feeling

Manchester City head coach Enzo Maresca says the “feeling is fantastic” among his players and they “don’t care too much about the noise” surrounding the club after it was found guilty of the majority of the 115 charges brought against it by the Premier League.

The club’s international players returned to training on Thursday, nine days after the Premier League published a damning report that stated the club had used “sham” contracts to disguise secret funding of more than £830m.

BBC Sport reported this week that Maresca would address the players upon their return to domestic duty after news of the verdict broke while the majority of the squad were away with their respective nations.

It is understood the City head coach asked his players not to allow the crisis that has engulfed the club to affect their attitude and focus as the Premier League campaign gets back under way this weekend.

“The feeling is fantastic, to be honest,” Maresca said in an in-house interview when asked about the mood among his squad prior to their trip to face Liverpool on Sunday (16:30 BST).

“The players are excited for the next two games. But especially they are excited because in this moment we are top of the league. The players are just focused on that.

“They know what we can control is the football side – they are not worried at all about different things.

“They know their profession and they know that the noise is there, but they don’t care too much about the noise. They are just focused in this moment on how we can beat Liverpool and how, together with the fans, we can try to win in Anfield.”

Maresca added he felt “calm” and his squad trusts the club “completely”.

City have launched an appeal and have publicly maintained their innocence.

The private communication to those with links to the playing staff at City has been equally as emphatic, it is understood.

Speaking to Sky Sports, striker Erling Haaland echoed his manager’s sentiments, saying: “I care a lot about this place. I spent my first four years here, it’s a special place for us. I care a lot about City and the fans. I am a fan myself. I feel with them.

“The fans will have a good time on Sunday – we have to stick together. We have to stay with each other and stay positive. No matter what happens in life, we always have to smile. Stay positive, look ahead, and try to win football games and enjoy the situation.

“We have to stick together and spread the love to each other. Enjoy the ride and smile.”

A former contestant from The Great British Bake Off admitted ‘I did feel a bit sick’.

A contestant on The Great British Bake Off has revealed a moment that left him feeling “sick”.

The fan-favourite baking competition has returned to Channel 4, with 12 amateur bakers hoping to impress Paul Hollywood and new judge Nigella Lawson, who has replaced Dame Prue Leith.

In the first episode of this series, the bakers were tasked with making Nigella’s stout cake and a self-portrait showstopper, and despite two creations collapsing onto the floor, no one was sent home after contestant Shannon had to quit the challenge halfway through on medical advice.

Ahead of biscuit week tonight, Tuesday 29 September, one contestant has recalled his own experience on the show. Howard Middleton took part in the fourth series back in 2013, but was devastatingly sent home during week six.

He’s now revealed that before filming even began, there was a moment that left him feeling sick. Speaking on behalf of Smooth Spins, Howard shared his first impression of the famous white tent.

He said: “It’s interesting because you get two shots of it. So, we were ferried from the hotel to the tent in a little minibus, and you just see the tent emerging from the minibus, and it’s at that point you sort of think, ‘Oh God, I feel a bit sick!’ That’s when it starts to feel real.

“When you actually go into the tent the first time, you get a tour, where someone explains how the ovens work and the hobs and everything around the kitchen. I just remember thinking that I hadn’t understood a word that you’d just said because I was so in awe of actually being in the tent.

“Even after the explanation, I still kept having to ask how to work the oven and the hob afterwards. It’s very overwhelming, and I did feel a bit sick.”

He went on to talk about meeting his fellow bakers, revealing they only met the night before. Howard continued: “Obviously we’ve all gone through the audition process, and you’ve met certain people along the way, but it’s not until the night before you actually start filming that you know who’s got into the tent. It may be that you’ve met one or two of them, or you remember seeing them during the auditions, but most of the time they’re strangers, really.

“On the first night when you meet everyone, you can make up your mind about them. Sometimes people can be very loud if you are out for dinner or something, and you start to understand what they will be like in the tent.”

After their first impressions of each other, Howard shared that the bakers did spend time together when the cameras stopped rolling, though he admitted that his time on the show was likely different to now. Back then, the contestants stayed in a hotel further from the tent, whereas he claimed that now, due to security reasons, they stay much closer.

He went on: “And the security is much tighter than it was. We were free to go out for meals together in the evening, although, to be perfectly honest, you’re so tired by the time you’ve finished a day of filming that you really don’t want to socialise that much.

“We also realised that those of us who would be catching up at the hotel bar late at night – none of us made it through to the finals! So if there’s a lesson to be learned, it’s don’t go out the night before!”

The Great British Bake Off continues tonight at 8pm on Channel 4

She has been left with scars and missing teeth

A woman has been left with no feeling in her face after shattering her jaw in an accident while on holiday..

Tia Lockey was at the start of a dream trip through Asia when she was involved in a motorbike accident. The 22-year-old waved goodbye to her friends after volunteering to go first down to a remote beach.

Tia can now only remember the first few minutes of the journey before waking up on the jungle floor, concussed and in agonising pain. “My dream trip I had been planning for years had been stripped away from me because of a lift to the beach,” said Tia from Durham.

“I opened my eyes and I was on the floor in the jungle of Koh Tao, in the middle of nowhere covered in blood. I didn’t and still don’t remember the crash at all; it’s completely wiped from my memory. I definitely mourn the life I used to have.”

The marketing worker had organised a trip down to the beach in Koh Tao, Thailand in the early hours of the morning of March 14. A fellow traveller offered to take them down one by one as the ride would only take 10 minutes – and thinking nothing of it, Tia went first.

However, shortly after they had set off, they were involved in a horrific crash. Tia said: “My friend thought something must’ve been up and she had a bad feeling since the driver was meant to go back for her next but he still hadn’t come.

“Luckily I had shared my live location with her that night so she followed it and found me with all of my injuries. An ambulance came and the hospital told me I had shattered my jaw in two places, knocked two teeth out, and had very deep wounds on my face. I needed to be emergency speed-boated to a hospital in Koh Samui which was around three hours away.”

Tia was rushed to the hospital with her face completely bandaged up due to the gaping wounds on her upper lip, forehead, left eye, chin and scalp. For the next two weeks she was bedridden in hospital with her mouth wired shut following her jaw surgery.

The 22-year-old then returned back home to the UK as another jaw surgery was required. She said: “I needed to have another jaw surgery in May. I couldn’t chew for four months and because my jaw was so severely broken, they described it as cornflake bits, when I woke up from the eight hour surgery my teeth and bite were completely different.

“They no longer touched at the front, so I was left with an open bite and they said that this will just be my teeth from now on and there’s not a lot they can do to fix them. So now I struggle to eat anything with my front teeth.”

The crash completely changed Tia’s life, leaving her with crippling insecurities that stopped her from leaving the house. On top of the scars and teeth damage, nerve damage to her bottom lip and chin left them completely numb

.

Tia said: “I struggled a lot with going out and about with friends and family because I was so insecure about my teeth and scars. If I’m eating or brushing my teeth for example and I was to get toothpaste or food on my chin I would have no idea.

“My sisters have to give me a heads up when we’re out. I’m still being seen by the hospital for regular appointments and I still have missing teeth. I am hoping to finally have them fixed by the end of the year.

“My confidence and mood plummeted massively, there didn’t seem to be an end to my recovery.” S ix months on from the crash Tia has finally started to adjust to the changes.

Documenting her recovery journey has given her a new found purpose. Tia said: “It has also made me realise just how precious life is and never to take a single day for granted.

“I thought posting about it on TikTok would give me a purpose during recovery and it turned it into something more positive. The response I’ve received is just so overwhelming in the best way and I massively appreciate all the support and love I’ve been getting from everyone.

“I just hope it reminds people to stay safe, even when you feel invincible, because you never think it will happen to you until it does, and unfortunately I’m still paying the price for it.”

“Heartwarming” is a cliche of theater reviewing that I have studiously tried to avoid, but I’m tempted to use the word in my review of “Begin Again,” the new musical based on the 2013 John Carney romantic comedy about two dreamers trying to rekindle the love of making music that the industry nearly destroyed.

The show, which is having its world premiere at the Old Globe’s Donald and Darlene Shiley Stage, is just so damn heartwarming that I can’t help but resort to the language of blurbs. But let the ticket buyer beware: Heartwarming is a feeling, not a complete verdict.

Featuring a book by Jenna Clark Embrey and Molly Beach Murphy and a score by Pat Monahan and his bandmates from Train (Jerry Becker and Matt Musty), “Begin Again” does a pretty good job of distilling and updating the movie. Carney’s film, notable mostly for the vibrantly gritty New York setting, the Oscar-nominated song “Lost Stars” and the lived-in performance of Mark Ruffalo, couldn’t help languishing in the shadow of the filmmaker’s breakout hit “Once,” which later became a Tony-winning musical.

“Begin Again” the musical is likely to suffer a similar fate. It lacks the quirky originality that made “Once” an unexpected Broadway juggernaut. But the new show, directed by Lorin Latarro and choreographed by David Neumann, has heart — there I go with that overused word again!

I succumbed to the show’s charms despite being aware that the comedy isn’t as freshly articulated as it should be and the music, while exuberant, doesn’t seem to emanate from the soul of Gretta, a reworked American version of the singer-songwriter character indifferently played by Keira Knightley in the movie.

Emma Busse as Gretta, center left, and Kevin William Paul as Max with the cast of “Begin Again.”

(Jeff Lorch)

Gretta relates to her songs as though she were the next Joni Mitchell, but the new material she’s composing on the fly with her new friends doesn’t seem particularly intimate or revealing. I liked the indie rock sound, but mostly for the collaborative liftoff. Lyrically, I wasn’t drawn in. But who could resist the ecstatic momentum of her ad hoc band members buying into her grassroots dream?

Gretta, played with folksy innocence by Emma Busse, has traveled to New York from Pennsylvania with her boyfriend Max (Kevin William Paul). A musician with frontman good looks, he’s about to be packaged into a rock star. Gretta’s songwriting has paved the way for this opportunity, but Max is told that he’s being signed as a singer-songwriter and sharing credit is a deal-breaker.

Selfless, naive Gretta gives Max her blessing and her rights, and almost immediately he betrays her with another woman. Perhaps even more disloyally, he allows his producers to run her song “Don’t Let Go” through a pop blender that drains it of all its personal meaning and artistic integrity.

Alone in the big city, she takes refuge at the Queens apartment of college friend Stevie (Casey Whyland), formerly Steve in the movie, the comic sidekick role played by James Corden. Stevie, conveniently, is a sound engineer with an analog heart. She’s not only how Dan (an electric Patrick Heusinger), a washed-up music executive with a broken marriage and a drinking problem, discovers Gretta. But without Stevie’s technical ingeniousness, the prospect of recording an album in outdoor New York locations would never have been possible.

The professional meet-cute between Gretta and Dan happens at an open-mic night at a dive. Stevie calls a heartbroken Gretta to the stage to perform, and she reluctantly complies before giving up in embarrassment. She thinks she’s bombed, but Dan, who has “magic ears,” hears what the song could be.

Patrick Heusinger as Dan, left, and Adrienne Walker as Miriam with the cast of “Begin Again.”

(Jeff Lorch)

Just as Dan glimpses Gretta’s raw potential, she sees his lost purpose, and the two launch a mutual rescue mission. He brings Gretta to meet Saul (Nik Walker), who co-founded Distressed Records with him and just fired him for his erratic behavior. Saul doesn’t have Dan’s ability to spot future talent, but he agrees to give the singer a listen if they cut a demo. And so off Dan and Gretta go, with no budget, to make memorable music together.

Friends are their main resource — and that proves an inexhaustible boon. “Begin Again” really comes alive as Gretta, Dan and their expanding, can-do music network starts pooling its expertise.

You can hear the songs germinating from lonely inspiration to group transformation — and the sound is exhilarating. The process of songwriting, rather than being a solitary slog, is a collective joy, rapturously captured in the number “Write a Way.” And “Twilight Summer Sky,” the number performed on the rooftop of Stevie’s apartment building in Queens, represents perhaps the fruit of all the group’s effort.

“Begin Again” is a musical fantasy, not a work of realism. Gretta and Dan are seemingly brought together by fate to heal one another. As they separately go about their business in New York before they’re introduced, they continually pass like ships in the night in a New York that scenic designer Derek McLane summons in a shifting comic-strip landscape of high-rises that gives the city an industrial quaintness.

The action rewinds from Gretta and Dan’s initial meeting at the bar, and later fast–forwards to speed up some of the more boring bits of the album-writing process. The ensemble moves backward and forward with these narrative jump-cuts.

This literalness can seem overly cute. (I prefer the idiosyncratic yet fully integrated movement direction Steven Hoggett brought to John Tiffany’s Broadway production of “Once.”) But Latarro’s staging and Neumann’s choreography keep the storytelling moving at a pleasantly brisk clip. And Skylar Fox’s illusion design adds an element of visual sorcery.

The cast of “Begin Again.”

(Jeff Lorch)

It’s the actors, however, who elevate the material, supplying a depth of feeling where the writing offers something more general. Heusinger makes it possible to leave Ruffalo’s fine portrayal behind. This is a different and more dynamic Dan, at least in terms of the musical demands placed on the character. Paul’s Max is every bit a rock star, but Dan is convincing as both a burned-out music mogul with a self-sabotaging streak and a gifted artist in his own right who just needs someone to believe in his producing instincts again.

Adrienne Walker, who plays Miriam, Dan’s estranged wife, and Charlotte MacLeod, who plays Violet, Dan’s disaffected daughter, endow their characters with more lineaments than the book provides. Walker’s Saul doesn’t do what Yasiin Bey managed in the movie — make Distressed Records seem like a real New York record company — but his singing compensates for some of the clumsier aspects of his reduced role.

Whyland’s Stevie, serving as emcee when the occasion calls for one, combines genuine camaraderie with comic relief. The gender switch makes sense, and Whyland embodies the spirit of artistic cooperation that makes “Begin Again” such an invigorating experience.

I wish that the musical didn’t amplify Gretta’s artistic insecurities and distress over the breakup with Max. The character seems less self-assured and more wounded than she did in the movie, making her fervently held idealistic beliefs about creative independence seem borrowed from another character. But Busse brings an American innocence to the role, and her ardor about music and community seems genuine.

“Begin Again” transcends its limitations through the kinetic connection of the cast. When all the elements of the music come together, a triumphant feeling — call it uplift — charges the air.

Nearly every summer, Tove Lo finds herself itching for a change.

Typically, the sweltering season will prompt the Swedish singer-songwriter to do something new, like dye her hair black or switch up her personal style. But even in the midst of this annual metamorphosis, she tends to find her way back to the same place: a small Swedish fishing village called Torekov.

Between recovering from her first heartbreak and overcoming burnout from her debut album “Queen of the Clouds,” the remote town has offered her a seaside refuge ever since childhood. Yet, with the making of her latest studio album “Estrus,” Torekov officially solidified itself as a mainstay in the singer’s artistic process.

“It’s kind of an emotionally triggering place for me, both good and bad,” Lo said, as she sank farther into the booth at Thai Angel on a humid August afternoon. “I needed a second to be in a place without distractions, where I’m more like a person than an artist … It almost offers a creative force field that I need to enter every process now.”

Torekov, as Lo describes it, is what the neighborhood in “‘The Truman Show’ is like before they hit record.” It’s somewhat of an idyllic place where the seashore is lined with wooden houses; sheep graze along the grassy cliffsides and residents wander around the shops in bathrobes and clogs, right after their morning swims.

However, when Lo visited during the off-season, its emptiness was “ominous” — unintentionally stirring her inner want to cause chaos. In true Tove Lo fashion, the surrounding serene village made her turn to the familiar sounds of heavy club electronica, further building on the contradictory ethos that comprises “Estrus.”

“Every song feels different. It’s like every feeling I’ve ever felt condensed into 13 songs,” Lo said, in between sips of her iced tea. “[Listeners] are getting this horny, rolly, aggressive bass line, and these super intimate, knife-to-the-heart kind of emotions in a very intimate way. I feel like they’re going to be emotionally exhausted.”

Under the dim red light of the Koreatown bar, the singer exuded an air of comfort, as she’s somewhat of a Thai Angel regular. The Swede, who’s lived in L.A. for nearly a decade, hosts a secretive, recurring party at the bar called SOUP. Usually the bar is a rowdy reprieve filled with sweaty bodies and pounding bass lines, with Lo situated behind the DJ decks. But on that Monday afternoon, hours before the bar opens, she had the place almost entirely to herself.

Tove Lo outside Thai Angel, a Koreatown bar where she hosts a recurring party.

(Jason Armond / Los Angeles Times)

With only the swirling sounds of an overhead air conditioning vent to cloud her thoughts, she explained that, at the beginning, “Estrus” was bogged down by an unprecedented wave of writer’s block. The singer had initially tried to get a head start on her sixth studio album at home in Los Angeles, but she felt a new kind of pressure hanging over her head.

“I had this feeling that this is my sixth album and I had something to prove, like I needed to have a message or some kind of advice,” Lo said.

She credits the newfound tension to her career’s longevity. The 38-year-old, raised in the suburbs of Stockholm, got her start in music as a songwriter in the early 2010s, earning credits on tracks including Ellie Goulding’s “Love Me Like You Do” and Lorde’s “Homemade Dynamite.”

She gave in to her pop-star ambitions in 2014, with the release of her debut album, “Queen of the Clouds.” The record featured her breakout hit “Habits (Stay High),” which details her getting the munchies, throwing up in a tub and going to sex clubs to get over a heartbreak. Lo said she likes to think that, with the early success of the rebellious anthem, she was “very clear from the start.”

“I’m a hot mess,” Lo remarked, between laughs. “Here you go.”

Since then, she’s continued to develop her raw pop sound by collaborating with DJs like Flume and SG Lewis, while adding to her library of cult-classic tracks like “disco tits” and “Glad He’s Gone.” But at this point in her career, she said it also felt like she “should’ve had all the answers” by now.

“I had this idea that I had to prove that I had become a better, bigger person,” Lo said. “But I’m just the same f— messy girl.”

And the sound of “Estrus” follows suit. Immediately, the opening song, “a lot of feelings, no solutions,” hits listeners with a punchy bass line and blatant lyrics about having no advice to offer. Throughout the 13-track record, she flip-flops between being vulnerable and playful while also being hedonistic and making sacrifices. For example, on “the bad one,” she takes accountability for being a “problematic” partner over staccato percussion and a cinematic synth, while also being grateful she got out of the relationship. Similarly, on “F.A.M.T,” she leans into her avoidant tendencies on top of a choir of high-pitched cyber chimes and resorts to sexual endeavors instead of looking inward.

Tove Lo is set to perform at the Greek Theatre on September 27 as part of the Estrus tour.

(Jason Armond / Los Angeles Times)

“We suppress a lot to be respectful to other people, and there’s nothing bad in that,” Lo said. “But if you never let your vices drive you for a night or a day, I think you’ll go absolutely crazy. You just need to have moments where you don’t think about the consequences. Just be hedonistic for a second. Indulge.”

Like much of Lo’s music, the new project, named after a female mammal in heat, is centered around the age-old tension between the body and mind. On her previous album “Dirt Femme,” released in 2022, she opened up about being unsure if she wants children, while denouncing the societal expectations that come with being a married woman.

And it’s still something she’s trying to figure out on “Estrus.” The album’s final track, “source of life,” offers up a mantra of contradicting adjectives like “feral,” “euphoric” and “fragile,” while questioning if she ruined her chances of motherhood by “partying late.”

“My body [says] well, maybe we should just have like one baby, and my mind is like, absolutely not,” said Lo. “I don’t know who’s gonna win. But I do feel like I’m in the final boss of adventures.”

By the end of “Estrus,” it’s apparent that the tug-of-war between her body and mind isn’t over. And she’s not sure if there will be a resolution. It’s still an ongoing battle — and it’s precisely what Lo says she was aiming for.

“There’s no good advice on this album,” she playfully reiterated. “Just don’t ask me.”