Warwick Farm best bets, inside mail for Wednesday, July 2, 2025
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WARWICK FARM TIPS
BEST BET
Race 5 No.10: AMERICAN STARLET
Nice run first-up. Suited up in trip and down in grade.
NEXT BEST
Race 3 No.4: KILONOVA
Scored a good win on debut. Can kick off this campaign the same way.
VALUE BET
Race 7 No.1: HOOLIGAN TOMMY
Back from a Midway run. Big win before that.
BEST EXOTIC
Quinella Race 3: 4 / 2, 3
QUADDIE
Race 4: 1, 4, 7
Race 5: 2, 8, 10
Race 6: 2, 4, 7, 9
Race 7: 1, 5, 8, 12
JOCKEY TO FOLLOW
ASH MORGAN looks a good chance in the TAB Jockey Challenge.
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WARWICK FARM INSIDE MAIL
FROM THE PEAK (4) started an odds-on favourite on debut at Newcastle in March where she was left to lead and run down late by Maybe Moet. Led and held out Sovereign Hill in her latest trial at Randwick. MISS JONES (5) was bumped on the turn when fourth to Regimental Colours here first-up before a second behind Glorious Moments at Canterbury. THE STARS (7) was good in her first campaign including a nose second to Scalable at Canterbury and a third to Kilanova at Rosehill. Has been good in both recent Randwick trials.
BET: FROM THE PEAK to win.
MERCY ME (6) is a first starter by Hellbent. Made steady ground under a hold when second in her Beaumont trial. Led and responded when shaken up to win her Wyong trial from Raging Force. BESIDE THE OCEAN (1) is a half-sister to Farnan by Zoustar on debut. Sat outside the leader to win her first Rosehill trial. Closed nicely late when second to Magical Star in her second heat on June 20. SEQUISTA (12) was just behind the placegetters behind Tempted and Agarwood before a close third to Pillow Fight at Canterbury.
BET: MERCY ME each-way.
KILONOVA (4) was backed from $5 into $3.50 on debut at Rosehill in February. Proved the market move right with a handy long-neck win from Fleeting Spirit over the 1200m. Was strong through the line without any pressure when just behind the placegetters in both recent trials. VERMICELLA (3) won on debut over 1200m at Queanbeyan and kicked off last campaign with a narrow win over the same track and distance. Wasn't pushed when third in her June 21 Queanbeyan trial. VANESSI (2) will take improvement from her first-up third to Livin' Thing on the Kensington.
BET: KILONOVA to win.
ELEGANT EMPRESS (7) was good in her first two runs back from a spell over 1100m on heavy tracks in town. Appreciated a drop back in grade and distance to score a gutsy win over 900m at Newcastle after racing wide. Has three wins and three placings over the 1000m. ROMEO'S CHOICE (1) the class runner resuming here. First go over 1000m but goes well fresh, gets a 3kg claim and was sharp in his 796m trial win here. ZARAGOZA (4) was a close second to Livin' Thing over 1000m at Kembla before a win and another second over that same track and distance.
BET: ELEGANT EMPRESS each-way.
AMERICAN STARLET (10) went back to last from her wide gate and made up a lot of ground to finish a two-length fifth behind Motoscafo in a 1200m Midway at Rosehill when resuming on June 14. Drawn ideally suited stepping up to 1400m. MORITZ GIRL (8) won a 1600m Highway from Fiorsum Fred at Randwick before a close second on the Kensington and a third in the Bega Cup last campaign. Will be improved by her first-up third to Denman Star at Canterbury. BELIEVE IN ANGELS (7) is backing up from a fifth on the Kensington last week.
BET: AMERICAN STARLET to win.
HOPPER (7) was well backed first-up and was good beating Gunroom who won his next start. He followed with a game second to Mickey's Medal at Rosehill before a handy fifth to Rotagilla at Randwick. Blinkers go on. PINK SHALALA (9) broke his maiden in a BM64 at Canterbury in February after three minor placings. Has finished in the money at his last three runs, the latest a third to Hasty Honey on the Kensington last week. NANA'S WISH (2) was just the placegetters in two Victorian runs before scoring a handy win from No Drama at Canterbury on June 18.
HOOLIGAN TOMMY (1) was impressive winning at Kembla two starts ago when he came from back in the field and raced away to score by over three lengths from Stay Tuned. Stepped up to a Randwick Midway when sixth to Callistemon on June 21. Back in grade and gets a 3kg claim. SISTER DAAE (8) defied a betting from $2.50 to $4 when she charged home down the outside to beat Invisible Magic in a Kensington Super Maiden on June 11. Has had an easy trial since. AROHA STONE (10) followed a close second to stablemate Caltsar at Kembla with a good win at Gosford. Ready for the step up to metropolitan company.
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ABC News
29 minutes ago
- ABC News
These modern mums have taken the tradwife hashtag and made it their own
Who mops the kitchen floor in your house? Or oversees the grocery shop and meal prep every week? For generations, the burden of household labour often came down to traditional gender roles — dad went to work, while mum stayed home with the kids. Today, many families split these responsibilities or juggle them alongside dual careers. But now some young women are choosing to quit work altogether and stay at home. They call themselves "traditional wives", or "tradwives". The term was made famous by social media influencers like Nara Smith, a model and mother of three young children, with a fourth on the way. She seemingly spends most of her day cooking food from scratch, from the cereal she serves her kids at breakfast to the hundreds and thousands she uses on their ice cream. In highly curated clips posted on their online accounts, self-proclaimed tradwives tend to their gardens, homeschool their children and bake sourdough bread. Imogen Dixon-Smith is a stay-at-home mum who "devours" tradwife content. She discovered Smith's videos while trying to decide if she should stop working as an art curator to care for her daughter. "I identified with the feeling of wanting to create the most nurturing and enriching environment possible for my daughter," she says. Dixon-Smith is as far from the tradwife movement as you can get. The Sydney-based mum is gay, sports a shorn head and doesn't know anyone else with young children. But she jokingly refers to herself as a tradwyf — the queer, feminist version. "It feels camp, it feels intelligent, it feels like it has a satirical edge, but most importantly it feels entrepreneurial to me," she says of tradwife content. So, what is it about this movement with its strict traditional gender roles that has struck a chord with mothers like Dixon-Smith? Dixon-Smith feels "absurd" attaching herself to the tradwife movement but says her fascination with its content came at a time when she was deeply enthralled by the world of mum advice on TikTok. That's despite Dixon-Smith having very little in common with the likes of Nara. "Offering nutritious and homemade food was one realm where our ideals collided," she says. Dixon-Smith admits that unlike the tradwives she follows online, she often feels as if she's not doing enough on the home front. "Our house is not spotless. There are countless unfinished jobs around the place," she says. "I still accept home-cooked meals from our parents for nights when I am run off my feet. And our dog doesn't get nearly the mileage she is looking for on her walks because we stop every five steps to look at a new flower." The inability to secure a flexible work arrangement was one of the reasons Dixon-Smith decided to become a stay-at-home mum. Childcare was also an issue. Dixon-Smith found herself reconsidering her daughter's care after a series of "underwhelming" tours of day care centres. But her decision to stop work and become a stay-at-home mum was met with surprise from many. "Queer individuals are assumed to follow a form of feminism that might chastise a woman for deciding not to work," she says. "Being a woman who wants a career but was hesitant about utilising childcare in the first two years of my daughter's life, it became clear that there is no perfect option for women." Stacey Knight describes herself as a modern-day homemaker and regularly posts on social media as Staying Home With Stacey. The Australian-based influencer looks after two young children while her husband works and says her average day consists of tending to her veggie garden and chickens, and cooking food from scratch. Knight worked as a nurse before she had children, but following the arrival of her second child, she "leaned into" being a full-time stay-at-home mum. She says the tradwife lifestyle she's cultivated for herself and her followers online came about for a few reasons. "You can save money gardening, growing your own food and cooking meals from scratch, and obviously there's the health aspect of it," she tells ABC Radio National's Life Matters. But she describes her and her husband as a modern couple who are only traditional in the sense that he works while she remains at home with the kids. "There's still a lot of support, open communication and equal rights, which I think is the most important part," she says. Knight is therefore unsure of the tradwife term and its connotations. "Tradwife doesn't mean to me the same sort of associated terms and views as it does in America … I just have a genuine interest in caring for my family, cooking, gardening, and a simpler way of life without the associated views of it," she says. Much has been made of the far-right ideals that have recently taken root in parts of the tradwife movement, where notions of white womanhood is espoused. But Kristy Campion from Charles Sturt University argues tradwife is an umbrella term. "The tradwife phenomena is not just a right-wing notion. It also exists in the left wing. It exists in religious spaces and in non-political spaces as well," she says. Being a tradwife is also something that many people simply can't afford to be, which partly explains its attraction online. "It becomes more of an individualist fantasy or an escape. The idea of leaving the workforce and becoming a tradwife," says Dr Campion. "Cost of living is so dire right now that many women don't have the choice of staying home with their children. "Some women feel like they're being forced into the workforce in addition to continuing to carry the broader weight of domestic duties and domestic labour. "So this is what we see far-right tradwives talk about … modern society as crushing women, as defeminising women and forcing them into unnatural ways of living." But according to Dr Campion, these beliefs aren't centred on women's welfare but something far more political. "They're seeing it from the perspective of modern society being controlled by feminism or left-wing politics," Dr Campion says. Knight says that women fought not only for the right to work but also for the right to be able to choose. "My choice [is] to stay at home and care for my kids and garden and cook," she says. "People don't ask men why they stay home or why they do things. They only seem to ask the women." Dixon-Smith agrees that mothers and caregivers should have the right to decide how they choose to parent and work. "As most queer people already know, it's possible to inhabit a role or persona that feels most comfortable to you," she says. "But mothers are under constant pressure from all directions to be a certain way … the perfect traditional wife and mother or to hold on to your career and reject traditional norms. None of it is helpful."
ABC News
31 minutes ago
- ABC News
David Campbell, Virginia Gay, Natalie Abbott and Victoria Falconer on Australian cabaret
David Campbell inspired Virginia Gay to get into cabaret. She was just 14 years old, and Campbell was teaching at her performing arts high school in Sydney's inner west. "He was very young and very handsome," Gay recalls. "I developed a psychotic crush on him." Still in her school uniform, she would travel to RSLs across Sydney to watch Campbell perform, sometimes carrying the gift of a bunch of gerberas in her arms. "David Campbell is one of the best in the world at cabaret, even [in his early 20s]. He felt so close to us in age, so we were like, 'Ah, you're doing it!'" she says. "And I remember thinking, 'I cannot get enough of this art form.' "I loved that sense that, with no set at all and with just a little bit of subtle lighting, just David and a piano, he'd suddenly built a whole world." This year, Gay asked Campbell — who is now a good friend who never brings up her teenage obsession — to be one of the headliners for Adelaide Cabaret Festival, her second and final as artistic director. It's a job Campbell held himself, 15 years ago, from 2009 to 2011. Campbell exemplified one strand of Gay's 2025 program: a focus on legacy artists, alongside the likes of cabaret royalty Rizo and Carlotta. The rest of last month's festival combined the "cutting edge" of contemporary cabaret — with local artists like Victoria Falconer and Reuben Kaye, who assumes the role of artistic director next year — and performers working across genres, including performance art, burlesque, drag, circus and comedy. It also looked to the future of the form, with artists including Natalie Abbott (ABC TV's Aftertaste; Muriel's Wedding the Musical) and Seann Miley Moore (Hedwig and the Angry Inch) performing their debut shows. Funnily, Campbell's first festival as artistic director was Gay's first as a performer, in Gentlemen Prefer Jokes, with Trevor Ashley and Courtney Act. "I was like a demented nurse who also just got up and did her dance numbers, which was little more than a box step," she says, with a laugh. Within three years, she was performing her debut solo show at the festival: Dirty Pretty Songs, following it up with Songs to Self-Destruct To. Along with artists like Yve Blake, Eddie Perfect and Tim Minchin, Gay honed her creative voice through cabaret. It led her to making works of theatre like Cyrano, which she toured last year to Edinburgh Fringe. "Sometimes people dismiss cabaret, and I think it is so vital," she says. "There's a real immediacy in the authenticity of a totally unique, magical voice that is delivered very intimately and with a really strong connection to an audience. "It is about what makes live theatre exciting, and it is unreplicatable." While Gay is still a regular on stage and screen, she rarely performs cabaret anymore. Instead, taking on the top job at Adelaide Cabaret Festival has made her realise how much she enjoys creating space for other artists. "Perhaps it's a kind of ego death, where I don't need to be the star," she says. "What I love is to make a space for other people to play in — both audience and performer." David Campbell came to cabaret out of necessity. In the early 90s, he moved from Adelaide to Sydney to work as an actor, but a couple of years into his career, work started to dry up. The son of Cold Chisel frontman Jimmy Barnes, Campbell had been reluctant to sing professionally because of the inevitable comparison to his father. His then-manager encouraged him to do it anyway; to "do something different [to Barnes]", Campbell recalls. That's when he started combining personal monologues with songs from musical theatre, performing them on stage in bars and cabaret venues to audiences of anywhere between 6 and 20 people. "[My cabaret] started out very strict and clunky, and very angsty and emotional," Campbell says. "I was so stressed by being on stage, being a people-pleaser and not wanting to do anything wrong." At the time, the local cabaret scene was dominated by powerful women performers, including Nancye Hayes and Geraldine Turner. "It was seen as a chanteuse-y world, and here I was, an upstart, trying to be like, well, maybe I could do that too," he says. But it wasn't until Campbell moved to America in the late 90s that he truly found his cabaret voice. "Going to the US was extremely freeing for me because they didn't know who I was, they didn't know who my dad was, so I could start again," he says. "It was really a great safe place, without the eyes of our industry here in Australia looking at me going, 'Ah, he sucks. There were only 15 people in the audience, and he did a Jimmy Barnes joke.'" In New York, he met performers — including White Christmas star Rosemary Clooney and Broadway legend Barbara Cook — who encouraged him to try new things, and taught him how to work a room. "These people were themselves on stage," he says. "They were the song. You know, my dad does it: it's when the song and the singer become one. It's just this amazing thing. "You do need runs on the board to do that. It doesn't just happen." Now 30 years into his cabaret career, Campbell says he wants to be "reaching down" to support the next generation — just like Clooney, Hayes and more did for him. During his tenure at Adelaide Cabaret Festival, he nurtured emerging cabaret artists, like Gay, Christie Whelan Browne and Hugh Sheridan. He also set up Class of Cabaret, an ongoing initiative of the festival, which mentors high school students. "There might be some young David Campbell or Virginia Gay; nerdy kids that don't fit in with everybody else that want to do this," he says. "To be able to say, 'Come in, this place is for you as well,' is really important." Like Gay and Campbell, Victoria Falconer is a cabaret artist who wants to create space for others. She's the co-artistic director of Hayes Theatre Co in Sydney, a small theatre dedicated to musicals, which in June hosted a winter cabaret season, including some of the artists from the Adelaide festival. She's also the musical director for Hedwig and the Angry Inch, now in Melbourne for Rising, before touring to Sydney. For Adelaide Cabaret Festival, Falconer curated a late-night salon, The Parlour — an opportunity to bring together performers from across Australian and international cabaret, including the local independent scene. "It's the perfect level of controlled chaos, where I personally feel like I thrive," she says. "Seeing the magic that happens when you bring everybody together is something special; that's what The Parlour is about." But, like Campbell, Falconer had to leave Australia to forge a career in cabaret. She moved to London in 2003, where she formed "risque cabaret character comedy" duo EastEnd Cabaret, with German performance artist Bernadette Byrne (aka Bernie Dieter), started playing the musical saw and experimented with androgyny on stage. "I knew I wanted to make cabaret because I was obsessed with Marlene Dietrich and cabaret performers of the 30s," she says. "When I first started performing with [Byrne], we thought that we were the only people doing what we were doing. "Once we started putting it out there, other weirdos started finding us, finding each other, [and] creating [cabaret] nights." It's a reflection of the DIY attitude of cabaret artists across the world — where performers stage their shows wherever they can, from dedicated theatres to queer and dive bars. "Cabaret gets made, regardless of whether there's a stage or not," Falconer says. "There's an inherent need to create new spaces where there weren't spaces before; to express beyond what a lot of mainstream genres can do; and to connect to audiences that maybe don't feel as comfortable or welcome in mainstream spaces. Falconer stresses the depth of talent that exists now in the Australian — and especially the Adelaide — arts scene. "When I moved back from London and lived here for a few years, I knew the arts scene here was fabulous," she says. "But I think it needs to be talked about more." As for what's distinctive about Australian cabaret, Falconer describes it as "larrikinism that then gets draped in feathers and sequins". Her role as host and curator of The Parlour is about outreach; finding performers who are already doing something like cabaret on Australian stages (and in the corners of bars). "If I find them, I will put them on a cabaret stage, introduce them to a bunch of other people who are also doing weird stuff, and foster community that way." One of the artists who performed their debut cabaret show at Adelaide Cabaret Festival was musical theatre and TV actor Natalie Abbott. Her show Bad Hand was a meditation on grief, love and loss — through song. It was the product of a real tragedy: the sudden death of her partner. In May last year, Abbott's boyfriend production runner Ryan Cuskelly, died after he was diagnosed with a severe and highly aggressive immune deficiency disorder and virus. "When my partner passed away, I thought, 'I'm not going to ever perform again,'" Abbott says. "I was going through a really nihilistic stage of my life … One day I woke up and I was like, 'Oh, nothing matters.'" Perhaps unexpectedly, it was a feeling that propelled her forwards. "Some people might think that [thinking nothing matters] is a sad realisation but it's actually very freeing." In the past, Abbott had been overwhelmed by feelings of self-doubt. So, when Virginia Gay suggested Abbott make a cabaret show while she was deep in her "nihilistic phase", she thought, "Why not?" "Because, in 100 years, no one's gonna remember if it was good or if it was bad," she says. Abbott decided to play a collection of country songs on acoustic guitar about life and death. "I have things to say now," she says. "[Writing this cabaret] I've been able to get a lot of my thoughts out there in a creative way. And I've been able to get back to my creative roots, and I've picked up my guitar again, and I'm singing songs that make me happy." Bad Hand soon expanded from a "country cabaret" to something featuring all the styles of music she enjoys, from musical theatre and country to pop and Australian rock. Think Rodgers and Hammerstein, but also Hunters & Collectors, with a little bit of Kasey Chambers and Tina Arena mixed in. And a song from the soundtrack to Twisters. "The songs that are in my cabaret have been chosen for a particular reason: because they now have a very tremendous impact on me. And they have had an impact on me through this horrific year, and have helped me grieve," she says. "You try to find meaning behind loss, because if it doesn't mean anything, then, what's it for?"
News.com.au
34 minutes ago
- News.com.au
Jockey Kyle Wilson-Taylor is Hopeful of winning feature race success at Sunshine Coast on Saturday
He captured the Glasshouse last year and gun jockey Kyle Wilson-Taylor is hopeful of adding the Caloundra Cup and Winx Guineas to his trophy cabinet on Saturday. Wilson-Taylor was in a race of his own in last year's Listed Glasshouse Handicap (1400m), with the Anthony and Sam Freedman -trained Punch Lane revelling in heavy conditions to win by almost three lengths. This year, Wilson-Taylor will team with his good mate, trainer Stuart Kendrick, aboard Italian Riviera in the $300,000 Group 3 Winx Guineas (1600m) and Redford in the Glasshouse. He has also answered the call from Annabel and Rob Archibald to ride imported stayer Hopeful in the $300,000 Listed Caloundra Cup (2400m). Despite not having won since capturing the Group 3 Hawkesbury Gold Cup (1600m) back in April 2022, Hopeful showed last start a return to the winner's stall wasn't far away with a fast-finishing third behind Sir Lucan and Bear On The Loose in the Listed Winter Cup (2400m) at Rosehill on June 14. 'I was fortunate enough to win the Glasshouse last year, so I'd like to either win that again or hopefully a Cup,' Wilson-Taylor said at Tuesday morning's Caloundra Cup day Breakfast With The Stars. 'It should run really well, Hopeful … he was really good in stakes company last start in Sydney. 'Obviously the favourite Bear On The Loose is $4 and we're something like 15-1, so we're good value and you're certainly going to get a good run for your money if you follow that horse, that's for sure.' What a finish at Rosehill! Sir Lucan fights off Bear On The Loose to win the Listed Winter Cup! â�'ï¸� — SKY Racing (@SkyRacingAU) June 14, 2025 • Italian Riviera has been backed from $51 into $26 in TAB's fixed odds market for the Winx Guineas and Wilson-Taylor was brimming with confidence in the lightly-raced galloper after riding him in work at the Sunshine Coast on Tuesday. 'Stu is obviously my biggest supporter so it would be good to win a Winx Guineas for him – and I think he's got the right horse to do it,' Wilson-Taylor said. 'His horses excel here on this track and Italian Riviera, he's been going terrific. On quality, it's probably not the best edition of the Winx Guineas so it certainly puts us right there I think.' A canny $60,000 purchase at the 2023 Inglis Classic Sale, Italian Riviera has already returned more than $80,000 in prizemoney for his connections with four wins from just eight starts. After winning the Glasshouse last year, jockey Kyle Wilson-Taylor is aiming to add the Caloundra Cup and Winx Guineas at Sunshine Coast on Saturday. 🎥 via @eddiefranklin47 — Racenet (@RacenetTweets) July 1, 2025 He was most impressive under 60.5kg when powering home to win a Benchmark 68 at Doomben on June 24 and Kendrick said the Shalaa gelding had 'trained on terrific' since. 'I really like this horse (Italian Riviera). He's won four from eight, he was very impressive with a big weight last start in Brisbane, had to come from the tail and got over the top of them and won well,' Kendrick said. 'He's got to improve obviously up to this level but on what he's shown us in his work since, he has. 'We worked in well with Kyle so he'll ride – he was on him there this morning in his work and was very impressed with him. 'We gave him a little tick-over trial there last week and he won that impressively as well, so everything has sort of ticked over well … we just need a little bit of luck on the day.' Sunshine Coast trainer Stuart Kendrick has a big team heading to the Caloundra Cup meeting on Saturday, headlined by Italian Riviera and Redford. 🎥 via @eddiefranklin47 — Racenet (@RacenetTweets) July 1, 2025 While Redford is a $34 outsider in early betting for the Glasshouse, Kendrick warned punters not to write off the Snitzel gelding, who's won five of his 11 starts. 'He (Redford) is definitely a lightweight chance in the Glasshouse. He won here really well in one of the big Magic Millions races – he just had no luck around Ipswich last start,' he said. 'He loves the sting out of the track, he loves this big long straight so with no weight on his back I think he's a really good each-way chance in it.' Kendrick is also expecting strong runs on Saturday from Defiant Spirit and Bews in the Provincial Sprinters Series (1200m) as well as Bonded Affair in a Benchmark 70 over 1200m. @kendrickracing1! @BrisRacingClub — SKY Racing (@SkyRacingAU) April 17, 2024 • 'Defiant Spirit – his first-up run off a long break was excellent in Brisbane. He had to do all the hard work in front and held on really well. (The) Form out of that's good and he should have improved form that. 'We've got him as well as Bews, he's also in the provincial sprint series, so they're both really good chances. 'And Bonded Affair, I couldn't have been more impressed with his first-up win the other day. We've just worked out that this horse needs to be ridden really quiet and that's how we'll ride him again on Saturday. If he gets the breaks I think he'll run really well.'
