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2 down 1 to go! Big Brown annihilates Field Again!

May 18, 2008
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I'm convinced he can win the Triple Crown. He can do it. Yesterday he only 'ran' 3/8 of a mile, the rest of the time he was holding back. When he hit it, it looked like he had jets on his back, he annihilated the competition by at least 7 lengths, it was amazing! His jockey is convinced as well and has already ridden 2 other previous derby winners and another Preakness winner, the another great story there. This will be great for the industry seeing all the heartbreak of late, i.e. Eight Belles:( 30 years is a long time man....

Flo-

Louisville Kentucky

Big Brown Crushes Preakness Rivals

by Evan Hammonds

Updated: May 17, 2008

In a performance that was more like a coronation than a Thoroughbred horse race, Big Brown crushed his 11 rivals in the Preakness Stakes (gr. I) at Pimlico Race Course Saturday afternoon by 5 ¼ lengths. The son of Boundary, who two weeks ago won the Kentucky Derby Presented by Yum! Brands (gr. I) by 4 ¾ lengths, will now head to Belmont Park for the June 7 Belmont Stakes (gr. I) with a chance to become racing's 12th winner of the Triple Crown.

The historic victory makes him one of four unbeaten horses to win both the Derby and Preakness, joining Majestic Prince (1969), Seattle Slew (1977), and Smarty Jones (2004). Only Seattle Slew was able to land the Triple Crown.

Big Brown went off the 1-5 favorite and returned $2.40 to win as the lowest-priced winner since Spectacular Bid paid $2.10 in 1979. The final time for the 1 3/16 miles was 1:54.80.

Big Brown is owned by IEAH Stables and Paul Pompa Jr. Just prior to the Preakness, it was announced that upon his retirement, Big Brown will stand at stud at Robert Clay's Three Chimneys Farm near Midway, Ky.

Ridden more than confidently by Hall of Fame jockey Kent Desormeaux, Big Brown was tucked inside the first time by the winning post after breaking from the six-hole in the classic as Hey Byrn, Gayego, and Riley Tucker were out on the lead. The early fractions were :23.57 and :46.81. On the backstretch, Desormeaux was able to get Big Brown off the rail and to a clear spot just off the leaders. Traveling wide around the final bend after six furlongs in 1:10.48, Big Brown easily caught the leaders.

As they straightened away in the lane, Big Brown unleashed a tremendous burst of acceleration and quickly put several lengths between him and his rivals. Desormeaux eased up on the colt down the lane as he peeked behind for rivals and won "under wraps."

"He's a freak of a horse; it was just the easiest win ever," said Desormeaux.

Macho Again, winner of the Derby Trial, rallied to finish second at 39-1, finishing a half-length ahead of 22-1 shot Icabad Crane in third.

The remaining order of finish was: Racecar Rhapsody, Stevil, Kentucky Bear, Hey Byrn, Giant Moon, Tres Borrachos, Yankee Bravo, Gayego, and Riley Tucker. Behindatthebar was scratched May 16.

Big Brown paid $2.60 to place and $2.40 to show. Macho Again returned $17.20 and $10.40. Icabad Crane paid $5.60 to show. The 7-1 exacta returned $36.60 and the 7-1-3 trifecta paid $336.80. The $1 superfecta with Racecar Rhapsody returned $1,192.30.

He just keeps on getting better and keeps on getting stronger," said winning trainer Rick Dutrow right after the race. "He is special."

"When asked about the run for the Triple Crown in three weeks, Dutrow said, "It doesn't look like he got down on his belly today.

"I know we have horse race," he continued. "I'm going to be under the impression that he's going to be tough to beat in the Belmont."

"To bring him back for the Triple Crown will be a dream come true," said Michael Iavarone, the major principal with IEAH Stables along with Richard Schiavo. "It's going to be a fun, fun three weeks.

One of the horses that will take on Big Brown in the Belmont will be Casino Drive. Casino Drive won the Peter Pan Stakes (gr. II) in just his second career start. The son of Mineshaft is a half-brother to the last two winners of the Belmont Stakes: Jazil and Rags to Riches. All three are out of the grade I-winning mare Better Than Honour. A $950,000 sale yearling, Casino Drive was shipped to Japan where he broke his maiden.

"The Japanese people are going to come here and think that Godzilla is dead. Well, Godzilla's not dead," Dutrow said at the post-race press conference.

Big Brown is a 3-year-old colt by the pensioned stallion Boundary, out of the Nureyev mare Mien. He was bred in Kentucky by Monticule. He was purchased by Paul Pompa for $190,000 out of the Keeneland April 2-year-old sale from the Eddie Woods consignment.

"I'm very proud," said Paul Pompa Jr. after the race. Pompa had Big Brown with trainer Patrick Reynonds as a 2-year-old. After majority interest was sold to IEAH Stables, the colt was turned over to Rick Dutrow. "I have a lot of respect for Rick Dutrow. I had a lot of respect for Rick Dutrow before he had this horse. Mike and IEAH made me a very fair deal. These guys arent' afraid. They made me a great deal. It was a win-win situation for everybody. Patrick Reynolds, did a great job breaking this horse."

In the past 11 years six horses have won the first two legs of the Triple Crown and gone on the Belmont with a shot at the Triple Crown: Silver Charm (1997), Real Quiet ('98), Charismatic ('99), War Emblem ('02), Funny Cide ('03), and Smarty Jones (-04).

The last winner of the Triple Crown was Affirmed, who defeated Alydar in all three legs in 1978. He joined Secretariat ('73) and Seattle Slew as Triple Crown winners in the 1970s. Other winners are: Sir Barton (1919), Gallant Fox ('30), Omaha ('35), War Admiral ('38), Whirlaway ('41), and Citation ('48).

RBB A&R Spotlight Video - The Pipettes "Judy"

Nov 25, 2007
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Source: www.realitybb.com - I'm a mod at their A&R dept.

When I saw their MySpace avatar I just HAD to add 'em, they're so cute. I'm happy to say this song is good old fashioned pop, its a minor chord ballad which harkens back to the 1950's girl group sound ala Phil "get me out of prison/this hairstyle" Spector.
Flo-

their avatar

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The Pipettes "Judy"

About The Pipettes

LET US write the histories of pop music (the plural has a certain importance). A history at once oral/aural but not linear or progressive. A history that snakes and twists and turns back on itself, a history of ruptures and wrong-turnings. But let us not start with The Beatles.

Let us not speak their name.

There is a traditional historiography of popular music which in some way or another always seems to come back to the Beatles; and Lonnie Donegan who begat The Beatles, and Elvis who begat Lonnie Donegan John Lee Hooker who begat Elvis and Robert Johnson who begat John Lee Hooker etc etc. But that is not what we are interested in here.

We don't love you (yeah, yeah, yeah).

We don't want to hold your hand.

So let us start in the year Phil Spector aged wrote and produced his first hit, "To Know Him Is To Love Him", taking the title from his father's epitaph. Phil Spector, the first Tycoon of Teen, the first Pop Genius, the first person making this crazy new music who was actually of the age of its audience, the first guy with any power in the music industry who actually liked this stuff.

Spector wasn't trying to bolster his label's back catalogue with a few easy money spinners in order to create the capital to record and release the Real music, the great classics that he Really cared about. Much like punk rock, pop music was developed and incubated in quite a cynical and pedestrian fashion.

It was often those who came just a little later, those who almost missed the boat, like the Pop Group, DNA, Sonic Youth, who took the promise of punk rock at face value and got excited about it and tore it apart in ways their progenitors could never have imagined; they made punk great and significant and important. Spector took the promise of rock'n'roll and the new socioeconomic class of the 'teenager' at face value and ran with it. This was the real music that was important and valuable and serious and worth caring
about. And anything was possible.

So let's draw on the magic and the energy of this period that we might almost think of as a golden age: the Spector years, the Brill building, Joe Meek's Triumph recordings in England and beyond that Motown, Stax, Studio One.

Let us make this our starting point and start here to tell our story, from whence we shall move both backwards and forwards (in historical terms, the two are never easy to separate anyway).

Already the astute amongst you may have started to notice a broader spectrum creeping in; shades of Philly soul, of afrobeat, disco, glam rock, riot grrrl, dance pop, R'n'B and, in the other direction, of doo wop, Broadway, the radio hits of the thirties and forties, music hall, the European folk tradition...

Let us continue to expand our temporal and spatial borders in this fashion and let us do so using the tools at hand. Like a bricoleur we shall construct our histories from what we already have around us, what is available to us immediately and what we already know: guitars, drums, percussion, a Philicorda organ, a saxophone, our own voices.
But we will never be limited by our own boundaries, never hypostatized into a bind from which we cannot move. We must grow and at all times be reaching out, through the personal relations we already have and that we constantly create and develop on a daily basis. Art, according to John Cage, is not a thing made by someone but a process through which everyone involved learns and experiences new things.

So let us draw towards us our friends, our enemies and our casual acquaintances, without regard for their talent, their ability or their experience and lets see what we can learn together through the action of simple, practical music making.

Let's see what new histories we can write together.