Best Of :: People & Places
Sports talk-show hosts have long debated whether horses know when they win a race. Do they, in other words, experience the thrill of victory and the agony of defeat? It is an interesting question but one we'll likely never have a definitive answer to because the horses won't talk.
One thing about winning racehorses we do know: Shortly after they've run a mile or so with a small person on their back, getting whipped most of the way, they would rather you not try to sneak up behind them and collect their urine. This, Bryan Higgins can confirm. He is a test technician at Grand Prairie's Lone Star Park. His unenviable job is to obtain 8 ounces from winning and placing horses to ensure they are not actually Ben Johnson--who, despite being hopped up on Canadian steroids, never tried to kick his sample-taker.
"There was this one horse last season that pinned me against a wall," says the 33-year-old Higgins. "I can't remember her name. She kicked me three times before I could move. But she missed my ribs, just got soft tissue."
But maybe you've recently been laid off, are desperate for work and don't mind dodging hooves for $10 per hour. Well, then, you will need two main tools to apply for a spot alongside Higgins and the rest of the test tech crew. The first is a whistle of the sort you make with your own two lips. Racehorses are conditioned from birth to urinate when they hear a certain cadence of whistling (birders, think the northern pygmy owl). This response is advantageous to a racehorse because full bladders do not generally produce faster times.
So after Higgins has snuffed his Marlboro Light under his Nike sneaker and given his horse a bucket of water and waited awhile, he will expertly observe "signs" that the animal is ready to urinate. "After 20 minutes," he says, "the male is going to drop, OK? I don't know how explicit you want me to be, but his penis is going to drop. I'll tell the guy walking him, the hot walker, Let's try it.'" Higgins will take the horse to a stall and start his whistle. Your reporter asked him to demonstrate his technique, and--I don't know how explicit you want your reporter to be--he felt the urge to relieve himself, so winsome was Higgins' whistling.
The second tool a test tech needs is a stick. Higgins could hold his 8-ounce sample cup with his bare hands, but horses, especially female horses, aren't known for their micturitional accuracy. Higgins claims he has not been hit in the course of duty, a feat made possible by something known around the test barn as Thunder Stick, which really isn't a stick at all. It is a 3-foot length of white PVC pipe, one end of which features a loop into which the sample cup is placed. Along its shaft, Higgins has written, with a black Sharpie, "Thunder Stick."
"Everybody has a favorite," Higgins says. "One of my buddies who works there, he always prefers this really long stick. He stays way away from the horse. I don't like the really long stick, because a young colt will eye you, and he'll see if you're trying to hide that stick behind your back. And he won't calm down till he's comfortable. You know. So I prefer the smaller stick."
Which is not to suggest that the smaller stick named Thunder Stick can always keep Higgins dry. He has to divide each sample. Half goes to Austin for testing; half remains in the test barn refrigerator set aside for horse urine (not to be confused with the adjacent refrigerator intended solely for personal use, storing brown-bag dinners and the like). In short, spills will happen. "I don't wear anything really, really nice," Higgins says. "I try to wear something that I don't mind if I spill a little urine on it." (A sensible policy that your reporter has adopted.)
No, Higgins' job is not a glamorous one. But maybe you're not dissuaded and you'd still like to apply, even knowing what you now know. Like him, maybe you just enjoy "being around the environment of the track." Well, there is one more thing you should know. For some of us, it is the most unpleasant part of the job: Wagering is not allowed.
Quarter horse racing at Lone Star Park in Grand Prairie begins September 20 and continues through December 1. Call 888-4-RACING for more information. Good luck.
No ferns, no frills, no food (unless you count chips and peanuts) and no TV sports at this 50-year-old establishment, which is what a real, honest-to-goodness beer joint is supposed to be. Open from 10 a.m. to 2 a.m. Monday through Saturday and noon to 2 a.m. Sunday, Ship's offers $2 domestic beer and can serve from a couple of dozen brands. The stools along the bar are filled with patrons ranging in age from 21 to 71. There's a pool table and one of the best jukeboxes in Dallas, offering everything from Don Williams to Ray Charles. If they ever decide to open a Beer Joint Hall of Fame, this one's got to be in it.
You'd think, judging by the fact that pretty much every car south of Mockingbird Lane sports at least one sticker on its bumper/windshield advertising the driver's Tejano radio station of choice, this city runs on the upbeat of a conjunto soundtrack. You're probably right. The Arbitron ratings might not reflect that yet--maybe they would if Arbitron actually reported in all the areas that matter, not just North Dallas--but it's true nonetheless. Perhaps the best place to see and hear for yourself is Tejano West, the McDLT among local Tejano venues, where the cerveza is cold and the dance floor is hot. Feel free to explore others, but we guarantee your boots will scoot back to Tejano West.
Lizard Lounge is the closest thing Dallas has to Studio 54, and depending on how uptight you are, that's either a good or bad thing. OK, so it's not that close to Studio 54, but it does have everything you want in a dance club: good music (provided by, among others, Edgeclub host DJ Merritt), good-looking men and women (clad in materials usually reserved for the interiors of cars) and the good chance that you'll see at least one person with a lot less clothing than he or she walked in with. The last part isn't exactly crucial for a dance club to be entertaining, but it sure doesn't hurt. Madonna tried to buy it at one point; how much more of an endorsement do you need?
Call us naïve, but we were shocked to learn the predominantly female audience at Melissa Etheridge's recent Fort Worth concert booed when she pulled a fan onstage to share a tequila shot...because she chose a man. Being of the male persuasion ourselves, we've always felt welcome at most of the area's lesbian clubs. We've heard tales that gay places like the gargantuan Village Station and Moby Dick aren't nearly as hospitable to women. Hell, there have been nights when the Station wasn't nearly as welcoming to us as, say, its next-door neighbor, Sue Ellen's. Over the years, Sue's has admirably maintained its balancing act of charming opposites--friendly but sorta elegant, universal but very specific in its identity, streamlined but able to hold a spill-over crowd. You can walk in dressed up or dressed down and feel right at home. And the small dance floor prevails as a place for socializing, not exhibiting your gym bod or your rhythmic skills. Maybe it's just the Cowtown gals who get pissy when a guy occasionally steps into the spotlight.
Some nights end badly. Some nights end with a public humiliation by the jackboot of the state in front of the teeming crowd of your peers, the assorted boozers and ecstasy-addled clubbers of Lower Greenville. After midnight you can witness the local cheese rousting belligerents on this corner, usually stuffing them into the white paddy wagon. The best part's the public frisk--always look for signs of amusement or disgust on the cop's face.
The best alternative club this year is not the same one as last year, even though both are named Trees. Since that time, Trees has undergone a significant makeover, classing up the joint (oooh, a velvet curtain!) while making it more fan-friendly in the process. Meaning: You no longer have to crane your neck around the air conditioner if you want to watch a show from the balcony, and the same goes for downstairs, where the revamped bar doesn't obstruct anyone's view of the stage anymore. But the extensive remodeling, the new furniture and a fancy light system don't have much to do with the fact that Trees is still the best alternative club in town. The reason: music. Duh. Trees is the place where you can see and hear Mudhoney, the White Stripes, Murder City Devils, At the Drive-In, Luna, Mos Def, Mogwai, Mouse on Mars, Tortoise, Idlewild and so many more. And now you can do it all in a more comfortable environment. Don't fight it.
Not surprising that The Cavern is the best rock hangout in town, given that it's named after one of rock and roll's landmarks, the Liverpool bar where John, Paul, George and Ringo played before anyone cared who they were. But the name is almost irrelevant (at least its origin is), and so is the Fab Four décor; this isn't a theme park. The bar really is a cavern, though--dark and comfortable, exactly the kind of place where you can lose yourself for a few hours inside a tumbler full of bourbon. The jukebox is full of small treasures, and on Mondays, The Cavern spins old rock and punk classics. And nothing is more rock and roll than drinking on a Monday night.
Ricki Derek doesn't look much like Sinatra, but he sounds kinda like him and, goodness, does he bring out a quirky crowd. Under his surreal crooning the bar becomes a haven for those who would rather be disemboweled by butter knives than go to the Beagle next door. There is no stereotype for the kind of person who enjoys Sinatra impersonators; they come from all walks of life, every social strata. In the dark confines of The Cavern you'll find drug-addled hipsters, aging swingers with tacky shirts and neighborhood types having a post-barbecue pint.
At most of the jazz clubs in town, with the exception of maybe the Balcony Club, the music there is nothing more than wallpaper, something to ignore, something that you won't remember five feet outside the door. At Sambuca, however, they never let you forget that the music is the reason you're there, and if you ignore it, it's not because they didn't do their best to open your eyes and ears. There aren't enough venues in town that care about jazz one way or the other, so Sambuca makes up for quantity with quality, doing it right every step of the way, from sound to talent to ambience to anything and everything else you might think of. Sambuca, at its best, provides a little bit of old Deep Ellum, a time when jazz and blues ran Commerce, Main and Elm, not developers. It's worth a visit for that reason alone.
Built in 1911, Sons continues to be the one legit honky-tonk island in a sea of bland imitators. It's one of the few venues that still books Texas and roots-country acts, and even though the Gypsy Tea Room offers many of the same performers (the Derailers, Tish Hinojosa, etc.), there is no match for Sons' atmosphere. From the long bar and jukebox downstairs to the dance floor, folding chairs and small stage upstairs, Sons is a respite of C&W joy for those of us who still love to swing, two-step and do the longneck bob.
Blues music might not have been born in Dallas, but we definitely helped raise it. It's kind of hard to remember that time now, an era when Blind Lemon was a man (Blind Lemon Jefferson, the prince of country blues) and not a crappy bar. Leadbelly and Aaron "T-Bone" Walker lived here, played here, and if you don't know those names, get yourself to a bookstore and pick up a copy of Alan Govenar and Jay Brakefield's 1998 book, Deep Ellum and Central Track. Even if you don't know those names, well, we're sure Stevie Ray Vaughan will ring a bell. Yep, he's from here, too. You can still find the spirit, if not the talent, of those men at Hole in the Wall, which is just what the name implies. It's one-stop shopping for Dallas blues.