Thursday, October 20, 2016

Secret Lives - Apple

Apple the Morgan

by Pam Gleason


On Saturday, April 23, Lizotte’s Applelonia, a 14.3 hand Morgan mare known to her friends as Apple, celebrated her 30th birthday at a party thrown for her by her owner, Ellie Joos. There were apples, of course, and carrots and carrot cake in the shape of a horseshoe baked by Ellen Hawkins. There were party favors to take home, and a crowd of about a dozen human celebrants who gathered around a picnic table at Billy and Shirl Tronoski’s Chime Ridge Stables in Aiken, where Apple lives. Chit Chat, Apple’s Thoroughbred friend (and Ellie’s other horse) was on hand. Apple herself, dressed up in a party hat with pink ribbons in her mane, took part in all the festivities, clearly enjoying the attention. She had the air of knowing that she deserved it.

Apple came into Ellie’s life 22 years ago as an overweight 8 year- old who had recently had a foal. A lovely dark chestnut born and raised in Vermont, she was most notable for her kind disposition and her willing and eager character.

“My horse had bucked me off for the last time,” says Ellie, who lived in New Jersey at the time. “My boyfriend Bill –now my husband – said it was either the horse or him, so I found a new home for that horse with a more experienced rider and began the quest for my next horse.”

Bill happened to have a friend in the textile industry who knew Apple, and suggested that she would be the perfect match for Ellie because she was sweet and kind and would help restore her rider’s confidence. And so, sight unseen, Ellie bought Apple and had her shipped from Vermont down to the New Jersey stable where Ellie had boarded her last horse.

“As she exited the horse van, I thought ‘Oh no, what have I done?’ remembers Ellie. “Having had a baby the year before, she still looked pregnant, and she was sluggish from the trip. After a few days rest, my trainer, Cindy Canace – who was appalled that I brought this horse down from Vermont sight unseen – and I began to train her. Although she had been backed, she did not know how to steer very well and could barely pick up the left lead canter.”

But despite this unpromising beginning, Apple would soon prove herself to be invaluable. Her outstanding attribute was her desire to please.

“It wasn’t long before I realized that no matter what we asked of her, she was going to try her heart out to give it to us,” says Ellie. “This little mare, only 14.3 hands, was going to prove to us that she was worth it. My trainer at the time was training several horses of her own and remarked that the difference between her one horse and my mare was that if she asked her horse to do something, the mare would go out of her way to do otherwise. If she asked my horse to do something, Apple would try hard to understand and to do it.”

In the following years, Ellie and Apple trained in dressage and went trail riding. Ellie was never into showing, but she felt that the dressage training would bring out the best in her “little horse that could.”

“She loved attention and especially loved going out on trails,” says Ellie. “And best of all, she loved the grandkids and nephews that learned to ride her. She was patient and gentle, never took a wrong step when the kids were on her on the lunge line, learning balance and developing a steady seat, legs, and kind hands on the reins. The kids adored her and could not have had a better learning experience than on this sweet mare.”

When Apple was in her late teens, she began to develop a subtle lameness. “It was nothing serious, just a noticeable misstep here and there. After a number of months with various treatments and rest, I consulted a vet that was known as a lameness specialist in the area. She was diagnosed with articular ringbone in her front right leg. We began daily joint supplements and pain medications to keep her comfortable and this greatly helped,” says Ellie.

Since Apple was no longer up to dressage, Ellie got Chit Chat so she could keep riding and training. Apple continued giving pony rides, riding lessons and trail rides to Ellie and Bill’s grandchildren. In 2013, Ellie and Bill moved down to Aiken. Apple and Chit Chat followed them a month later, and have been installed at Chime Ridge Stable ever since.

“When she was first here, I was still riding her and had engaged the services of Amber Lee to help ride Chit Chat,” says Ellie. “We would ride together around the property of Chime Ridge Stables, and we would switch horses and Amber would ride her as well.”

When Apple was 28, she started stumbling when she was ridden, and so was completely retired. Today, she lives a life of leisure at Chime Ridge, where she has her own stall and is turned out regularly with Chit Chat. Always an easy keeper (“the kind of horse that will inhale grass and gain 100 pounds”) Apple is still in good flesh, though the dip in her back and her many grey hairs betray her age. She is happy, enjoying life, especially getting treats and attention from Ellie and hanging out with Chit Chat.

“The two horses are very close and scream for each other when one is taken away,” says Ellie. “They spend each day outside grazing and come into their stalls early afternoon for lunch. I usually go to the barn late afternoon to take them out for grooming and riding.

“In the 22 years that Apple has been in my life, I never went off her when I was seriously riding her,” continues Ellie. “She was always very careful with her steps and very steady when the kids rode her and they all loved her. She is truly worth her weight in gold.”




This article is copyrighted and first appeared in The Aiken Horse. It is reprinted here by permission.

Thursday, October 13, 2016

Double Life of George Morris

Unrelenting, the book

By Pam Gleason


In his new autobiography Unrelenting, George Morris tells tales and he names names. The book purports to reveal “The Real Story: Horses, Bright Lights and my Pursuit of Excellence,” (the subtitle) and it bears this caution between the preface and the first chapter: “Warning: This book is a candid portrayal of my life. Innocents and those faint of heart or closed of mind may wish to proceed no further!”

This warning might seem a bit dramatic for the autobiography of an internationally known showjumping rider, trainer and coach, but for George it is (almost) appropriate. Morris, who recently retired as the chef d’equipe of the United States Olympic showjumping team, is probably the most recognized figure in the hunter/jumper world today. In a career that has spanned seven decades so far, he has also been an equitation rider (at 14, he was the youngest ever to win both the AHSA Medal and the ASPCA Maclay finals in the same year), a member of the U.S. international showjumping team (they won team gold in the Pan American games in 1959 and team silver at the 1960 Olympics in Rome,) the owner of a top hunter/jumper stable and a traveling clinician. He is also known for his writing: his first book, Hunter Seat Equitation, originally published in 1971, is in its third edition and is still considered among the most important books in the hunter/ jumper canon. It is not an exaggeration to say that George Morris, a charismatic figure, has a cult-like following: in some circles he is often referred to as a god, with only a touch of irony.

Over the years, Morris earned a reputation for his excellence in horsemanship, his relentless pursuit of perfection, his critical eye and his biting commentary. He is notorious for his toughness— his clinics have been known to reduce riders to tears. Especially in the past, he was also reputed to have a short fuse, with “a compulsion for control coupled with a tendency to go berserk or become irate for seemingly no reason . . . and sudden, volatile temperamental behavior.” This is according to the preface, written by Chris Kappler, who is his protégé and former business associate as well as an Olympic gold medalist.

Morris’s reputation also includes some other whispered-about aspects, chiefly related to his personal life, although before this book the actual details of that life have not really been common knowledge. Unrelenting shines a light on that life, providing all the gossipy details about the people that Morris dated over the years, both men and women. He explains his relationship with the movie star Tab Hunter – they met at the National Horse Show in Madison Square Garden when George was 19 and Hunter was 26. He writes about his wild partying life in the 1960s and 1970s when he used to frequent Studio 54 in New York City. He even sometimes went out clubbing directly from a horse show, going so far as to park his loaded horse trailer on a city street while he spent the night partying in a bar. He talks about his drinking, a vice he inherited from his parents. He touches upon his tomcatting adventures while traveling both in America and overseas, and discusses the perception of “alternative lifestyles” and how that has changed over the decades.

Is there anything really astonishing here? Not in 2016, not really. But for Morris, who was born in 1938 and came of age in the 1950s, it probably seems shocking. It is also fair to warn the more traditional of Morris’s devotees that, if they read this book, they might be learning more than they want to know about their hero’s personal life. Some readers have, in fact, objected to the inclusion of so many intimate details, wishing the narrative had stayed in the barn rather than slipping up to the bedroom. In addition, one might wonder if all of the people Morris admits to sleeping with are entirely happy about seeing it all described in print.
Fortunately for those who are not interested in the gossip, the book also includes many genuinely interesting details about George Morris the man, as well as a fascinating history of the horse show world from the 1950s through the 2000s. Morris grew up in New Canaan, Connecticut, in a socially prominent, country-club atmosphere. His father, born in Augusta, Ga., was from the Morris Publishing family, making George a close relative of Billy Morris, publisher of the Augusta Chronicle and the founder of the Augusta Futurity, among other things. His mother’s family owned newspapers and other businesses in the New York City area. George was attracted to horses from the time he was very young, seeing them as his “salvation” in a world that made him so anxious and upset that when he was a pre-teenager his parents pulled him out of school for a year to send him for counseling.

George first rode with the New Canaan Mounted Troop (he studied with Margaret Cabell Self, whose books about horsemanship were once essential reading for students of horsemanship), then went on to the Ox Ridge Hunt Club before transitioning to Gordon Wright’s stable. In the 1940s, the forward seat, which George learned, was still an unusual and cutting edge style. In the 1950s, when George started competing in the National Horse Show in Madison Square Garden, the show was a society event, written up as such in the New York Times. Spectators wore mink coats, top hats and tails. In the 1960s, when Morris became an equestrian professional, it meant that his days of competing for the U.S, were over: in that era, the Olympics were strictly for amateur riders who were not allowed make their living as equestrians.

Not only did Morris live through many changes in the equestrian world, he also seems to have met, known, ridden with or taught essentially everyone who had an influence on the development of the American style of riding, as well as pretty much anyone who has competed at a top level from the 1950s up to today. Because so much of his career has consisted of traveling to give clinics, this includes horsemen from all over the country, not just the East Coast where he has been based throughout his career. It also includes many riders and trainers with lesser accomplishments and ambitions. If you have ever been serious about horsemanship in the hunter/jumper world, you most likely have a direct connection to George Morris. In fact, one of the guilty pleasures of the book is seeing when and if he mentions someone you know. (Morris even once gave a lesson to Pete Bostwick, one of Aiken’s most versatile and iconic horsemen.)

Another, more straightforward pleasure is hearing about many of the individual horses that George rode, owned and loved through his life. There is Game Cock, the horse that took him to the Medal and Maclay championships in the 1950s; Sinjon, the horse the Harry de Leyer (of Snowman fame) gave him to ride that carried him to the Rome Olympics. There are quirky and sensitive horses, such as Rio, a brilliant jumper who had a tendency to panic and bolt whenever his rider mounted or dismounted. Although the book does not delve into his training methods with these horses, his strong bond and sympathy with them shines through – even if there are moments when he seems to forget about this bond to pursue his other appetites.

Other interesting tidbits include the fact that after the 1960 Olympics, Morris left the equestrian life for a time to study acting, and actually performed in summer stock for two years. His initial discomfort with acting school, in which he was required to dress in a skin-tight leotard, is described in a memorable section – he may not have been happy, but he was nothing if not brave.

The book, which was written with the help of Karen Robertson Terry, is very long. It is divided into seven sections, one for each decade, which gives it logical structure, and it includes many wonderful photographs of George as well as of the people and horses he discusses in the text. It also incorporates over 150 short pieces about George by people who have known him over the years, including his colleagues, students and friends.

Some of these short pieces don’t amount to much more than flattery (“What George is so great at is teaching. . . .” etc.) while others offer insight into his training and teaching methods. Still others reveal bizarre, and even potentially damaging information: There is a description of him giving an entire weekend clinic dressed only in a black string bikini. An international competitor remembers finding an illegal poling device hidden in his manure pile on one of his trips overseas to compete. His niece remembers terrifying riding lessons with him, in which he forced her (at age 6) and her brother (7) to jump a triple combination without reins or stirrups, and blindfolded to boot (“He would hit the pony with a crop and we would jump fences we couldn’t see. If we didn’t do it perfectly, we would have to repeat the exercise over again.” Eventually, the little girl fell off and broke her arm while doing this exercise.) The same niece remembers a mortifying experience at a horse show. George had decided her brother’s horse was tired, and actually went to a stranger’s trailer, unloaded a likely looking animal, tacked it up with a saddle and bridle he found, and had her brother ride this (essentially stolen) horse in the next class instead of his own. After the class, when the irate owner confronted George and the nephew about their unauthorized use of her horse, George merely handed back the reins and angrily told the women her horse was a nag and a loser.

Why, exactly, would George Morris want to include these kinds of stories in his autobiography? He does not explain them, or apologize for them, or reflect on them in any way. Perhaps their inclusion is simply to enhance his image as a “bad boy.” Or perhaps it can be attributed to a certain lifelong lack of judgment and self-awareness that has cast a shadow on his reputation since the 1950s.

This brings up another criticism of the book, which is that it could have benefitted greatly from a more authoritative editorial hand. The writing tends to be loose, burdened with clichés and with terms that are sometimes applied incorrectly. The extreme overuse of exclamation points, especially in the first sections, is distracting to say the least. While for the most part, Unrelenting, is eminently readable, it could have been better (and shorter) if it had been edited more thoroughly.

In all, Unrelenting is an interesting book, especially for anyone who knows George Morris or is a part of the hunter/jumper world. Beyond its exploration of equestrian life, it paints the picture of a complex individual who seems to have lived a double life, pulled one way by his talent, perfectionism and devotion to horses, and another by his Bohemian nature, his attraction to fast living and big city life and a potentially self-destructive compulsion to defy convention. Love him or hate him, George Morris has been an important figure on the equestrian scene for seven decades. This book, for the first time, provides real insight into how he got there and the obstacles that have stood in his way . . . many of them of his own making.

Unrelenting: The Real Story: Horses, Bright Lights and My Pursuit of Excellence. By George Morris with Karen Robertson Terry. Trafalgar Square Publishing, North Pomfret, NY. 2016. Hardcover. $35.


This article is copyrighted and first appeared in The Aiken Horse. It is reprinted here by permission.

Thursday, October 6, 2016

Ask The Judge

Questions about Dressage


With Amy McElroy


Amy McElroy is an FEI competitor, a USEF R judge, and a USEF S judge candidate. She is qualified to officiate at any USEF recognized show at all national dressage levels. She rides, trains and teaches at Fair Lane Farm in Aiken and judges between 15 and 20 dressage shows and events each year. In her popular Ask the Judge column, she answers readers’ questions about dressage.

Do you have a question for Amy? Send her an email at McElroyDRM@aol.com, or visit her website: www.amymcelroy.com.

Dear Amy,


I’m planning to enter my first FEI test this summer at a small dressage show. I am going to be riding my first ever Prix St. Georges test and I have a few questions about riding at this level.

1. Are you allowed a reader or a caller for the Prix St. Georges? I am worried that I won’t be able to memorize the test because it is long!

2. I have seen riders in Florida competing in their top hats, but I feel more comfortable in my helmet. Is that OK?

3. My horse goes better in his snaffle bridle than in the double bridle. Is this frowned upon?

4. Are there any other differences that I should know about?

Moving Up


Dear Moving Up,


Congratulations! Moving up to the FEI level is a huge accomplishment that many riders can only dream of. I’d be happy to answer all these important questions so that you will feel more prepared when you come down the center line.

1. Can you have a reader for your test: Unfortunately having your test called in the Prix St. Georges is not allowed. This is why when you observe FEI tests, you never see them being called. According to USEF Rulebook DR.122.1: “All FEI tests, must be ridden from memory.”

It is very important at this level to know your test thoroughly, mostly because you need to be careful about making errors in your test riding. The FEI Prix St. Georges Test has different error deductions than the tests at the national levels. (Training through Fourth Level.) At the national levels, you are allowed to have two errors: for the first error, there is a two point deduction; for the second four points. If you have a third error, you will be eliminated. The point deductions are taken from your total score. For example, if you earned 260 points out of a possible 380 in a national test, and you had one error, your score would then be 258. This means that your final score will go down from 68 percent (260 out of 380) to 67.8 percent (258 out of 380.)

In the Prix St. Georges test, however, you are allowed only one error: if you have two, you are eliminated. For the first error you would deduct two points from your final percentage score. Therefore, if you scored 260 points out of a possible 380 on your Prix St. Georges test and you had one error, your points do not change but your final score will go down from 68 percent to 66 percent.

So I would be sure to practice and memorize the test very well. It may look intimidating, but it is easier than you might think. The Prix St. Georges test has a nice flow and each sequence of movements is repeated in the opposite direction, giving the test a pleasing balance.

2. What about top hats? You may have seen riders competing in their top hats at the FEI Levels. But that would have been in FEI tests conducted under international rules. (There are shows that have both national and international rings going on at the same venue.) The top hat is optional at all FEI levels, Prix St. Georges included, but only at international shows. At a national show, on the other hand, you can ride an FEI test, but you may not wear a top hat: a safety helmet is now mandatory even at this level.

USEF Rulebook DR.120.2 says: “For all tests above Fourth Level, the dress code requires protective headgear.”

So, to answer your question, yes, a helmet is OK. In fact, it is your only option.

3. And your bridle? It is certainly impressive to perform a Prix St. Georges test in a snaffle bridle. This is permitted as long as you are at a national show. USEF Rulebook DR. 121.4 says: “For FEI tests ridden at national competitions, a plain snaffle bridle may be used.” I would encourage you use the bridle that will be most effective for you and your horse; your choice of bridle should not affect your score. But keep in mind that if you compete at an international show, a double bridle is mandatory at this level.

4. Other things you should know: At this level, riding with spurs is mandatory whether in a national or international show, according to USEF Rule DR.120.2.1. Although I am sure you are looking forward to wearing your tailcoat, since this is the first test where tailcoats are permissible, a short riding jacket is also allowed. (DR.120.2). Your horse must be a minimum of 7 years old to compete at Prix St. Georges.

There are also some differences in the scoring you should be aware of. In Fourth Level and below, there are five collective marks. The Prix St. Georges test has only four collective marks. All the levels share a score for Paces (known as Gaits in the lower levels), Impulsion and Submission. In the lower levels there are two scores for Rider Position; at PSG and above, there is only one score, but it has a coefficient of two. In the lower levels, the score for Impulsion has a coefficient of two, while in PSG and above, Impulsion has a coefficient of one.

The Prix St. Georges is a fairly long test, with 26 boxes of required movements. The average horse and rider combination will complete it in five minutes and 50 seconds. The most important movements in the test are those with coefficients of two. These are: the trot half pass, left and right, the collected walk, the extended walk and the canter pirouette, left and right. Be sure you have these movements down, because mistakes here can be costly, not only for the movement itself, but also in the collective marks.

I hope I was able to answer your questions and give you insight into your advancement to the FEI Level. Good luck on your first Prix St. Georges test!


This article is copyrighted and first appeared in The Aiken Horse. It is reprinted here by permission.