Byfreer Mosman, where style, craftsmanship, high fashion and sustainability combine. More on Mosman Nestled in the heart of Mosman’s stylish shopping strip, byfreer is more than just a boutique — it’s a destination where fashion, craftsmanship, and sustainability converge. Founded by award-winning designer Lesley Watson and her husband Andrew Mussett, byfreer embodies the philosophy that clothing should not only look beautiful but also be created with purpose and care for the planet. A Designer with Purpose Step inside the Mosman boutique and you’ll see the vision of Lesley Watson, whose lifelong passion for fashion is matched by her commitment to ethical and sustainable design. With decades of experience in patternmaking, textile design, manufacturing, and luxury retail buying, Lesley brings unparalleled expertise to every aspect of her label. Founded in Sydney in 2014 and named after her mother’s maiden name, byfreer was born from a desire to create clothing that serves a purpose, solves problems, and stands the test of time. Following the success of the Potts Point and Paddington stores, Lesley and Andrew opened the Mosman location in April this year, drawn by the area’s village atmosphere, loyal clientele, and the success of a previous pop-up event. Sustainability at the Core Sustainability is the foundation of this label, not an afterthought. Growing up in Adelaide, Lesley was immersed in an environment that valued both creativity and respect for the planet. Early lessons in solar power, recycling, and conscious living remain central to byfreer’s philosophy and are woven into every garment. Beyond her boutiques, Lesley has presented at the World Hope Forum, offering insights on sustainable fashion to an international audience, sharing her commitment to responsible design well beyond Sydney’s borders. Cultivating the Next Generation Education and mentorship are integral to byfreer’s mission. In partnership with the University of NSW Faculty of Art, Design and Architecture, the Paddington Atelier hosts interns through the Work Integrated Learning program, giving students hands-on experience in sustainable design, production, and ethical business practices. With the store preparing to welcome its second intern, Lesley continues to foster the next generation of designers committed to conscious fashion. A Store That Reflects Its Values Byfreer is more than a boutique - it’s a living reflection of Lesley’s ethos. Each collection is carefully curated to showcase timeless design, quality craftsmanship, and fabrics that celebrate luxury and sustainability. Silks, linens, and velvets are chosen for their tactile richness, practicality, and durability, with each piece undergoing meticulous processes to ensure it can be easily cared for at home. Designed in the Paddington atelier and produced locally, byfreer’s Australian made range are officially licensed under the Australian Made logo, reinforcing the brand’s commitment to ethical, Australian production. For locals and visitors alike, byfreer in Mosman is a space where fashion meets integrity. Each garment carries a story of responsibility, creativity, and respect for the planet, proving that style and sustainability can coexist beautifully. byfreer. Mosman 870 Military Road, Mosmanbyfreer.com

How the Australian street artist Fintan Magee turned teenage graffiti into internationally commissioned street art. More on Marrickville For Fintan Magee, painting was never a sudden career decision. It developed naturally from an early love of creativity. “I started out as a graffiti writer when I was about 13 or 14,” Magee says. “I’ve been painting ever since.” Raised in a creative household, he was, admittedly, fortunate to be encouraged very early on. His father worked as a sculptor and his mother as a landscape architect, so making and designing were part of daily life. That environment gave him the confidence to pursue art seriously, even in the early days of graffiti. Over time, spray cans on suburban walls evolved into large public murals, gallery exhibitions, and international projects. While his work has grown in size and ambition, Magee says his approach has remained consistent. He focuses on capturing everyday life and human faces, turning ordinary moments into striking visual experiences. Inspiration When asked what inspires him, he admits it can be hard to explain. “It’s usually people I meet. I try to absorb as much of the world around me as possible and just paint what I see,” he says. “I know that’s a boring answer that most artists give, but it’s kind of all I’ve got.” His response is deceptively simple as he’s able to capture the essence of his subjects at scale as though he was working on an easel at home, quite the logistical task. “It’s always different,” Magee says of choosing subjects. “Often I just paint my friends and people close to me.” The faces that appear in his work often belong to people he knows personally, capturing a wonderful dichotomy of intimacy and public life. That personal connection is part of what makes his work feel approachable, even when it’s displayed on a large public wall. Significant works One of his most significant local works was created for Marrickville Metro. The mural highlights women’s roles in the arts and industry, a theme chosen specifically for the site. The building is on a former textile manufacturing plant that employed a lot of women; it was a hub for female participation in the union movement, which led to Newtown having the first female Mayor in Australia, Lilian Fowler. “I found that history really interesting,” Magee says. “I wanted to explore how that connected to creative industries in a modern context.” By linking the area’s industrial past with its contemporary arts scene, the mural recognises the women who helped shape the community while reflecting its ongoing creative spirit. The mural combines historical awareness with a modern celebration of local creativity, making it a work that resonates with both residents and visitors. Taking art global Travel has become an important aspect of Magee’s career. While exhibitions are important, he says the opportunity to work in new environments stands out most. One highlight was travelling to Iran to work on a major project for the Australian embassy alongside muralist Guido Van Helten. The project was a large-scale mural commissioned by the embassy. The collaboration allowed both artists to contribute to a high-profile international project and experience working in a very different cultural context. “That was exciting,” he says. “I’ve been lucky to travel a lot for my work. It’s rewarding when you visit somewhere new.” Future Looking ahead, Magee is preparing for a show at Backwoods Gallery in Melbourne later this year. He also has several mural projects lined up, including his first time working in Romania and additional locations across Europe. These opportunities allow him to continue expanding his work. From graffiti writer to globally recognised muralist, Fintan Magee’s career has unfolded steadily, shaped by curiosity, community, and a commitment to capturing the world around him.

Remembering Randwick Rugby Club’s Quiet hero and beloved community figure, Peter "Marzo" Meagher. More on Randwick December 14, 2025 was a warm, clear day. It was also the first day of the Jewish festival of Hanukkah. The combination of great weather and a special family event celebrating Hanukkah meant that Bondi Beach was particularly busy that balmy Sunday afternoon. Peter Meagher, affectionately known as “Marzo”, was at Bondi that day, working as a photographer. Neither he nor the 14 other victims of two senseless gunmen could possibly have imagined it would be their last day on Earth. Meagher was well known and loved in Randwick. He devoted much of his life to community rugby. From 2018, he served as First Grade Team Manager. It suited him perfectly. Organised, dependable, and deeply respected, he became an essential link between players, coaches, and the broader club network. Whether it was managing logistics, supporting players, or simply being a reassuring presence on game day, Meagher did it all without fuss or fanfare. Long before that, he had earned respect across Sydney as a rugby referee—firm, fair, and deeply knowledgeable. His understanding of the game was matched by a genuine love for it, something that resonated with everyone he encountered on and off the field. Rugby, for Meagher, was also part of a powerful family legacy. He was the grandson of Wally Meagher, a Wallabies great, and the son of Ron Meagher, a former Randwick president. Yet, despite this lineage, Marzo was unassuming and down to earth. Those who knew him best often spoke of his humility—his preference to contribute quietly rather than seek recognition. That said, recognition did come. In 2020, Randwick Rugby honoured him as Volunteer of the Year, a reflection of decades of tireless service. It was a fitting tribute, though one that only scratched the surface of his impact. Peter Meagher away from Rugby Away from rugby, Meagher built an equally distinguished career in the New South Wales Police Force, serving for nearly 40 years and retiring as a Detective Sergeant. Known for his professionalism and integrity, he carried the same values from his policing career into his sporting life—discipline, loyalty, and a strong sense of community. In retirement, he found a new passion behind the lens, working as a freelance photographer at local events. It was another way for him to stay connected, to document moments and people—much like he had done at Randwick for so many years, albeit in a different form. His sudden death in December 2025, aged only 61, sent shockwaves through the rugby community and beyond. Tributes flowed, each echoing a common sentiment: Meagher was the “heart and soul” of Randwick Rugby. Not because of any single achievement, but because of the countless small, unseen contributions that defined his life. Peter “Marzo” Meagher was a rare individual, a quiet hero who made a difference in this world just by being who he was. He will be remembered for his dedication, generosity of spirit, and the everlasting light he leaves behind. Vale Peter Marzo Meagher. 18 January 1964 - 14 December 2025

We meet incredible talent, and St Ives Local, Luke Vadekar. A young man with his head in the clouds. The stunning photo on our cover is of The Milky Way. It was taken by young photographer/astronomer and St Ives prodigy, Luke Vadekar. Locals will often spot Luke standing patiently beside his tripod, telescopic lens pointed up towards a dark clear sky or out across a serene landscape. The results are devastatingly beautiful images of shimmering galaxies or liquid-glass waterways. The 17-year has been a keen photographer from an early age. “I first became interested in photography in early primary school using a small digital camera and phone. I was taking photos of nature like trees, flowers, insects and birds. I also took photos of the sky, like rainbows, clouds, sunsets,” says Luke. Mostly self-taught, Luke hones his craft by watching tutorial videos and studying other people’s photographs to help him get ideas on how to compose his next shot. However, as his commitment grows more serious, he is seeking to formalise his training. “Just this year I registered into an online photography course that will help me achieve a diploma in photography so that I can pursue a career in this field…I would love to pursue a profession relating to my passion in photography and astronomy. As you can imagine, photography equipment can be very expensive. I definitely need to find a way to make a living out of my passion.” To that end, Luke is seeking opportunities to earn money now from his photography and is extending his skillset to include events, portraits, and real estate photography. The skies, however, remain his first love, and with that comes the need for specialised equipment. “To start off, I need an equatorial mount which follows the rotation of the earth in order to keep the stars from drifting in the photo. I’ve also got a telescope that my camera can be attached to and take photos of celestial objects that can be magnified by the telescope,” explains Luke. “My main setup is a solid tripod and a mirrorless camera, for which I have multiple lenses.” Like any good artist, Luke can still work magic with much more basic equipment and he has taken some incredible images using his phone. “My mobile phone is a Huawei Mate 20 Pro and runs on Android. I use the built in camera. I don’t use anything else to capture photos using my mobile phone other than a tripod.” Ultimately, though, it’s not expensive equipment and high tech gadgetry that make a good photographer - it’s commitment; and there’s no doubt Luke has plenty of that. “It does take a lot of time, practice, persistence, patience, and dedication to keep improving my work. I spend a lot of time going out to places where I can compose a photo that I have had in mind. While I do day time photos, I am very passionate about night photography because it challenges me to use various photography techniques such as long exposures, changing camera settings.” And that’s just the time out in the field. Luke then has to follow it up in the digital lab. “I spend a lot of time on post production using Adobe Lightroom and occasionally Adobe Photoshop. I also use specialised apps for image stacking of my astro photos.” It’s not all work and no play, though. “I occasionally go to the skate park to get some exercise on my scooter and also see some of my friends.” You can see more of Luke’s work on Instagram @qualitypicsfromteeno and on his website https://lukevadekar.com

Linla, a new Taiwanese social-dining bar, has swung open its doors in 413 Bourke St, Surry Hills. Housed in the former home of much-loved neighbourhood bar Dead Ringer, Linla is built around a simple ritual: raising a glass together. In Taiwanese dialect, “Linla” captures the sound and feeling shared between friends when they toast – a moment of celebration, presence and connection that shapes the spirit of the venue. Blending Taiwanese hospitality with pan-Asian social dining, dishes on the menu include Night-Market Crispy Chicken, served to your table with a paper bag & spices so you can mix up your own level of flavour; Pork and Prawn Wontons in a deliciously creamy tom yum beurre blanc, XOXO Calamari Fettuccine with XO sauce; and Sticky Rice Arancini with Taiwanese sausage and house made salted radish. Playful desserts include a fun take on the nostalgic Aussie classic fairy bread, with a Fairy Bread Bao stuffed full of vanilla ice cream. House cocktails are designed for easy drinking while maintaining technical depth and layered flavour, and include MI-Bubble, a playful reimagining of bubble tea through a cocktail lens. Behind the concept is Taiwanese-born, Sydney-based restaurateur and mixologist Charles Chang, founder of neighbouring Japanese fusion venue Moku and a former Top 100 finalist in the Diageo World Class Competition. Moku chef Ha Chuen Wai will also bring his highly regarded omakase experience to 413 Bourke Street, finding a new permanent home in the private dining room adjacent to Linla. Here, Wai’s acclaimed “I leave it up to you” dining journey invites guests to place their trust in the chef, with an intimate, multi-course tasting menu built around the freshest seasonal ingredients. Linla 413 Bourke St, Surry Hills linla.com.au

Brian Friel’s acclaimed masterpiece. Dancing at Lughnasa, comes alive in an intense and emotionally rich production at Newtown's New Theatre. Check out our full review! More on Surry Hills Celebrated Irish writer, Brian Friel, has been compared to the very best playwrights, and Dancing at Lughnasa, is regarded as possibly his very best work. Set entirely in a small house in rural Ireland in 1936, this slow-release family drama tells a story that extends beyond what is presented on stage. Photo: Bob Seary The five unmarried Mundy sisters — Maggie, Agnes, Kate, Christina, and Rose — live in a modest cottage in the fictional Irish town of Ballybeg, County Donegal. They are clearly poor. Kate, the eldest, is a teacher and the main breadwinner. She acts as the matriarch and is stoic and God-fearing. Maggie keeps house and prepares meals; she tells corny jokes to lighten the dour mood. Agnes is quiet and thoughtful, harbouring impossible ambitions and, perhaps, a scandalous secret. Though 32, Rose seems younger due to a learning disability. She is childlike and naïve, making her vulnerable to predatory men. Christina, the youngest at 26, is whimsical. She has had a child out of wedlock, Michael, who is 7. Photo: Bob Seary Michael as an adult appears on stage as a sort of “ghost of the future”. He provides background information and epilogues to the various storylines, as well as being the voice of young Michael. The household is thrown off kilter with the return of the Mundy’s older brother, Jack, a priest who has served in the leper colonies of Uganda for 25 years. Jack has adopted many pagan beliefs and practises and, it is hinted, perhaps indulged in some other “un-Christian-like” behaviour. Photo: Bob Seary As the townfolk gradually learn about Jack’s return and his heathen ways, they begin to distance themselves from the Mundy family. Kate loses her position as a teacher; Agnes and Rose can no longer sell their knitted gloves. To make matters worse, Gerry, Michael’s long-absent father, comes to visit Christina, filling her head (and Michaels) with false hopes and expectations. Photo: Bob Seary In review, Dancing at Lughnasa by New Theatre, brings together a commensurate cast, each well-selected for their respective roles. Director, Isabella Milkovitsch, moves the narrative at a steady pace, bringing slow-boil intensity with each new revelation. New Theatre, 542 King St, Newtown newtheatre.org.au

Theatre Royal’s Cluedo: The Play delivers slapstick chaos, clever set design and nostalgic fun. Check out our full review! More on Surry Hills Take a bit of Agatha Christie, some British sitcom humour, and loads of camp; add a smattering of Vaudeville and slapstick, stir together and pour the mixture onto a cleverly designed set, and you have Cluedo: The Play. With its characters and premise based on the perennially popular board game, Cluedo (Clue in the US), this play gives audiences, many of whom will be familiar with the game, an easy entry point. It also allows for lots of wink, wink “in” jokes. The script is a refreshed version of the screenplay for the 1985 film, Clue, by Jonathan Lynn. Sandy Rustin’s stage adaptation retains the over-the-top characterisations and manic pace, aided by Luke Joslin’s crisp direction. If you’ve ever played the game or seen the film version, you’ll remember that the characters move rapidly and frequently to different rooms within a very large mansion. That would present quite a challenge for the average set designer, however, James Browne proves himself to be far beyond average. Browne has devised a devilishly ingenious series of moving panels, suspended props and roll-on furniture that allows for quick scene changes into convincing new spaces with little interruption. Also the costume designer, Browne has dressed each character — all named after a colour — in attire that obviously references that colour but also perfectly depicts their personality. It helps that the characters has been so well cast, too. There’s lots of slapstick and plenty of sight gags in this relentlessly paced romp. The plot, which is really quite thin, is helped by some wonderfully choreographed routines, reminiscent of slick comedy set pieces of early film, or even cartoons. The ensemble cast works beautifully together and in various combinations. In review, Cluedo: The Play is a fun, easy to enjoy, not too taxing on the brain, 90-odd minutes of silly sleuthing. Theatre Royal, 108 King St, Sydney theatreroyalsydney.com

The Randwick Art Society celebrates the creativity, colour and connection of its vibrant local art community More on Randwick In a city as culturally vibrant as Sydney, it’s easy to overlook the grassroots organisations that are the foundation of a flourishing arts scene. Nestled in the heart of the Eastern Suburbs is one such creative hub, the Randwick Art Society (RAS). whose quiet dedication to community and art has made it a beloved local institution. For more than a decade, RAS has been championing creativity, fostering connections and turning everyday creatives into exhibition-ready artists. Founded in 2009, the Randwick Art Society emerged out of a simple yet powerful idea: to provide a space where artists of all backgrounds and experience levels could come together, create, learn and exhibit their work. It was the first incorporated art society in the Eastern Suburbs, and from the moment it was formed, its mission was clear - support local creativity and make art accessible to everyone, not just the trained professional. From the outset, RAS embraced community participation, offering artists a platform to not only show their work but to grow. Early leaders of the Society ensured it wasn’t just a gallery club; it was a creative network that encouraged experimentation, shared learning and true artistic camaraderie. Over the years, members have included painters, photographers, print-makers, sculptors and mixed media artists, all united by a passion for visual expression. One of the Society’s most anticipated traditions is its annual art exhibition at the Prince Henry Centre in Little Bay, a three‑day celebration of artistic diversity that attracts work from scores of local creatives. Held each year since 2010 with the support of Randwick City Council, these exhibitions have become a social highlight in the local cultural calendar, drawing visitors from across the Eastern Suburbs who come to admire the range and quality on display. But the Society’s impact goes beyond exhibitions. Throughout the year, RAS hosts workshops, demonstrations and social studio sessions, many of which take place at the historic Randwick Literary Institute. These gatherings are less about accolades and more about collaboration—a place for seasoned artists and beginners alike to share techniques, exchange ideas and find support in their creative journeys. In 2012, RAS took a significant step by joining the Combined Art Societies of Sydney (CASS), aligning itself with a wider network of visual arts organisations across the region. This affiliation has opened doors for members to exhibit in broader forums, participate in city‑wide art trails and engage in professional development opportunities. It’s a reminder that while RAS is deeply local, its influence resonates well beyond suburb boundaries. The Society also demonstrated resilience and adaptability during the challenges of the COVID‑19 pandemic. When in‑person events were curtailed, RAS launched initiatives such as the “Sketch A Day” online program, which encouraged members to create and share a piece of artwork each day. Not only did it keep artists connected, it sparked creativity and provided structure and inspiration at a time when routine and community were sorely missed. In 2022, RAS marked another milestone with the publication of The First Ten Years of the Randwick Art Society Inc., a richly illustrated account documenting its formation, growth and achievements. The publication not only celebrates the Society’s history but also stands as a testament to the passion and dedication of its community. As the Society continues to evolve, one thing remains constant: its commitment to encouraging creativity in everyone. The Art Room: 1 Darwin Ave, Little Bay (10-12pm every Friday) Randwick Literary Institute: 60 Clovelly Rd, Randwick (9-12pm every Monday) randwickartsocietyinc@gmail.com | randwickartsocietyinc.com

Discover how Sydney artist Rachel Rae transforms the beauty, movement and energy of the ocean into vibrant coastal artworks. To look at her paintings is to see into the very soul of Rachel Rae; a soul that is shaped by and at the service of the wide, beautiful sea. Her works are vivid and strong, painted with perceptible strokes, impressionistic but lively. “Bright, energetic and painterly,” Rae offers as a description. “I focus on movement, pattern and colour and also love how the loose marks and happy mistakes bring the works to life.” The ocean is always at the centre of her work, depicted in all its iterations of temperament and aesthetic: cold, brooding, vivacious, frisky, majestic. Rae’s creative instincts come care of her family genes. “Creativity was the family norm growing up — opera singers, dancers, painters, a harpist, designers, theatre makers, and my mum’s a ceramicist. I was always encouraged to pursue my passions, and creativity was always viewed as not only worthwhile but an essential life pursuit,” Rae tells Neighbourhood Media. The Melbourne born artist spent a lot of her youth exploring the rugged, stunning coastlines of Victoria along the famous Great Ocean Road. She eventually made the bold decision to move to Sydney. “I moved to Sydney from Melbourne thinking I would last 6 months yet 20 years later I’m still here!” says Rae. After establishing a career in the publishing industry she took time off to travel overseas. “Having the luxury of being away allowed my brain the space and time to imagine and play at bringing all my ideas to life,” says Rae. In 2018, Rae moved to Spain and it was here that her artistic practice truly came to fruition. Having freedom to create, imbuing rich cultural history, and being surrounded by stunning vistas were the catalysts for a focused new determination to pursue art. Rae returned to Sydney in 2020. While she continues to work in media, she prioritises time for her art, observing nature’s wonders and committing the images to canvas in her attic studio. With a home in the Eastern Suburbs, Rae is in close proximity to some of the country’s most beautiful beaches. “I’ve travelled all around the world, but nothing compares. We’re so incredibly lucky to have such a stunning coastline on our doorstep and I’m always in awe...Whenever I’m feeling jittery with life, a walk or a swim always puts me back on track.” While her paintings invariably feature some aspect of the ocean, they are far from repetitive. As an observer, Rae is inquisitive, discerning, analytical; her paintings reveal a fascination with movement and relationships. Each painting captures a moment in time, but not in a documentary sense — as with a photograph — but in a more ethereal, visceral sense. “The blues, the movement and the expansive energy of the coast,” Rae says, explaining why she loves painting the ocean. “It’s where we go to connect, enjoy life and recharge.” With their vivid colours and delightful scenes, Rae’s paintings are aesthetically pleasing and accessible. She also has a slew of awards to attest to their critical appeal. Rae has painted beach scenes all along the eastern coast; her works feature iconic vistas and landmarks such as the Byron Bay lighthouse; the coastal boardwalk near Bronte; Nielson Park baths; the Northern Beaches, and of course, the Eastern Suburbs beaches. “Painting for me is about immersing myself in those small, meaningful moments and living here gives me endless inspiration,” says Rae. A true local, Rae has a few favourite places she likes to visit for a bite, a brew or a dip. “Pool Café Maroubra for the views, Spanish Fly in the Spot Randwick for a taste of Spain, and ocean swims — Mahon Pool is a favourite.” Is there anything that could make life better? “I really wish my dog was allowed to join me on the beach…” www.rachelraeart.com.au Read More About Randwick HERE.

Royal Randwick Racecourse tipped to host major papal gathering as Sydney prepares for Pope Leo XIV to attend the International Eucharistic Congress 2028 More on Randwick Expectations are building for a historic papal visit to Sydney and Randwick in 2028, with Pope Leo XIV widely anticipated to attend the global International Eucharistic Congress. Scheduled to take place in Sydney during the spring of 2028, the congress is one of the Catholic Church’s largest international events, drawing pilgrims from across the world. While the Vatican has not yet released a final itinerary, indications strongly suggest the Pope will travel to Australia to preside over key celebrations, including a major closing mass. The event is expected to attract hundreds of thousands of attendees, with Royal Randwick Racecourse flagged as a likely venue for the large-scale gathering. Prime Minister Anthony Albanese formally extended an invitation in 2025, with church and government officials working closely on early planning. The visit would mark the first time a pope has travelled to Australia in two decades. Four previous papal visits (Pope Paul VI in 1970; Pope John Paul II in 1986 and again in 1995 when he beatified Mary MacKillop; Pope Benedict XVI for World Youth Day in 2008) featured an open mass at Royal Randwick. The World Youth Day mass drew an estimated record crowd of 400,000 to the racecourse. The 2028 visit has the potential to become one of the largest religious gatherings ever staged in Australia.

The Fascinating History Behind Australia’s Oldest Official Horse Racing Venue, Randwick Racecourse. By ALEC SMART More on Randwick Randwick Racecourse, Sydney's premier horse racing venue, has an extensive history as Australia’s oldest official venue for watching the ‘nags’ gallop along the ‘turf’. Land was designated for the course by Governor Bourke in January 1833. Featuring a 2,224-metre clockwise track with a 410-metre straight, Randwick began hosting races in June 1833. Randwick Racecourse Grandstand 1890 - State Library NSW However, it’s not the oldest continually-operating horse racing track in the Southern Hemisphere – that is the Champ de Mars Racecourse in Port Louis, Mauritius, which was inaugurated in June 1812. Horse racing has been a human pastime since horses were first domesticated. Chester Racecourse in Cheshire, England, is officially recognised by Guinness World Records as the "oldest racecourse still in operation". Historians believe organised horse racing in Chester began in 1539, although some sources give an alternative date of 1512 for Chester’s first races. Several other race tracks around Sydney pre-dated Randwick but ceased operating for a number of reasons. The most famous was Hyde Park Racecourse in the city centre, established in 1810 by officers of the 73rd Regiment. The 73rd was a British Army infantry unit that arrived with Governor Lachlan Macquarie that year to replace the notorious New South Wales ‘Rum’ Corps – the garrison behind the Rum Rebellion military coup. The 73rd Regiment introduced horse racing to Australia to encourage better breeding of equine livestock. Sydney’s first official racing event took place in 1810 over three days – 15, 17, 19 October - with a 50-guinea silver cup as a prize. It was won by won by ‘Gig’, a grey gelding ridden by William Charles Wentworth, the famous explorer who, along with Gregory Blaxland and William Lawson, were the first Europeans to trek across the Blue Mountains in 1813. Incidentally, according to the Australian Turf Club, for the inaugural race event “the grandstand was positioned in such a way that Mrs Macquarie did not get the sun in her eyes, and this is why we race clockwise in NSW.” Most other states - Victoria, South Australia, Tasmania and Western Australia (but not Queensland) – and indeed most other countries race horses in an anti-clockwise direction. Horses competing in different states of Australia must be able to adapt to this change of bearing. Britain also has a few clockwise courses, such as Ascot, widely considered the most famous and prestigious horse racing track in the world, with historic ties to the British Royal Family since its foundation in 1711. Randwick Racecourse 1873 - Illustrated Sydney News - State Library NSW Races took place at the Market Street end of Hyde Park, and although official meetings ended in 1821, Hyde Park as a racetrack effectively ceased operation in 1825, following a ban on official racing issued by then-Governor Thomas Brisbane. In December 1832, a group of prominent landowners, led by Irish immigrant John Jamison, a distinguished doctor and landowner, petitioned new Governor Richard Bourke for a portion of land in the area then-known as Coogee Hills to be set aside for development of a racecourse. A suitable site was chosen, which was visited and approved by Surveyor-General Thomas Mitchell and Colonial Secretary Edward Deas Thompson, and convict labour was utilised to clear the flora and prepare the ground. The new racecourse was close to a walking track that was known as ‘Mudbank’, an Aboriginal path that ran parallel to the coast through wetlands, sand dunes and forests through their historic hunting and fishing grounds. Traversing the territories of the Gadigal and Kamaygal clans, ‘Mudbank’ coursed from the southern edge of the burgeoning Sydney settlement to the fishing town of Booralee (named after the Indigenous word for the area, now replaced by the suburb of Botany) on the north shore of Kamay, which Captain Cook renamed Botany Bay. Mudbank path was widened to a road in 1813 and informally known as ‘Botany Rd’ from around 1840, and was eventually surveyed in 1863 and upgraded to a road sealed with macadam (stone dust mixed with water into a paste). It ran between the newly-emerging suburbs of Redfern at the northern end to Booralee in the south (both constituted 1859) and enabled market gardeners, oyster collectors, pig farmers and new cottage industries to transport their produce to the city. Part of this route came to be known as Corduroy Road, due to the ridges cut through swampy sections to facilitate drainage. The 202-acre site chosen for the earliest incarnation of Randwick Racecourse was initially known as ‘The Sandy Course’, because of its high volume of sand, due to its close proximity to Coogee Beach. Unfortunately, this loose terrain made it difficult to maintain, and because the district was sparsely populated and remote from the main settlement of Sydney, the track eventually deteriorated to the point it was unsafe for horses. For 20 years, between 1838-58, racing on the Coogee Hills’ track ceased altogether. Randwick Racecourse c1875 - photo by Bernard Holtermann - State Library NSW Randwick, whose name derived from a property owned by Simeon Henry Pearce, an English surveyor who arrived in Australia in 1841, was proclaimed as a Municipality on 22 February 1859. In 1858, the Australian Jockey Club (previously the Australian Race Committee, and now merged with the Australian Turf Club) decided to invest in Randwick Racecourse, which they subsequently chose as their headquarters. Until then, the AJC hosted races on William Wentworth’s land at Homebush (1841-1859). Randwick racetrack was upgraded to a high-standard course with fresh turf and the construction of a 700-seat grandstand and new running rails around the track. The first races were held on Weds 29 – Fri 31 May 1860, entertaining a crowd of over 6,000. The first Sydney Cup race was run in May 1866, the first Australian Derby in 1861 (which, in 1929, was won by the famous Phar Lap, a cultural icon that won 37 of 51 races, including the 1930 Melbourne Cup). Over the next decade, two new grandstands were erected (demolished and replaced by larger stands in the 1880s) and the original 700-seat stand was replaced in 1875 with a larger stand. In 1880, NSW Government Railways, which managed Sydney's steam-powered trams, constructed the network’s first extension to Alison Rd, Randwick, to cater to racegoers as well as service the community. By 1900 the popularity of the racecourse necessitated the construction of a new tram stop directly outside the stadium.

How Fred Hollows’ Legacy Continues to Shape Global Eye Health from His Randwick Roots More on Randwick Fred Hollows is one of Australia’s most iconic humanitarians — a name synonymous with vision, compassion and real-world impact. Best known for his groundbreaking work in restoring eyesight for the underprivileged around the globe, Hollows is also a local legend, with powerful ties to the Eastern Suburbs and Randwick where he lived, worked and left a lasting community legacy. Born Frederick Cossom Hollows in Dunedin, New Zealand on 9 April 1929, Hollows first considered a career as a minister before deciding to train in medicine. His path redirected towards ophthalmology following a transformative hospital experience, eventually prompting specialised study in England before moving to Australia in 1965. Upon his arrival in Sydney, Hollows became Associate Professor of Ophthalmology at the University of New South Wales, and chaired the eye departments at Prince of Wales and Prince Henry hospitals. It was from this base in the Eastern Suburbs that his humanitarian vision truly took shape—far beyond the university halls and clinical walls. In the 1970s, Hollows uncovered appalling rates of trachoma and other treatable eye diseases among Indigenous Australians, particularly in rural and remote communities. His passionate advocacy led to the establishment of the National Trachoma and Eye Health Program, which over three years visited more than 460 communities, examined tens of thousands of people and surgically treated countless cases of preventable blindness. Alongside this national work was his role in founding the Aboriginal Medical Service in Redfern, reflecting a broader commitment to health equity rather than short-term fixes. His approach was hands-on, community-focused and rooted in empowerment, training local health workers and ensuring communities could sustain improvements long after he had gone. Hollows’ influence was not limited to Australia. Overseas, he worked to reduce the costs of eye care in Nepal, Eritrea, Vietnam and beyond by training surgeons and setting up local production of affordable intraocular lenses. These innovations helped restore sight for people who otherwise would have faced a lifetime of blindness. Recognition for his work was significant in his lifetime and posthumously. He was named Australian of the Year in 1990, awarded the Companion of the Order of Australia, and received many national and international honors for his contributions to public health and human rights. Although Hollows died of cancer at his home in Randwick on 10 February 1993, his legacy lives on vividly in the suburb. The Fred Hollows Reserve, a beautiful pocket of rainforest gully nestled in the heart of Randwick, was named in his honour that same year. The reserve is a peaceful oasis and stands as a local tribute to a man whose vision extended far beyond his immediate surroundings. The establishment of The Fred Hollows Foundation in 1992 - just months before his death - ensured that his life’s work would continue. Today, the Foundation operates in more than 25 countries, restoring sight to millions and training countless eye care professionals to carry forward Hollows’ mission of affordable, accessible eye health for all. For residents of Randwick and the wider Eastern Suburbs, Fred Hollows is more than a name - he’s part of the community’s fabric: a reminder that local action can have global resonance, and that compassion combined with expertise can literally change how the world sees itself. Support the Fred Hollow’s Foundation at hollows.org/donate