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#GT ‘23 SS Tai Peete With 2 strike 💣 for #9️⃣ - Widens base w/ good hip pace, creating optimal lower half momentum despite cutting down leg kick. Textbook front arm shrink allows him to turn barrel in tight space. The definition of effortless! Prep Baseball Georgia Shooter Hunt #MLBDraft
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![ハロウィンダンス🎃...踊っちゃうんだ... #Grok Imagineの動画プロンプトはプロンプトは下記を参照してください...#ハロウィンダンス ↓ ↓ Action + Camera Work (10 seconds): BGM is hip-hop music. [0–2 seconds] While conversing naturally in Japanese and facing the camera, the subject abruptly shrugs both shoulders up and drops them forcefully. Immediately after, they thrust both arms straight forward to shoulder height with elbows locked, then sharply snap both wrists downward at a 90-degree angle. They open their hands, extending all fingers straight down to create a classic zombie silhouette. Maintaining this arm posture, they take two short steps forward (right foot, then left foot). With each step, they forcefully jerk their shoulders—first right, then left—while their head tilts unnaturally in the same direction, lagging slightly behind the shoulder movement. Finally, keeping their arms extended forward, they bring their body to a complete, momentary halt, then quickly tilt their head to look directly into the lens. Camera framing is a frontal medium shot (framing from the knees up). A brief push-in occurs in sync with the initial shoulder jerk; the camera follows slightly sideways during the left-right shifts, followed by another short dolly-in as the face thrusts forward at the end. [2–4 seconds] With arms extended forward and wrists bent 90 degrees downward—fingers straight and pointing down—the subject advances toward the camera for four consecutive steps in a zombie-like manner. They walk with a heavy gait and slightly bent knees, stepping right, left, right, then left. Instead of a standard walk, the movement follows a "stop-and-go" rhythm: take a step, momentarily freeze the body, then sharply execute the next step. With each step, they add accents to the upper body: right shoulder jerk, left shoulder jerk, chest jerk, and finally a jerk of both shoulders. Throughout this sequence, the arms remain extended forward. However, with each "hit" (accented movement), thrust the entire arm forward by only about 5–10 cm to create a motion resembling a zombie reaching for prey. Maintain the 90-degree bend at the wrist and the specific finger shape throughout the movement. The camera slides quickly left and right in sync with the steps. It pulls back slightly each time the subject steps forward and performs a brief push-in only at the moment the arms are thrust out. Although the movement is rapid, keep the subject positioned near the center of the frame at all times. [4–6 seconds] Pull both hands sharply toward the chest, using the recoil to swing both arms wide open to the sides. Immediately follow this by swinging the right arm diagonally downward and the left arm diagonally upward, then reverse the positions on the next beat. Drop into a low squat with knees apart and shift forcefully from right to left, accenting the movements of the shoulders, elbows, and hips in succession. Finally, bring both hands to a sharp stop beside the face. The camera pulls back slightly to a wider framing that includes the thighs. It performs a brief arc movement matching the wide swings and comes to an abrupt halt the moment the arms stop. [6–8 seconds] Rise quickly from the low stance and sharply accent the shoulders twice. Immediately shift the upper body rapidly from right to left, then to the front. Fully extend both arms straight ahead, keeping them parallel to each other. Clearly bend both wrists 90 degrees downward, with all fingers straightened and pointing down. Holding this arm position almost static for two seconds, bend the knees slightly, lean the body forward a bit, and take four quick steps toward the camera. Shift the body weight significantly forward with each step (right, left, right, left), adopting an unnatural "zombie walk" where the body seems to follow with a slight lag rather than a standard walking gait. For each step, rapidly repeat the sequence: STEP → shoulder hit → FREEZE → STEP → chest hit → FREEZE. Maintain the silhouette of a "zombie with both arms thrust forward" at all times. The camera lowers to a slightly low angle and dollies back in sync with the subject's forward step. Incorporate a very slight pan with each hand movement, locking the composition to the center the moment the subject returns to a frontal position. [8–9 seconds] Suddenly stop walking while keeping both arms extended upward. Spread the knees, squat deeply, and drop the body down in one motion, keeping the wrists bent at 90-degree angles. After a complete freeze of about 0.2 seconds, snap the body upward in a wave-like motion: legs → hips → chest → shoulders. The momentum causes both arms to thrust forcefully forward another 10–20 cm, though they remain pointed straight ahead. The camera pulls back slightly as the body drops, then executes a rapid push-in at the exact moment of the upward snap. [9–10 seconds] Take a strong step forward with the right foot and thrust both hands rapidly toward the camera. Spread the fingers wide. Stare intensely at the lens from between the hands. Instead of a standard smile, briefly flash a sharp, playful, and provocative expression, followed by a slight smile just at the corners of the mouth. The camera performs a rapid dolly-in matching the step forward. Zoom in quickly from a chest-up shot to a tight close-up on the face, making the hands appear large in the foreground. Hold a complete freeze for the final 0.3–0.5 seconds. [Overall Dance Direction] The tempo is quite fast. Minimize soft, swaying movements; instead, build the choreography around "hits," "stops," "direction changes," "steps," and "arm thrusts." Move the shoulders, chest, neck, elbows, and hips independently and precisely, ensuring a clear, sharp stop at the end of each movement. Rather than executing movements in a continuous, fluid flow, repeat a rhythm of "sharp movement → complete stop → sudden switch to the opposite direction." 【Overall Camera Direction】 A single-shot sequence primarily from a frontal angle. Synchronize short, quick dolly-ins, dolly-backs, lateral slides, slight low-angle shots, and brief arc movements with the "hits" in the dance. The camera should not move continuously; instead, it should pause momentarily to match the subject's "stops." Rapidly shift the camera's direction only at the moment the dance changes direction, creating a strong sense of the beat throughout the visuals. Utilize wide-angle perspective to make hands thrusting toward the camera appear larger. Avoid excessive camera shake, random swaying, violent spinning, or meaningless zooming. Connect the sequence in a single 10-second shot to create a hard-hitting, sharp aesthetic reminiscent of a Halloween dance music video. 【Key Movement Keywords】 hard-hitting dance, sharp isolations, powerful hits, fast arm strikes, precise stops, strong body accents, shoulder pops, chest hits, rapid directional changes, aggressive footwork, sharp head movements, rhythmic freeze poses, high-energy choreography, crisp motion, strong beat synchronization](https://image.24vids.com/tw-2107828151531548914/amplify_video_thumb/2107825105267302400/img/U4IYhM0Ui_jPHbsl.jpg)
![‡ Brant – Fast, Expensive, and Worrying In a recent 2yo MSW race at Santa Anita, Brant, a $3m OBS March sales purchase, made a winning debut for his high-profile connections. Sent off at odds of 4/5, he tracked the pace before taking command on the turn, and drew off to win by 5 1/4 lengths. He recorded a very fast raw time, and a 101 Beyer figure. His high auction price was due largely to his having breezed an eighth of a mile in :09 3/5 at OBS. In the wake of the bidding, Amr Zedan, who purchased the colt on the recommendation of his trainer, Bob Baffert, and bloodstock agent Donato Lanni, was quoted in TDN as saying: "These horses are difficult to come by. He ticked all the boxes. He was a very precocious Gun Runner with a great pedigree. And more importantly, if you have someone like Mr. [Bob] Baffert in your corner, that gives you the courage and the guts to just go after quality. And you'll know they are in the best hands to turn them into champions. This one is for the team: Donato and obviously Bob and his ability to turn them into champions. So if you have the great team, the great training, the rest is easy. Was he pricey? Yes. But quality dictates price. So I never hesitated.” The hyperbole, and boilerplate optimism, are understandable, as even owners with very deep pockets prefer not to dwell on their inevitably long lists of expensive failures. But Zedan and their team have also enjoyed a number of high-profile successes, including Taiba, another Gun Runner colt, which won the Santa Anita Derby and the Malibu, both Grade I, before being retired to stud. Lanni, who has signed for at least some of Zedan's other good horses, was quoted as saying: "This is what the boss [Baffert] wanted and what Amr wanted. Gun Runner is a tremendous stallion and he worked really good and galloped out good. He did everything you want one to do.” Again, boilerplate, and if one were to take the reactions of the owner and agent at face value, it would be easy to arrive at the conclusion that the horse had no faults. But that would be naïve. So, let's first take a look at Brant's pedigree. Gun Runner is a "top" sire, and well-capable of getting high-class runners. It's a bit too early to fully judge him as a source of durability, but excluding his current crop of 2yos, his runners are only averaging 10 career starts. That number will rise, but likely not enough to reach, let alone exceed the contemporary industry average of ~15. In other words, though he himself raced 19 times, and won his swan song (the Pegasus World Cup) at five, there is no evidence to suggest that he is likely to eventually prove to be a particular source of durability. Brant's dam, Tynan, raced 13 times, and he is her first registered foal. His second dam, Pappascat, has produced at least five foals to have raced, and while only one has reached 20 starts, four of the five raced at least 12 times, which by today's degraded standards, isn't so bad. The fact that the coat color inherited by Brant, and his dam, can be traced to a notably unsound influence, Unbridled's Song, may or may not be meaningful. But I wouldn't ignore it as a potentially worrying connection. Brant's dam-sire, Liam’s Map, was lightly raced himself, and both his sire (US) and dam have poor records in terms of durability. As a sire, he has thus far produced numbers similar to Gun Runner. So while Brant's first two dams promise more than many that I have come across in similar assessments, and his sire displayed durability on the track, his overall pedigree suggests average durability at best. And what about the word that Mr. Zedan used twice in the above quote – "quality"? Well, Curlin is a quality sire, but in terms of bottom-line production, it leaves a lot to be desired. That's not to say that there are no good runners to be found, in fact the closely related Pappacap, under Brant's second-dam, was a Gr. III winner, and twice Grade I placed. However, through Brant's first six dams at least, I believe there to be just a single Grade I winner, Al Qasr, a Champion stayer in Peru, which appears under his fourth-dam. That is not, by any reasonable definition, a strong bottom-line, although it is fair to say that Brant's first dam is unproven. *** What might be learned from Brant's debut race? Everyone can see that he ran fast, and was much the best of that field, but I would say that there were some nuanced aspects of his performance that were both interesting, and worrying. Those nuances relate to his action, as viewed both through the pan shot, and head-on. Watching the basic (pan) view, Brant appears to display some "knee action". It isn't extreme, but also isn't the type of action that ideally suits dirt runners, and I wouldn't say that the colt appears totally comfortable. Here's a brief, related post on knee action, for reference: Then, we have the (embedded) head-on view, in which Brant displays seriously distorted action in his near-fore (left front leg; right when viewed head-on). It's a fairly extreme example of what is called "winging", and for a number of reasons, does not bode well for durability. Such action is never desirable, and is typically related to certain foreleg conformation flaws, which may include an offset knee, and/or toeing in or out, etc. Note also that under typical American racing conditions (i.e. tightly turning, left-handed tracks), the left front leg is subjected to the greatest torque, which amplifies the potential for injury. It should go without saying that there are occasional anomalies, horses with poor action that remain sound despite such flaws. But they are the exceptions, and it is not uncommon to find abbreviated careers associated with such action. For further reference, here is a link to a closely related post that I wrote after a filly named Amor Fati broke her maiden in eye-catching style in February of 2024. She has made just one further start, and hasn't recorded a work over the past 15 months. What's interesting about Brant is that there are two separate issues relating to his action, and that the some obvious mitigating steps that could have been, or should be taken, in efforts to keep him sound, were not, and are unlikely to ever be taken. First, with regard to his knee action, keep in mind that it is a characteristic that is more typically associated with turf horses. And guess what? Brant's dam was a turf horse. His second-dam was also at her best on turf, and was Gr. II placed on that surface. Also, in some respects, he physically resembles that female line more than his sire. Of course no one who spends millions on a horse that breezed exceptionally fast at a 2yo sale would be thinking "turf", given that the commercial market, and stakes schedules greatly favor dirt runners. But at the same time, it would be a mistake to assume that a fast breeze at OBS necessarily indicates that a given horse will be best suited to dirt. I say that partly because the OBS track features an all-weather surface called "Safetrack", which is far from being identical to dirt racing surfaces. While countless horses have gone through those sales and excelled on dirt, it should never been taken for granted that it will be a preference. And to further flesh out the point, take a look at Brant's breeze video through this link (his pedigree page can also be seen): Despite being rushed to cover a furlong much faster than he ever will again, I would say that he looks smoother, and displays slightly less knee action than in his recent debut race. Why? Could it be, perhaps, because he would prove more comfortable on turf and/or synthetic tracks, than dirt surfaces? Given how he ran first out, this is purely an academic point, as there is virtually no chance that his connections would consider switching surfaces, unless his form on dirt were to deteriorate badly. The second, more important point, relates to Brant's distorted action. I can't find a head-on conformation photo of the colt, but would be very surprised if he does not display flaws in his near-fore. Even in the very unlikely event that the leg were to appear correct, such distorted action would have been on display at the sale, as well as in pre-training at Eddie Woods' farm. And it defies belief that experienced horsemen who were prepared to purchase an extremely expensive horse for an important client would not have covered that base. Which in turn begs two important questions. First, why recommend the purchase of a very expensive horse, no matter how fast, that has yet to race, and displays such distorted action? Secondly, why choose to give such a horse to a trainer whose style and history suggest that injury risk would likely be amplified, rather than mitigated? The answers to those questions help to illuminate why the breed-to-sell paradigm is so insidious. As long as breeders and stud farms are willing to overpay for stallion prospects, and turn blind eyes to conformation defects, distorted action, lack of durability, and modest female families, the connections of horses like Brant need only hope that they hold together long enough to win one or two big races, enabling them cash in. These are the number of career starts made by Zedan's previous best (and expensive) male runners: 9 Arabian Lion 6 Arabian Knight 9 Muth 10 Medina Spirit 11 Hejazi And as long as the AGSC (American Graded Stakes Committee) continues to enable the paradigm through its dishonest KY Derby "prep" Grade I designations, the ultimately damaging feedback loop will likely continue. The answer to the second question is closely entwined, and should be obvious. For all of his faults as a trainer, Baffert has long produced results in stakes races that lead to valuable stud careers, so owners who wish to play the breed-to-sell game consider him to be a logical choice. Of course Baffert and Zedan are hardly alone in supporting the dubious paradigm. But that a horse like Brant could bring millions at a sale, and be given to a trainer who trains very hard, and has compiled a very poor safety record, underscores the extreme degree to which the value of durability has been marginalized by the industry. One final note, and it's a genuine qualification that I always make when producing this type of post, I hope that Brant will enjoy a long, injury-free career. But if I were a betting man...](https://image.24vids.com/tw-1949810344609665305/amplify_video_thumb/1949807748373262336/img/UxdtjUDx3PoP2gwC.jpg)
