Howell, writes,

We Canucks were taking issue with the large liberties Sicko takes with the facts, with its lavish praise for Canada’s government-funded medicare system compared with America’s for-profit alternative.

While justifiably demonstrating the evils of an American system where dollars are the major determinant of the quality of medicare care a person receives, and where restoring a severed finger could cost an American $60,000 compared to nothing at all for a Canadian, Sicko makes it seem as if Canada’s socialized medicine is flawless and that Canadians are satisfied with the status quo.

Moore makes the eyebrow-raising assertion that Canadians live on average three years longer than Americans because of their superior health care system.

In fact, my painstaking research (5 seconds of googling) revealed that Canadians live on average only 2.5 years longer than Americans because of their superior health care system. However, I would have thought 2.5 years is eye popping, too.

Since I haven’t seen the film I can’t judge how Moore describes the Canadian health care system, which does have some flaws. However, compared to our system the Canadian system is, um, way better.

Last week another Canadian, Liam Lacey of the Globe and Mail, wrote,

As in Bowling for Columbine and Fahrenheit 9/11, Moore uses Canada as an example of a more humane social system. When a Canadian reporter suggested the portrait of the Canadian medical system was unduly rosy, and wait times for care were long, Moore asked the reporter if he’d trade in his health card to join the American system.

“No,” said the reporter promptly, earning a laugh from the audience.

Liam Lacey predicts Sicko will be a hit.

Amusements

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[Update: No Triple Crown winner this year; it was Curlin over Street Sense by a nose.]

First, the funny papers.

Here’s the sports section: Street Sense is the favorite to win today’s Preakness. But if you want to see a guaranteed triple-crown race, watch this:

I don’t think jockey Ron Turcotte used a whip at all. He was just there for the ride.

Film review: If you’re in the mood for a good chick flick, let me recommend “Waitress.” Sweet and tart, just like my mama’s rhubarb pie.

First Saturday in May

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It’s been thirty years since one of the last Triple Crown winners, Seattle Slew, ran in the Kentucky Derby. Yep; Slew won the Triple Crown in 1977. Slew had the misfortune of being something of a follow up act to the Greatest Animal of All Time, Secretariat, who won the Triple Crown in 1973. But being a horse, I’m sure Slew didn’t care.

I’ve been trying since last night to post YouTube videos of Secretariat’s and Seattle Slew’s Derby runs, but they aren’t coming up. (Sometime next week six Seattle Slew videos will probably appear and clog up the site.) You’ll have to go to YouTube — Here’s the Secretariat run, and here’s Seattle Slew. You can see a Triple Crown race today, no matter what happens in Kentucky.

The favorite today is a horse named Street Sense. Hmm — Secretariat, Seattle Slew, Street Sense. SS, anyone? [Update: Street Sense wins.]

We were thoroughly spoiled by the time Affirmed won the Triple Crown in 1978. Will there ever be another?

Related: A half-brother to Secretariat saved from the slaughterhouse.

Update: Let’s try this —

Update: Here’s a trivia question — who is the oldest living Kentucky Derby winner? Bonus question: What does this horse have in common with only two other winners?

Let’s Find the Joke

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Is Rush Limbaugh about to have a Don Imus moment? Apparently Rush presented a little parody ditty called “Barack the Magic Negro”” on his radio show last month, and some of his own staff are fomenting mutiny over it.

The song ostensibly was inspired by this David Ehrenstein op ed in the Los Angeles Times, wherein the fabulous David E (who is African American) writes about how whites perceive Barack Obama. The Rush parody, unfortunately, has an entirely different point to it.

According to this site, in its most recent video incarnation the song (titled “U Da Real Negro Al, Screw Obama”) is performed by Paul Shanklin, a conservative political satirist, who tries to imitate the Rev. Mr. Sharpton’s voice. The video includes a slideshow of images of Sharpton and Barack pointing out the differences in their “blackness.” The song alleges that Barack Obama is not a “real” black man, which was not David Ehrenstein’s point at all.

The term “magic negro” (or “magical negro,” and other variations), refers to a stock character of (white) fiction — a benevolent African American who drops into the plot Deus ex machina-style to counsel and redeem the struggling white main character. Rita Kempley explained the “magic negro” in 2003:

Morgan Freeman plays God in “Bruce Almighty;” Laurence Fishburne a demigod in “The Matrix Reloaded,” and Queen Latifah a ghetto goddess in “Bringing Down the House. ”

What’s the deal with the holy roles?

Every one of the actors has to help a white guy find his soul or there won’t be a happy ending. Bruce (Jim Carrey) won’t get the girl. Neo (Keanu Reeves) won’t become the next Messiah. And klutzy guy Peter (Steve Martin) won’t get his groove on.

In movie circles, this figure is known as a “magic Negro,” a term that dates back to the late 1950s, around the time Sidney Poitier sacrifices himself to save Tony Curtis in “The Defiant Ones.” Spike Lee, who satirizes the stereotype in 2000’s “Bamboozled,” goes even further and denounces the stereotype as the “super-duper magical Negro.” …

… Historically, if a black person is thrust into a white universe, it is inevitable that the white people will become a better person,” says Thomas Cripps, author of “Making Movies Black: The Hollywood Message Movie from World War II to the Civil Rights Era” and other books on African American cinema. “Sidney Poitier spent his whole career in this position. Sidney actually carried the cross for Jesus in ‘The Greatest Story Ever Told.'”

See also “Stephen King’s Super-Duper Magical Negroes” by Nnedi Okorafor-Mbachu, written October 2004:

The archetype of the Magical Negro is an issue of race. It is the subordination of a minority figure masked as the empowerment of one. The Magical Negro has great power and wisdom, yet he or she only uses it to help the white main character; he or she is not threatening because he or she only seeks to help, never hurt. The white main character’s well-being comes before the Magical Negro’s because the main character is of more value, more importance.

I think it’s debatable whether presidential candidate Obama neatly falls into this stereotype. On the other hand, I do think there’s truth in the observation that white Americans are more, shall we say, comfortable with some African Americans than others; Colin Powell also comes to mind. This underscores the point that “race” is as much a social construct as anything else, but this is a huge topic I don’t have the energy to dive into right now. Some other time, maybe.

In his Los Angeles Times op ed, David Ehrenstein elaborates:

And what does the white man get out of the bargain? That’s a question asked by John Guare in “Six Degrees of Separation,” his brilliant retelling of the true saga of David Hampton — a young, personable gay con man who in the 1980s passed himself off as the son of none other than the real Sidney Poitier. Though he started small, using the ruse to get into Studio 54, Hampton discovered that countless gullible, well-heeled New Yorkers, vulnerable to the Magic Negro myth, were only too eager to believe in his baroque fantasy. (One of the few who wasn’t fooled was Andy Warhol, who was astonished his underlings believed Hampton’s whoppers. Clearly Warhol had no need for the accoutrement of interracial “goodwill.”)

But the same can’t be said of most white Americans, whose desire for a noble, healing Negro hasn’t faded. That’s where Obama comes in: as Poitier’s “real” fake son.

The senator’s famously stem-winding stump speeches have been drawing huge crowds to hear him talk of uniting rather than dividing. A praiseworthy goal. Consequently, even the mild criticisms thrown his way have been waved away, “magically.” He used to smoke, but now he doesn’t; he racked up a bunch of delinquent parking tickets, but he paid them all back with an apology. And hey, is looking good in a bathing suit a bad thing?

The only mud that momentarily stuck was criticism (white and black alike) concerning Obama’s alleged “inauthenticity,” as compared to such sterling examples of “genuine” blackness as Al Sharpton and Snoop Dogg. Speaking as an African American whose last name has led to his racial “credentials” being challenged — often several times a day — I know how pesky this sort of thing can be.

Obama’s fame right now has little to do with his political record or what he’s written in his two (count ’em) books, or even what he’s actually said in those stem-winders. It’s the way he’s said it that counts the most. It’s his manner, which, as presidential hopeful Sen. Joe Biden ham-fistedly reminded us, is “articulate.” His tone is always genial, his voice warm and unthreatening, and he hasn’t called his opponents names (despite being baited by the media).

Like a comic-book superhero, Obama is there to help, out of the sheer goodness of a heart we need not know or understand. For as with all Magic Negroes, the less real he seems, the more desirable he becomes. If he were real, white America couldn’t project all its fantasies of curative black benevolence on him.

This is too nuanced for righties, I realize, but you see that David isn’t writing about whether Barack Obama is inherently “black” enough, but rather about how he is perceived by whites. David says himself, “Speaking as an African American whose last name has led to his racial ‘credentials’ being challenged — often several times a day — I know how pesky this sort of thing can be.” His line about “Obama’s alleged ‘inauthenticity,’ as compared to such sterling examples of ‘genuine’ blackness as Al Sharpton and Snoop Dogg” was, as I read it, intended to ridicule people who make such comparisons. (Like Rush Limbaugh.)

When David’s column was published, a number of righties wallowed in feigned outrage over it. This blogger and his commenters oozed disgust at the racism of “White liberal elitists.” (I actually read through this muck; not one of them appears to have even a glimmer of what David’s op ed actually said.) “And is LIBERAL David Ehrenstein who coined ‘Magic Negro’ as a description for Barack Obama still writing for the L.A. Times?” writes this dimbulb.

I’ve been googling around trying to find the “lyrics” to the Rush parody song so that you don’t have to suffer through actually watching the putrid video. I had no luck, but Greg Sargent provides a description:

Let’s start with a particularly lovely Rush/Shanklin special. It has a voice parodying an Al Sharpton who is so illiterate that he spells the word “respect” like this: “r-e-s-p-e-c-k.” Here’s a transcript of the relevant bit, where the Sharpton stand-in is standing outside Barack Obama headquarters asking Obama for attention by singing the following lyrics to the tune of Aretha Franklin’s “Respect”:

    “R-E-S-P-E-C-K. Wha-choo mean it ain’t spelt that way? R-E-S-P-E-K-T? I need a dictionary!”

There’s more. As Media Matters reported the other day, Rush sang the ditty “Barack the Magic Negro” on his show on March 19, basing the lyrics on an L.A. Times Op-ed piece. But it gets better.

Now Rush is running a new, improved version of the “Magic Negro” song that’s way more fleshed out — and way, way, more eye-opening, too. It features a parody of Sharpton singing about “da hood” and saying that Obama is “ar-ti-coo-late.” Just give it a listen, it’s hard to describe how low it is.

There are also routines where the Sharpton stand-in insults Obama by saying “yo mama’s so fat” and so forth, as well as one where Sharpton demands that Obama explain himself to the “commooonity.”

The only racist slam Rush and Shanklin left out were watermelon jokes.

More Jokes:

Go see Bob Geiger’s Saturday cartoons. Read also about the senior Bush Administration official and former AIDS czar who resigned after his patronage of an “escort” service was uncovered.

Update: Garance has more:

There’s a big difference between a conservative Southern white man — in this case, Rush’s regular contributor Paul Shanklin, from Tennessee — doing these kinds of parodies of Al Sharpton and Barack Obama and, say, Kenan Thompson’s affectionate parodies on SNL. In addition to “Barack the Magic Negro,” Shanklin is also responsible for such tasteful Rush Limbaugh Show ditties as “Osama Obama.”

Lest you think such things are limited to brief moments on the radio, Shanklin’s “Magic Negro” song has already been turned into a YouTube clip which makes its highly offensive lyrics even more apparent. It’s like a slap in the face, nothing but pure racial insult against Obama, who is charged with being inauthetically black and pictured in a Klan robe.