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How 11 Triple Crown Winners Spent Their Retirement Years

JOHN ANGELILLO/UPI/Landov

The decision to scratch and retire I’ll Have Another with swelling in his left front leg on the day before the Belmont Stakes cost him a shot to become the 12th Triple Crown winner, but owner J. Paul Reddam still stands to make millions in stud fees. While the three-year-old colt would likely have commanded an even greater fee had he raced and won Saturday, most bloodstock agents and other experts expect him to garner $5 million to $10 million as a sire. Here’s a look at the post-Belmont careers – both on and off the track – of the 11 Triple Crown winners.

1. Sir Barton, 1919

One year after winning the Triple Crown and Horse of the Year honors, Sir Barton faced off against Man o’ War in a match race at Canada’s Kenilworth Park. Man o’ War, a legend in his own right, won by seven lengths and Sir Barton was retired to stud in Berryville, Va., shortly thereafter. After 11 mostly unimpressive years as a sire, Sir Barton’s owners turned him over to the U.S. Remount Service, which bred and supplied horses to the Army. Sir Barton’s stud fee dropped to around $10, and in 1933 the Army sold him to Dr. J.R. Hylton. Sir Barton died of colic at Dr. Hylton’s Wyoming ranch on October 30, 1937.

2. Gallant Fox, 1930

Gallant Fox raced six more times after winning the Triple Crown and scored wins in five of those races. He was retired to stud at Claiborne Farm in Kentucky at the end of the 1930 season and produced a three-year old champion in each of his first two crops as a sire. The first, Omaha, remains the only Triple Crown winner who was sired by a Triple Crown winner. Gallant Fox died on Nov. 13, 1954, one year after retiring from stud service. He was buried alongside Sir Gallahad III, who sired three Triple Crown champions, and Marguerite, his dam.

3. Omaha, 1935

Omaha was shipped to England on the RMS Aquitania in January 1936 and, according to newspaper accounts, “stood the sea trip very well.” Omaha made four starts across the pond, winning twice and placing twice. The son of Gallant Fox was retired to stud at Claiborne Farm in Kentucky, where he was a disappointment as a sire. The Jockey Club’s Breeding Bureau sent Omaha to a stud farm in New York in 1943. Seven years later, he was transferred to a farm in Nebraska, where he spent the final years of his life about 50 miles south of the city with which he shared a name.

4. War Admiral, 1937

War Admiral continued his racing career after winning the Triple Crown and edging Seabiscuit for Horse of the Year honors in 1937. The two thoroughbred legends met for the only time on November 1, 1938, in the Pimlico Special match race in Baltimore, with Seabiscuit winning by four lengths. War Admiral retired to stud in July 1939 with earnings totaling $273,240 and 21 wins in 26 starts, and was the leading sire in North America in 1945. He died in 1959 at the age of 25.

5. Whirlaway, 1941

Whirlaway, who was also known as Mr. Longtail, was a must-see attraction after winning the Triple Crown. He ran an incredible 22 races in 1942 at racetracks across the country to help raise money for the War Emergency Relief Fund. A bowed tendon as a five-year old sent Whirlaway into retirement at Kentucky’s Calumet Farm in 1946. In 1950, he was leased to breeder Marcel Boussac, who moved the two-time Horse of the Year to his stud farm in France. Boussac purchased full ownership of Whirlaway in 1952, only to have the two-time Horse of the Year die of a heart attack the following year.

6. Count Fleet, 1943

Count Fleet scored an unprecedented quintuple triumph and was named the unanimous Horse of the Year in 1943. After winning the Wood Memorial, Kentucky Derby, Preakness and Withers, he captured the Belmont with a then-record 25-length victory. Count Fleet injured his ankle during the race, which led to an early end to a promising racing career. He sired one Kentucky Derby winner and two Belmont Stakes winners after retiring to stud and died on Dec. 3, 1973 at the age of 33.

7. Assault, 1946

Assault was retired to King Ranch in Texas in February 1948 after winning five of seven starts as a four-year-old. The 1946 Horse of the Year’s stud career was brief, as it was determined that he was sterile. Assault returned to the racing circuit and won three more races over the next three years before hanging up his saddle for good in 1950. He earned $672,470 in his career, with 18 wins in 42 starts. Assault died on Sept. 1, 1971 at the age of 28.

8. Citation, 1948

Citation developed arthritis in his fetlock joint toward the end of his Triple Crown-winning year and missed all of the 1949 season as a result. Still, trainer Jimmy Jones was determined to get him back out on the track. “We have a definite goal,” Jones said in 1950. “We want Citation to be the first horse to win a million dollars. When he does that, he’ll be retired to the stud.” Jones kept his promise. Citation eclipsed the $1 million mark at Hollywood Park in Inglewood, Calif., on July 14, 1951, and was immediately retired to Calumet Farm in Lexington, Ky. Citation died on August 8, 1970 at the age of 25.

9. Secretariat, 1973

Super Red, as fans knew him, ran his final race at the Canadian Championship in Toronto in October 1973. He went to stud under the terms of a then-record $6.08 million syndication deal, which helped pay off the estate taxes of his owner’s father. (Syndication deals spread the inherent gamble associated with high-stakes breeding across multiple buyers, who purchase shares in the horse. Each share grants the owner the right to breed a mare of his or her choosing with the syndicated horse once a year for as long as the horse lives.) Secretariat retired as the sixth-leading money winner of all-time, but had mixed success as a stallion. He was put down on Oct. 5, 1989, after suffering from laminitis, an incurable hoof condition.

10. Seattle Slew, 1977

Seattle Slew was syndicated for a then-record $12 million in February 1978. He was retired to stud at Spendthrift Farm in Kentucky at the end of the season and sired several champion foals. Seattle Slew died in his stall on May 7, 2002, 25 years to the day after he won the Kentucky Derby. His progeny included Swale, who won the 1984 Kentucky Derby.

11. Affirmed, 1978

One of the highlights of Affirmed’s post-Triple Crown career was the 1978 Marlboro Cup Invitational Handicap at Belmont Park. While he lost to Seattle Slew, it marked the first time that two Triple Crown Winners raced against each other. The $66,000 that Affirmed won for finishing second pushed him past Secretariat as the top earner in a single year with $901,541. He was named Horse of the Year, an honor he retained in 1979 by winning seven of nine starts. Affirmed was syndicated for a then-record $14.4 million and retired to stud in October 1979, finishing his career as the first horse to surpass $2 million in winnings. His 700-plus foals earned roughly $40 million. Affirmed was euthanized in 2001 after developing laminitis.

What’s in Store for I’ll Have Another?

Evan Hammonds, executive editor of the thoroughbred industry magazine BloodHorse, told CNN that he expects I’ll Have Another to fetch $20,000 to $25,000 every time he breeds. That could add up to $10 million over his lifetime. While it’s significantly less than what he likely would have garnered 10 years ago – 2000 Kentucky Derby winner Fusaichi Pegasus was syndicated for a record $70 million and began his stallion career with a stud fee of $150,000 – that’s a decent return for Reddam, who purchased the colt for $35,000.

Images courtesy of Spiletta and the SI Vault

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A.C. Gilbert, the Toymaker Who (Actually) Saved Christmas 
Travel Salem via Flickr // CC BY-ND 2.0
Travel Salem via Flickr // CC BY-ND 2.0

Alfred Carlton Gilbert was told he had 15 minutes to convince the United States government not to cancel Christmas.

For hours, he paced the outer hall, awaiting his turn before the Council of National Defense. With him were the tools of his trade: toy submarines, air rifles, and colorful picture books. As government personnel walked by, Gilbert, bashful about his cache of kid things, tried hiding them behind a leather satchel.

Finally, his name was called. It was 1918, the U.S. was embroiled in World War I, and the Council had made an open issue about their deliberation over whether to halt all production of toys indefinitely, turning factories into ammunition centers and even discouraging giving or receiving gifts that holiday season. Instead of toys, they argued, citizens should be spending money on war bonds. Playthings had become inconsequential.

Frantic toymakers persuaded Gilbert, founder of the A.C. Gilbert Company and creator of the popular Erector construction sets, to speak on their behalf. Toys in hand, he faced his own personal firing squad of military generals, policy advisors, and the Secretary of War.

Gilbert held up an air rifle and began to talk. What he’d say next would determine the fate of the entire toy industry.

Even if he had never had to testify on behalf of Christmas toys, A.C. Gilbert would still be remembered for living a remarkable life. Born in Oregon in 1884, Gilbert excelled at athletics, once holding the world record for consecutive chin-ups (39) and earning an Olympic gold medal in the pole vault during the 1908 Games. In 1909, he graduated from Yale School of Medicine with designs on remaining in sports as a health advisor.

But medicine wasn’t where Gilbert found his passion. A lifelong performer of magic, he set his sights on opening a business selling illusionist kits. The Mysto Manufacturing Company didn’t last long, but it proved to Gilbert that he had what it took to own and operate a small shingle. In 1916, three years after introducing the Erector sets, he renamed Mysto the A.C. Gilbert Company.

Erector was a big hit in the burgeoning American toy market, which had typically been fueled by imported toys from Germany. Kids could take the steel beams and make scaffolding, bridges, and other small-development projects. With the toy flying off shelves, Gilbert’s factory in New Haven, Connecticut grew so prosperous that he could afford to offer his employees benefits that were uncommon at the time, like maternity leave and partial medical insurance.

Gilbert’s reputation for being fair and level-headed led the growing toy industry to elect him their president for the newly created Toy Manufacturers of America, an assignment he readily accepted. But almost immediately, his position became something other than ceremonial: His peers began to grow concerned about the country’s involvement in the war and the growing belief that toys were a dispensable effort.

President Woodrow Wilson had appointed a Council of National Defense to debate these kinds of matters. The men were so preoccupied with the consequences of the U.S. marching into a European conflict that something as trivial as a pull-string toy or chemistry set seemed almost insulting to contemplate. Several toy companies agreed to convert to munitions factories, as did Gilbert. But when the Council began discussing a blanket prohibition on toymaking and even gift-giving, Gilbert was given an opportunity to defend his industry.

Before Gilbert was allowed into the Council’s chambers, a Naval guard inspected each toy for any sign of sabotage. Satisfied, he allowed Gilbert in. Among the officials sitting opposite him were Secretary of War Newton Baker and Secretary of the Navy Josephus Daniels.

“The greatest influences in the life of a boy are his toys,” Gilbert said. “Yet through the toys American manufacturers are turning out, he gets both fun and an education. The American boy is a genuine boy and wants genuine toys."

He drew an air rifle, showing the committee members how a child wielding less-than-lethal weapons could make for a better marksman when he was old enough to become a soldier. He insisted construction toys—like the A.C. Gilbert Erector Set—fostered creative thinking. He told the men that toys provided a valuable escape from the horror stories coming out of combat.

Armed with play objects, a boy’s life could be directed toward “construction, not destruction,” Gilbert said.

Gilbert then laid out his toys for the board to examine. Secretary Daniels grew absorbed with a toy submarine, marveling at the detail and asking Gilbert if it could be bought anywhere in the country. Other officials examined children’s books; one began pushing a train around the table.

The word didn’t come immediately, but the expressions on the faces of the officials told the story: Gilbert had won them over. There would be no toy or gift embargo that year.

Naturally, Gilbert still devoted his work floors to the production efforts for both the first and second world wars. By the 1950s, the A.C. Gilbert Company was dominating the toy business with products that demanded kids be engaged and attentive. Notoriously, he issued a U-238 Atomic Energy Lab, which came complete with four types of uranium ore. “Completely safe and harmless!” the box promised. A Geiger counter was included. At $50 each, Gilbert lost money on it, though his decision to produce it would earn him a certain infamy in toy circles.

“It was not suitable for the same age groups as our simpler chemistry and microscope sets, for instance,” he once said, “and you could not manufacture such a thing as a beginner’s atomic energy lab.”

Gilbert’s company reached an astounding $20 million in sales in 1953. By the mid-1960s, just a few years after Gilbert's death in 1961, it was gone, driven out of business by the apathy of new investors. No one, it seemed, had quite the same passion for play as Gilbert, who had spent over half a century providing fun and educational fare that kids were ecstatic to see under their trees.

When news of the Council’s 1918 decision reached the media, The Boston Globe's front page copy summed up Gilbert’s contribution perfectly: “The Man Who Saved Christmas.”

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entertainment
15 Surprising Facts About Scarface
Universal Home Video
Universal Home Video

Say hello to our little list. Here are a few facts to break out at your next screening of Scarface, Brian De Palma’s gangsters-and-cocaine classic, which arrived in theaters on this day in 1983.

1. IT WASN'T THE FIRST SCARFACE.

Brian De Palma's Scarface is a loose remake of the 1932 movie of the same name, which is also about the rise and fall of an American immigrant gangster. The producer of the 1983 version, Martin Bregman, saw the original on late night TV and thought the idea could be modernized—though it still pays respect to the original film. De Palma's flick is dedicated to the original film’s director, Howard Hawks, and screenwriter, Ben Hecht.

2. IT COULD HAVE BEEN A SIDNEY LUMET FILM.

At one point in the film's production, Sidney Lumet—the socially conscious director of such classics as Dog Day Afternoon and 12 Angry Men—was brought on as its director. "Sidney Lumet came up with the idea of what's happening today in Miami, and it inspired Bregman," Pacino told Empire Magazine. "He and Oliver Stone got together and produced a script that had a lot of energy and was very well written. Oliver Stone was writing about stuff that was touching on things that were going on in the world, he was in touch with that energy and that rage and that underbelly."

3. OLIVER STONE WASN'T INTERESTED IN WRITING THE SCRIPT, UNTIL LUMET GOT INVOLVED.


Universal Home Video

Producer Bregman offered relative newcomer Oliver Stone a chance to overhaul the screenplay, but Stone—who was still reeling from the box office disappointment of his film, The Hand—wasn't interested. "I didn’t like the original movie that much," Stone told Creative Screenwriting. "It didn’t really hit me at all and I had no desire to make another Italian gangster picture because so many had been done so well, there would be no point to it. The origin of it, according to Marty Bregman, [was that] Al had seen the '30s version on television, he loved it and expressed to Marty as his long time mentor/partner that he’d like to do a role like that. So Marty presented it to me and I had no interest in doing a period piece."

But when Bregman contacted Stone again about the project later, his opinion changed. "Sidney Lumet had stepped into the deal," Stone said. "Sidney had a great idea to take the 1930s American prohibition gangster movie and make it into a modern immigrant gangster movie dealing with the same problems that we had then, that we’re prohibiting drugs instead of alcohol. There’s a prohibition against drugs that’s created the same criminal class as (prohibition of alcohol) created the Mafia. It was a remarkable idea."

4. UNFORTUNATELY, ACCORDING TO STONE, LUMET HATED HIS SCRIPT.

While the chance to work with Lumet was part of what lured Stone to the project, it was his script that ultimately led to the director's departure from the film. According to Stone: "Sidney Lumet hated my script. I don’t know if he’d say that in public himself, I sound like a petulant screenwriter saying that, I’d rather not say that word. Let me say that Sidney did not understand my script, whereas Bregman wanted to continue in that direction with Al."

5. STONE HAD FIRSTHAND EXPERIENCE WITH THE SUBJECT MATTER.

In order to create the most accurate picture possible, Stone spent time in Florida and the Caribbean interviewing people on both sides of the law for research. "It got hairy," Stone admitted of the research process. "It gave me all this color. I wanted to do a sun-drenched, tropical Third World gangster, cigar, sexy Miami movie."

Unfortunately, while penning the screenplay, Stone was also dealing with his own cocaine habit, which gave him an insight into what the drug can do to users. Stone actually tried to kick his habit by leaving the country to complete the script so he could be far away from his access to the drug.

"I moved to Paris and got out of the cocaine world too because that was another problem for me," he said. "I was doing coke at the time, and I really regretted it. I got into a habit of it and I was an addictive personality. I did it, not to an extreme or to a place where I was as destructive as some people, but certainly to where I was going stale mentally. I moved out of L.A. with my wife at the time and moved back to France to try and get into another world and see the world differently. And I wrote the script totally f***ing cold sober."

6. BRIAN DE PALMA DIDN'T WANT TO AUDITION MICHELLE PFEIFFER.


Universal Home Video

De Palma was hesitant to audition the relatively untested Pfeiffer because at the time she was best known for the box office bomb Grease 2. Glenn Close, Geena Davis, Carrie Fisher, Kelly McGillis, Sharon Stone and Sigourney Weaver were all considered for the role of Elvira, but Bregman pushed for Pfeiffer to audition and she got the part.

7. YES, THERE IS A LOT OF SWEARING.

According to the Family Media Guide, which monitors profanity, sexual content, and violence in movies, Scarface features 207 uses of the “F” word, which works out to about 1.21 F-bombs per minute. In 2014, Martin Scorsese more than doubled that with a record-setting 506 F-bombs thrown in The Wolf of Wall Street.

8. TONY MONTANA WAS NAMED FOR A FOOTBALL STAR.

Stone, who was a San Francisco 49ers fan, named the character of Tony Montana after Joe Montana, his favorite football player.

9. TONY IS ONLY REFERRED TO AS "SCARFACE" ONCE, AND IT'S IN SPANISH.

Hector, the Colombian gangster who threatens Tony with the chainsaw, refers to Tony as “cara cicatriz,” meaning “scar face” in Spanish.

That chainsaw scene, by the way, was based on a real incident. To research the movie, Stone embedded himself with Miami law enforcement and based the infamous chainsaw sequence on a gangland story he heard from the Miami-Dade County police.

10. VERY LITTLE OF THE FILM WAS ACTUALLY SHOT IN MIAMI.

The film was originally going to be shot entirely on location in Miami, but protests by the local Cuban-American community forced the movie to leave Miami two weeks into production. Besides footage from those two weeks, the rest of the movie was shot in Los Angeles, New York, and Santa Barbara.

11. ALL THAT "COCAINE" LED TO PROBLEMS WITH PACINO'S NASAL PASSAGES.

Though there has long been a myth that Pacino snorted real cocaine on camera for Scarface, the "cocaine" used in the movie was supposedly powdered milk (even if De Palma has never officially stated what the crew used as a drug stand-in). But just because it wasn't real doesn't mean that it didn't create problems for Pacino's nasal passages. "For years after, I have had things up in there," Pacino said in 2015. "I don't know what happened to my nose, but it's changed."

12. PACINO'S NOSE WASN'T HIS ONLY BODY PART TO SUFFER DAMAGE.

Still of Al Pacino as Tony Montana in 'Scarface' (1983)
Universal Home Video

In the film's very bloody conclusion, Montana famously asks the assailants who've invaded his home to "say hello to my little friend," which happens to be a very large gun. That gun took a beating from all the blanks it had to fire, so much so that Pacino ended up burning his hand on its barrel. "My hand stuck to that sucker," he said. Ultimately, the actor—and his bandaged hands—had to sit out some of the action in the last few weeks of production.

13. STEVEN SPIELBERG DIRECTED A SINGLE SHOT.

De Palma and Spielberg had been friends since the two began making studio movies in the mid-1970s, and they made a habit of visiting each other’s sets. Spielberg was on hand for one of the days of shooting the Colombians’ initial attack on Tony Montana’s house at the end of the movie, so De Palma let Spielberg direct the low-angle shot where the attackers first enter the house.

14. SOME COOL TECHNOLOGY WENT INTO THE GUN MUZZLE FLASHES.

In order to heighten the severity of the gunfire, De Palma and the special effects coordinators created a mechanism to synchronize the gunfire with the open shutter on the movie camera to show the huge muzzle flash coming from the guns in the final shootout.

15. SADDAM HUSSEIN WAS A FAN OF THE FILM.

The trust fund the former Iraqi dictator set up to launder money was called “Montana Management,” a nod to the company Tony uses to launder money in the movie.

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