Julie Krone, who rode Colonial Affair in the Belmont Stakes, thereby becoming the first female jockey to win a Triple Crown race, celebrated with pasta and champagne at an Italian restaurant. Colonial Affair, meanwhile, enjoyed a sedate evening back in his stall. "Horses are very habitual, so you never want to change their schedule," says Krone, 29. "He had his bowl of mash and his lights turned out early." ?olonial Affair might have the better end of the deal. Krone has been overwhelmed by all the accolades. "I have 15 bouquets, about 50 cards and 500 phone calls," she says. "It's as if you put all the people in my life-in one pot, stirred them all up and pulled them all out one by one. When I hang up my phone, it rings. When I hang up my phone, it rings. When I hang up my phone, it rings...."
BODY OF WORK
Sultry Kathleen Turner, who put on pounds for her role as a mother in House of Cards, a movie drama due this Friday (June 25), and then took them for her thriller Undercover Blues, due later this summer, says she's not yet ready to turn her body heal down to simmer. "I'm still into my bod," says Turner, 39. "I exercise every day. What the hell—you just gotta do it. I'm approaching 40, and at this point you have to choose between your lace and your butt. If your butt is very skinny, then your face is too gaunt. If your face is nice, then your butt is too big."
HOW TINA TURNER KEPT ON ROLLING
To play Tina Turner in the new biographical movie What's Love Got to Do with It. Angela Bassett needed to tap into Turner's kinetic choreography and asked the rock empress for help. "She told me how all those moves that look so wild and rough are actually meticulously planned," says Bassett, 34. "Sexuality wasn't shoved in the audience's face. Her pelvis always moved side to side, not back to front." What other Turner secrets did she learn from Tina? "A lot of those facial expressions aren't actually expressing anything," says Bassett. "She's just trying to clear her sinuses without touching her nose, which might look like she was doing drugs. When she runs her hands through her hair? She's just drying them off. She hated to have a towel onstage. 'Towels belong in the bathroom,' she told me."
Comedian Martin Short made his Broadway debut only last March in a musical version of Neil Simon's The Goodbye Girl. Now he's singing the praises of stage over screen. "It's better to do the stage—you have endless takes," says Short, 43, whose performance earned a Tony nomination. "Doing a show is like the movie Groundhog Day: Everything is the same every night except the audience—and that's the gimmick. One joke plays great and another one doesn't, and you don't know why. So you respond to that." Mercifully, he's unaffected by the pressure of seeing his audience's reaction. "The lights are so bright," he says, "and I am slightly myopic, so it all blurs."