The Block 2025 Episode 1 recap: NSW snubbed with no applicants deemed good enough
For the first time in 20 seasons, every house on The Block is being built purely for the show. And every 365 sqm house has the same floor plan (meaning minor details like fittings and fixtures become major selling points).
Each house sits on a 2000 sqm block in the Victorian township of Daylesford.
Although identical inside, all five houses will have their own distinct exterior. Most notably, some have a gabled roof while others have flat tops.
This meant the five teams had very clear ideas about which ones they wanted to renovate. So, who are the teams hoping to go big when they go home after renovating their homes in 2025?
Emma and Ben, from Melbourne's Mornington Peninsula, are high school sweethearts. Ben is a civil engineer. Emma is a woodwork and textiles teacher who also moonlights as a pole dancing instructor.
'It's the best job in the world,' she smiles.
The only tools that South Australians Mat and Robby have been on are the scissors. Mat is a hairdresser and Robby is a barber. Robby is a new dad to baby son Brooks, while Matt is a former figure skating champ. The duo has been best mates for 15 years.
Alicia and Sonny hail from Queensland and have three children. He's a plumber. She works in a dental clinic.
After a tearful goodbye to their kids — and promising not to embarrass them on national TV — the couple arrived in Daylesford to quickly clock they were 'the old couple on site'.
West Australian couple Han and Can don't just have names that sound alike, they look alike too. They met on a dating app and hit it off talking into the wee hours about their shared love of dogs and wine.
A geologist who once worked in the mines, Han is no stranger to gruelling hours. Can less so. She has worked in marketing and fashion and likes 'balance and harmony'.
Taking one look at the lookalike blondes, the other teams assumed the pair are sisters rather than partners.
The glamazon couple are not the only representatives from the West. Police officers and parents of two, Britt and Taz live in a dusty, outback town.
That means in a Block first, no applicants from NSW made the grade this year.
In good news, nobody must rough it in a tent this year.
Instead, the teams all get their own caravan to live in (including host Scott Cam) during the three-month build.
'They are the duck's nuts,' Scotty tells them of their accommodation, (which provides yet another handy opportunity to plug a sponsor).
Mat decrees their caravan will be a 's**t-free zone' explaining that otherwise, the confined environment would become a 'dungeon of stench.'
His decree falls on deaf ears though and
Robby's bowel motions and night-time rumblings quickly become a regular plot point.
After touring their new digs, Scott reveals the first challenge will be a little different. The five teams will have to draw on all their creative skills and showmanship to create a float for Daylesford's annual Chillout Festival, which is a celebration of the town's LGBTIQ+ community.
Judges Shaynna Blaze, Marty Fox and Darren Palmer would decide whose float performance made the biggest, sparkliest impact to determine house selection order.
The event had special significance for some of the teams.
An emotional Can said: 'We need to do the lesbians proud and make this big and amazing!'
'Having the chance to be out and proud means so much.
'For a lot of my teenage years I felt a lot of shame and insecurity around my sexuality. I have not professed that I have a girlfriend or that I am gay and I still hide it from certain people and in certain instances. So, to come on national TV is a big thing.'
The challenge was equally meaningful to Mat who explained: 'High school was probably the toughest time of my life because I was a figure skating, gay boy at a private Catholic school with lesbians for parents, so s**t wasn't f**king easy in the late 90s, I'll put it that way.'
The boys were perhaps a little too eager to make an impact with their float. And Scotty had to step in to gently remind them The Block was a family show upon seeing them turning an inflatable hammer into a large male appendage with the addition of two strategically placed disco balls.
'My mum watches the show,' Scott warned.
The laid-back host wasn't concerned about the boys' wardrobe choices for the parade, assuring them the Block crew could find somewhere else to tuck the microphone pack when they stripped off their trousers and into budgie smugglers.
The cops stole the official Block sign for their float as well as Mat's wardrobe choice, with Taz also donning a pair of tight-fitting swimwear for the parade.
Judging the parade gave Darren the perfect opportunity to get the guns out. Again. Meanwhile Shaynna was visibly delighted by the sight of Mat and Caz in their togs.
For Marty, it was business as usual with the eager real estate agent already focused on auction day.
'Unlike other seasons where we have been comparing apples with oranges, this season it's apples with apples, with apples,' Marty explained. 'So, it's important you understand what style you are going to go for and what the buyer in the Daylesford market is looking for.'
The bedazzled Britt and Taz took out the win and chose House Three, distinguished by its timber frontage and pitched roof.
The other teams were stunned that Britt and Taz had chosen the property in the centre of the street rather than what all other teams agreed were the more prized locations at either end of the strip.
Emma and Ben came second and swooped on the dark and moody House One. Robby and Matt took the bookend property with House Five.
With all the pitched roofs gone, a devastated Han and Can grabbed House Two, leaving losers Alicia and Sonny with House Four.
'I hate it. It's like letting go of my child,' Han moaned of missing out on their dream home (House One) and discovering their property had a retaining wall blighting their view.
Han decided to have a long cry in the bath while Can got to work on Google looking for silver linings to their flat roof.
The teams now have $20,000 to renovate their first room, a bathroom. With all the plumbing already in place, everybody will be using the same bathroom layout leaving the teams to distinguish themselves via their finishes.
And it will be a case of first in, first served because nobody is allowed to have the same, tiles, fittings and fixtures.
As usual, Scott urged the teams to hold some cash in reserve for landscaping week.
And there's an added incentive to budgeting well this season. Every week, the team who is best at balancing their books will be gifted a $10,000 bonus.
'That's a massive incentive because, even if you don't win the room or finish you could still come out with $10,000,' Can said.
Crunching the numbers, Sonny said the new cash bonus meant there was up to $50,000 up for grabs every week (if you factored in bonuses for perfect scores as well as room wins).
Mat and Robby saw the additional prize money as a means to fund a wine cellar. If they can scrape together the cash to do it, the pair believe a cellar could be the thing that sets them apart from their neighbours.
It also meant asking a very sun smart foreman Dan, if they could follow the fine Aussie tradition started by Dale Kerrigan on The Castle to dig a hole.
Understanding that it was a big risk, Mat mused: 'If we spend money on a cellar and don't win anything, we could end up with a very big hole.'
Although they've never renovated anything before, Mat and Robby have decided on a contemporary country look for their bathroom, with lots of dark timber finishes.
Unfortunately, Alicia and Sonny had a similar brown aesthetic, prompting some friendly rivalry over fittings.
Melburnians Emma and Ben — who have done the rounds of the kitchen with renovations — have gone for a mid-century modern vibe, with lots of green tones to reflect their surrounds.
Britt and Taz liked a 'modern and organic' look and so have chosen bathroom tiles in soft pinks and natural-coloured stones.
Can was hamstrung by Han's desire to micromanage all her decisions. Eventually, after some input from Han via phone, Can went with floor-to-ceiling tiles and with a green feature wall.
'In an ideal world we would be shopping together, always,' Can explained.
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Geraldine Doogue delivers the 2025 Andrew Olle Media Lecture
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Word got out about the changes. Then, Andrew collapsed from this tumour….and died. Obviously we all wondered whether pressure over his future had played any role and we'll never know…but I don't really think Ian ever forgot that sense of responsibility for his part in the decision-making, and whether it could have been improved. There was such a lot of grief, shock…and dismay, visibly conveyed. It was not an easy time cos it was all so sudden, there was such sheer sadness, at losing the fabulous, reliable generalist Andrew Olle. So as I say, I'm especially delighted to be here tonight to honour his memory….and in the presence of Annette and the family. And what a year to be delivering the lecture, on media of the future! On any subject that requires good prophecy. Because NOTHING seems certain in our lives. For quite a while after the invitation arrived, I'd settled on those immortal WB Yeats lines as my title tonight: 'Can The Centre Hold?'…followed by those unforgettable lines… The best lack all conviction while the worst are full of passionate intensity.' Those words certainly describe our times. But it just felt too defensive and grim… and I didn't want to leave you all like that. 'Not drowning, waving', the distinctly Australian rock group formed in the year my lovely daughter Eliza was born, 1983….somehow seemed to convey my sentiments with a bit more irony, as we grapple with what many of us see as our epic challenge: helping our profession survive. Because It IS all bit grim to be frank, for those of us who love the media, love working inside it, consuming it, believing it's vital to our way of life, our identities. Roy Greenslade, the UK media analyst was pretty blunt back in 2016: 'It's time to recognise that the whole UK newspaper/media industry is heading for a cliff-fall, that tipping point when there's no hope of a reversal of fortune….Space in newsprint papers can be filled. The end result is something that looks like a paper but the content lacks any real value. And of course readers gradually catch on and stop buying.' And advertisers can stop advertising, knowing that many subscribers have switched to inidividualised screens. The Reuters Institute for the Study of Journalism at the University of Oxford has been forensically examining things. (headline below) ' Journalism is in freefall---and the public doesn't care . What should the media do next?' was how Prospect magazine headlined their coverage of Reuters' latest overview, with a good piece by a senior research associate, Rasmus Kleis Nielsen. ….and the public doesn't care! That rider has stayed with me. 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That newish outfit of Andrew Jaspan, 360 Info, a sort of research Reuters, describes us all being involved in a ' war-of-attention' …to work out how we counter (or at least compete) with the outlets whose stock-in-trade is harnessing community rage and anger, often legitimate. Mind you, the Reuters people have also found the hated algorithm that directs people to other-than-conventional-news-sites slightly broadens people's news outlets too. And of course it is true that our consumers have, in some key ways, have become our competitors , via their own bespoke news outlets, that they set up themselves---one of the great ironies! 'While many people retain a sound scepticism of aspects of the digital media environment, they also appreciate much of what it has to offer and choose it every day at the expense of declining legacy media. Scare stories about the problems associated with digital media will not bring people back to news,' says Reuters. 'A wiser course of action might be to impress people…rather than try to depress them. 'The people best positioned to forge a different path are those journalists and publishers who accept that the next step is to meet people where they are. The aim should not be to take journalism backwards….but to create something new.' But what? What would that look and sound like? --- Well for further context, I was very diverted by the thoughts of one of Australia's great intellectual exports Christopher Clark, who's professor of modern history at Cambridge University (and a guest on Global Roaming next week btw): he wrote that book 'Sleepwalkers' about the terrible drift into WW1, it was considered possibly the best book to emerge from that deluge of scholarship around the Great War centenary in 2018. He recently wrote an essay called 'The End Of Modernity—A Crisis Is Unfolding Before Our Eyes…And Also In Our Heads.' (not quite Yeats' elan!) We can't---or shouldn't---avert our gaze, he says. He sees the global blocs of the 20th century dissolving, therefore a return to the more 'mobile and unpredictable world of the 19th century'…that Vladimir Putin et al aim to exploit all this, to 'crush the moral spine of Europe'….to undo entirely the international order established in the aftermath of WW2. Then he went further. The anchors for the collective identities of the era that he'd roughly called The Modern---with its hugely accelerated industrialisation, big growth in population, welfare states, political parties…coincided with 'the age of the great supra-regional newspapers plus the emergence of national radio and television networks'…all had created their own mythology…a story we could tell ourselves in time, of understanding where we came from and where we were heading'. 'It meant mediatization,' he writes. 'In old Europe…people obtained their information from friends and acquaintances, or even from strangers, but always from individuals , by word of mouth. In modern times, by contrast, information was increasingly disseminated through influential media channels---rumour-mongers gave way to trained journalists. ' Well, this modernity, Clark says, is disintegrating before our eyes. 'The multi-faceted nature of contemporary politics, the present of turmoil and change without a clear sense of direction, is causing enormous uncertainty. It helps explain why we are so easily unsettled by the agitations of the present and why we find it so difficult to plot our course.' Maybe, he wondered, there's a general reversal of the process of mediatization….in the sense that the gossip-mongers of the Internet have once again seized the initiative, leaving fragmentation of knowledge and opinions. Here's his great summary-line. 'It has never been so difficult to think calmly.' Yet so necessary! Now here I am, 15 minutes or so in, leaving you maybe even more ready to escape to a cave than you were on arrival! Not my intention. 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We will always have a duty to warn citizens of danger and incompetence, alerting them to what's NOT solved, why today might be different from yesterday, the classic role of the 4th Estate: advising of the cyclone's or bushfire's incipient arrival is obviously the day-to-day duty of the good journalist, she who'll never reveal her sources . ….and hey, who among us can honestly say we were impervious to the Woodward-Bernstein achievements around Watergate, sensationally recreated in 'All The Presidents Men': two young bloods, nobly jousting with the deeply flawed leader Richard Nixon and his establishment…and yay, bringing him down (with some help from others}. Journalistic nobility---then Super-stardom! Why wouldn't the world of journalism shift, I ask you! However I do wonder whether the breadth of the community and its range of tastes and interests, is sufficiently canvassed? Whether we're far more energised by displaying the incompetence on display rather than searching for the competence? Of course it may not yield that fabulous rush of revelation, of schadenfreude…as Mike Carlton once put it in his SMH column..'the definition of schadenfreude? the awful joy of watching a human catastrophe unfold'. For instance, will all the current emphasis on investigative journalism save us? All that brilliance and tenacity of investigative journalists who labour away so impressively: will that amount to the 'glittering prize' that ensures the public remains sufficiently grateful to keep subscribing? I'm not at all sure it will. Naming the guilty man or woman---or institution---should not be the ONLY part of the story yet it often is, especially e.g. around Royal Commissions who've long frustrated me with their total focus on the knaves among us…rather than what I imagined was their broader remit, which was to examine the full scope of actors in a relevant industry, so that we, the people, could pass better judgement. (One of the people I spoke to preparing for tonight wondered a 'sacriligeous thought' our loud----should the fact that a report was seen to 'prompt a Royal Commission' necessarily be the clincher in determining worth, going to that question of Impact, one of the categories required for Walkley Award success….quite thought-provoking.) I have long believed---and my colleagues here tonight will know this---that new patterns of achievement make very good first pars…plus act as a drawcard for imitators…plus might in fact persuade doubting citizens that we really ARE interested in the wider community not merely claiming a political scalp….and it just might in fact encourage them to persist with their subscriptions. I heard a nice story recently about Matthias Doepfner, who leads the giant German media group Alex Springer, reacting to American research showing very bright young emerging Americans wanting to devote all their energies to 'investigative reporting'….was he thrilled at all this intellectual grunt arriving in his industry, he was asked? 'No, I'm not,' he apparently said…. 'I think that's a dangerous misunderstanding of journalism.' He believes one of the reasons people are losing trust in the media is because many reporters confuse journalism for activism - telling us what the world should look like and ignoring inconvenient news. And that the public can see it and doesn't necessarily like it. Does that matter? Well yes I think it does. In this communitarian model I'm reflecting on, I see a renewal of the covenant between the public and the journalist: that we will clearly make the effort to be fair and accurate. (We could spend the night exchanging clever memes about News definitions. So I won't do that) I've always liked that definition: we're reporting on that which differs from the norm , we're not there to tell people about the comfortable status quo. To that extent, we are there to bother people, to introduce some alert-and-alarm. And no we can't GUARANTEE we'll be fully objective….but we can observably try , and be seen to be doing so or judged for not. The public can draw its own conclusions. I remember the respected social researcher Neer Korn a few years back telling the ABC Board that 'trust' was possibly the ABC's vital power, its secret sauce…that of course the audience made their minds up in their own households about those of us on telly or the radio or online and our 'take on the world'. Intellectual openness is, for me, the essential aim, it really is: impartiality is articulated a lot as a goal but I actually find the word openness to be more inviting, maybe more active, as a concept? That's certainly what I look for in colleagues. And I suspect the public does too. --- Allow me to ponder some more about this more communal, service model of journalism. (As an aside, I remember being incredibly moved during those 50th anniversary docos of Cyclone Tracey to hear Alan Kohler describe emerging as a 21 yr old from the rubble, with his two mates Dave Johnson and Lorna King, using every means possible to put out a little information broadsheet, handed out to whoever they could find, with as much detail as they could grab, just to spread the word that Darwin was alive…just!) Now Alan HAS become justly famous well beyond that episode….but it does say quite a bit about his essential-journalist within! I do propose that refreshing this communal model (many of you here tonight probably feel you already access it) would mean the public would FEEL an overt embrace of wider community characteristics: and that might indeed restore more trust in us over time. This won't be an instant salvo against TikTok et al of course: Andrew Jaspan's 360 Degree outfit did a big Digital News report in June, noting that Facebook was still the most visited social media site for news (38%), alongside YouTube, Instagram and TikTok…now at 14% up from 12% in 2020. Worryingly, of the 48 countries surveyed, Australians had the highest levelof concern about what is real or fake online…amidst a loss of interest in news and growing news avoidance (going back to that Reuters survey). News literacy training, a subset of media literacy, Jaspan thinks is crucial here: he believes people would benefit from knowing how the sausage is made, might in fact value that outcome more. (I do admire Andrew Jaspan for stepping outside established moulds, when he championed that other major break-out of information, The Conversation, where he worked out that universities contained masses of new, relevant material that could be transformed into news features…and the rest is history, as they say….now an absolute fixture in our lives, with an obvious public purpose…so clever in my view and really out on his own ) I do keep an eye out now for where a clear association between the public and the media occurs: *Podcasts…the phenomenon of our recent times: lots of ego, I can assure you, but less rules (maybe) around the conversational tone, meaning a wider exposure of the relevant people and topics, less curated than straight Radio? (which is still my first love, I want to reassure you) *Special events, like ABC Classic 100 in that first week of June----with some composer or instrument chosen as a focus, Beethoven, piano music, with the community voting on the best, always with huge take-up, of all ages and skills. …you can hear it, instant market research on offer. (Tell story of Russell Torrance, on the Monday after the weekend, playing Mozart Piano Concerto No 27, which did NOT make the top 100! A Qld woman texted in…'I had a baby 7 hours ago, she's sleeping beside me now, with Mozart by her side.' I think that might be the pinnacle of engagement between mainstream media and its audience, frankly it doesn't get much better than that.) Triple J's Hottest 100 is obviously another candidate. *Explainers… I sat on the Walkley judging panel for this category's second year in 2024 (called Explanatory Journalism); SO incredibly impressive to see this instinct among journalists. It was invariably team work , I noticed, generally involving some institutional backing, incredibly imaginative, bold, demanding, huge amounts of work often in people's own time, driven by curiosity and, I would say, a desire to tell stories by CLARIFYING complexity----a time-honoured drive to serve! Follow-ups to natural disasters: I've come to believe this matters a great deal. It proves that the media is genuinely curious about deeper stories, slower stories, as much as crisis-management, in the full knowledge that the way people, animals and the natural world adapt is a vital, if diffuse story. ABC News did some wonderful, repeated reporting after the last bushfires in ways that were both incredibly moving, deeply informative and genuinely fresh. There are some interesting developments overseas, by say Swedish Radio, developing a system of classifying content, to more clearly determine public service journalism drivers, and help younger arrivals to the industry Apparently the Finns are looking at this along with other European countries: the idea being that increasingly diverse news items are evaluated via four tests: how high is the general news value? How long is the life span of the story? Are unique voices from affected people included in the coverage? Does it align with significant Swedish Radio values? Media literacy is apparently becoming a massive thing in the Asian region…with some quite fascinating projects, like one in Nepal, called Hello CIN (Community Information Network ), combining radio, talkback and citizen-driven solutions journalism: people voice-record questions often about local governance or education issues….then it's played to the relevant govt official, who responds directly, all on air: an average of 15,000 questions, complaints and issues are resolved, publicly, via this platform each year. And it's widely appreciated. Now, I can hear some of you thinking….does she really think these compete with some fabulous scoop? No, I love those big-beast stories of course I do: who doesn't, and we've certainly experienced a few in these past two years. But my tastes won't deliver an industry of scale in the future, sadly. --- This all dovetails with other bigger needs within the culture of course. I would argue that we might well have reached peak-individualism, which manifests in all those solitary searches on the Net for some bliss, sometimes found. And yet so many of them are seeking ways to avoid loneliness or separateness or alienation…. I don't think we thrive on individualism! Many of you will know of my interest in Catholic and religious matters ---in fact it's been quite surprising to see the overlap between the challenges facing the media and the Churches in terms of reading the signs-of-the-times: how to revive We and Us versus I? Religion thrives on community…so might we in the media! And doing it better just might recruit more of those consumers to leave aside their complacency and push back against the autocrats on-the-march. It just might. We're all looking for green-shoots: that's the truth of it and maybe some new 21st century media grammar. After all, in the 1930s the BBC had to 'invent' all those looks and props and sounds that we simply take for granted now that mark studio news presentation. Moving past individual gossip to something more formal involved massive creativity. We clearly need it again. We surely need to lionise creativity and service beyond individual achievement and fame in order to routinely engage lots more people, more regularly: because otherwise we simply won't have an industry-at-scale, it won't be prosperous enough to offer careers, or cadetships to young people----all sorts of people will end up as artists-working-in-garrets, rationing their time and money, occasionally striking it rich, mostly doing something else. That's no answer. And there'll certainly be a much less certain audience for investigative journalism, which can change big things. ----- I haven't talked about AI, or the innards of socials, or dis- or mis-information, weaponised or 'disordered' information. I know I won't satisfy all those people who are just SEETHING at the structures of money and power and clowns on display these days…..I spoke to several of them preparing for tonight! I can't even give you specific new models of this communitarian emphasis I'm emphasising: I wish I could. If we're passive, we might lose this gem of ours, this marker-buoy of modernity? This industry that I adored from Day One, back in 1972, when I wandered up the corridor of Newspaper House at 125 St Georges Tce, Perth on a hot December day and said…is there a way in here? Thank goodness they said yes, there is!
News.com.au
31 minutes ago
- News.com.au
Rejuvenated Martin Harley hopes gun colt Cool Archie will define his career
A rejuvenated Martin Harley is hoping that gun colt Cool Archie can put him on the map in the same way that mighty mare Winx defined the career of fellow jockey Hugh Bowman. Irish hoop Harley returned to Brisbane on Saturday night after a much-needed holiday back home where he celebrated his epic Group 1 JJ Atkins (1600m) victory on Cool Archie at Eagle Farm last month with family and friends. Of course, Harley doesn't expect the Chris and Corey Munce -trained colt to win a world-record 33 consecutive races like the legendary Winx, but he knows that a quality horse like Cool Archie comes along once in a blue moon. Winx had six different riders during her illustrious career that netted more than $26m in prizemoney before her retirement in April 2019, but she will forever be associated with Bowman and champion Sydney trainer Chris Waller. Harley's JJ Atkins victory – which broke a 10-year drought since his last Group 1 – was just reward for his hard work, dedication and persistence after overcoming a potentially career-threatening broken neck suffered in a sickening mid-week race fall in 2023. 'The real exciting thing about having a serious injury two years ago to even being not sure if I'd ride again and then for him to do what he did and put me back on the Group 1 map, in a way he certainly has changed my life in different avenues,' Harley said. 'A lot of jockeys can win if they get the right animal but when you stumble across a horse like that, it could be real life-changing moving forward. 'Look at the Winx story regarding Hugh Bowman. And I'm not saying it'll be like that but he could be an Everest horse and (owner) Max Whitby obviously has a slot. 'There could be serious potential going forward so I'll keep my fingers crossed and we'll take it from there. To live the dream like that would be unbelievable.' Cool Archie WINS the G1 J.J. Atkins! ðŸ�† @munceracing — SKY Racing (@SkyRacingAU) June 14, 2025 Whitby has declared that Cool Archie should be a shoo-in for Australian Two Year Old of the Year honours during a gala ceremony in Brisbane on August 31. 'I would definitely agree and not just because I've been riding him,' Harley said. 'For a horse to go from a maiden to a Group 1 winner in the space of two months - over all different distances and kinds of tracks - he has conquered more than any other two-year-old in Australia this year.' The father-and-son Munce partnership has said that Cool Archie would be spelled for the spring and set for next autumn's $4m Group 1 Doncaster Mile (1600m) at Randwick. It comes after a gruelling winter campaign in which the colt embarked on an incredible five-race winning streak in all conditions. • Rutledge's 'omen' win on The Irish written in the stars While Cool Archie is resting, a recharged Harley will be coming down from cloud nine to reset for the 2025-26 racing season in Brisbane which starts on Friday. Looking at the bigger picture, the affable Irishman hopes to travel interstate this spring carnival for a few feature races after proving he can handle the pressure of riding in majors. 'Sydney and Melbourne are tough, there are a lot of good jockeys there, but I'll be putting my hand up for a few rides down south if I can get them,' he said. 'You can get brought back to earth pretty quickly in this game but we showed them we can score at the top level and can get the job done in high-pressure races. 'But I'm definitely not getting too far ahead of myself. I had five Group 1 winners that came pretty quick and then it took another 10 years to crack it for my other one (in the JJ Atkins).' In the meantime, Harley can look back at that memorable day on June 14 when his dream of finally winning a Group 1 in Australia became reality. 'I went into the jockeys' room that day and I can honestly tell you, there wasn't one jockey who begrudged me the win,' he said. 'They were that happy for me and that made me even more proud.'
