
Commentator lost for words by a fart noise during Scottie Scheffler shot at The Open
Scheffler made headlines earlier in the week after delivering a stunning existential monologue ahead of the Open and insisted his golf career is 'not a fulfilling life'.
Perhaps those words were echoing around his mind after hearing the comical noise play out after his approach shot on the 17th hole at Royal Portrush.
In a bizarre moment caught live on air, Scheffler hit a stunning shot that landed beside the hole, however, while it was in flight, the fart noise was heard.
Commentators Andrew Cotter and his co-commentator were left stunned by the incident and, initially, just let out a confused: 'Oh!'
After a brief period of silence, the duo burst out into laughter before Cotter posed the question: 'What are you laughing about?'
As replays showed Scheffler's shot - which very nearly bounced into the hole - Cotter cheekily said: 'Just a little bit of wind from behind'.
Scheffler ended the opening day 3-under 68 at Royal Portrush, as he eyes the third leg of the career Grand Slam this weekend.
Earlier in the week, Scheffler caused concern after giving a brutally honest verdict on his feelings towards the sport currently.
'I think it's kind of funny,' he said at the beginning of an answer to a query about the longest he had spent celebrating a victory. He ended with a long hard, stare into an existential void.
'I said something after the Byron Nelson this year that it feels like you work your whole life to celebrate winning a tournament. It only lasts a few minutes, that kind of euphoric feeling. Then it's like, "okay, what are we going to eat for dinner?" Life goes on.
'Is it great to be able to win tournaments and to accomplish the things I have in the game of golf? Yeah, it brings tears to my eyes. But at the end of the day, what's the point?'
That was the stage when his answer began to escalate. 'This is not a fulfilling life,' he added. 'It's fulfilling from the sense of accomplishment, but it's not fulfilling from a sense of the deepest places of your heart.
'There's a lot of people that make it to what they thought was going to fulfil them in life, and you get there, you get to No 1 in the world, and they're like what's the point? I really do believe that because what is the point?
'Why do I want to win this tournament so bad? That's something that I wrestle with on a daily basis. It's like showing up at the Masters every year - why do I want to win this golf tournament so badly? Why do I want to win the Open Championship so badly? I don't know because, if I win, it's going to be awesome for two minutes.
'Then we're going to get to the next week, '"Hey, you won two majors this year - how important is it for you to win the FedExCup playoffs?" And we're back here again.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


The Sun
37 minutes ago
- The Sun
Man Utd transfer news LIVE: Barcelona AGREE Rashford deal, Mbeumo MEDICAL, AC Milan ‘want Hojlund'
MANCHESTER UNITED are in for a massive summer of transfers at Old Trafford! Barcelona have AGREED a deal to sign Marcus Rashford, who has been told he is surplus to requirements at Old Trafford. On the incomings, the Red Devils have now AGREED a deal for Brentford's 20-goal forward Bryan Mbeumo worth £65million. Elsewhere, AC Milan are reportedly interested in a move for striker Rasmus Hojlund.


The Guardian
an hour ago
- The Guardian
Manny Pacquiao v Mario Barrios: WBC welterweight championship
Update: Date: 2025-07-20T01:45:36.000Z Title: Bryan will be here shortly. Content: In the meantime here's Donald McRae's report from the heavyweight happenings at Wembley a few hours ago.


The Guardian
an hour ago
- The Guardian
Roger Norrington: a maverick, an irresistible firebrand and a musical visionary
The conductor Sir Roger Norrington, whose death was announced yesterday at the age of 91, remains still the maverick presence that classical music needs. His mission wasn't only to make us hear the repertoire we thought it knew through the prism of the techniques and playing styles of its time, rather than the ossifications of later traditions. He was also an irresistible firebrand in performance, whose energy wasn't only about inspiring his performers to get closer to the music they were playing, it was also an invitation to his audiences that their listening should be involved too. Norrington wanted everyone to feel the urgency of Beethoven's rhetorical power and rudeness, from the radiance of one of his favourite pieces, the Missa Solemnis, to the emetic contrabassoon in the finale of the Ninth Symphony, which was always the richest of raspberries in his performances and recordings. The Guardian's journalism is independent. We will earn a commission if you buy something through an affiliate link. Learn more. Haydn's symphonies, particularly, were pieces of participative performance art in Norrington's hands, in which his delight in sharing the radical humour and jaw-dropping discontinuities of the music was so evident. The conductor would turn round to his listeners - especially in the Prommers in the arena of the Royal Albert Hall in one of his 42 appearances at the Proms - to make sure we all realised just how weird and wonderful this music really was. The revelations of hearing Norrington's historically informed musical mission in action defined an era, along with his fellow iconoclasts, such as Nikolaus Harnoncourt, Christopher Hogwood and John Eliot Gardiner, all of whom founded ensembles of period instruments, like Norrington's London Classical Players, and took the lessons they had learnt therein to transform the sound world of modern instrument orchestras. Norrington's work with the Stuttgart Radio Symphony Orchestra is the sound of his later legacy in action, in Brahms, Berlioz, Tchaikovsky, and Elgar, as well as Beethoven and Mozart. But Norrington's distinctiveness was his unshakeable belief that there was a right way to play Beethoven – and a wrong one. He was also completely committed to his idea that the curse of vibrato was an aberration in performances of all music composed before the early 20th century, whether Bach to Mahler. While his vibrato-free performances brought astonishing moments – listen to the opening of the slow movement of Bruckner's sixth symphony, and connected music from across the centuries, it was an experiment that didn't catch on. Or at least it hasn't yet. Norrington's many crusades for the right tempo and textures in Beethoven's symphonies, for the clarity and directness of drama in Bach's Passions, for the transparency of sound world in Wagner and Debussy, have had repercussions across the whole of classical music, even with conductors and orchestras who might not think they're working under his influence. Norrington's decades-long mission to wean musical culture off the drug of vibrato may yet have its day. And his work remains fresh and thrilling. His Beethoven recordings with the London Classical Players - all the symphonies, and the piano concertos with Melvyn Tan, from the 1980s - are as impishly radical as ever. The paradox of Norrington's performances is that what seemed like austerity and ideology was in fact a generous invitation to re-hear the incendiary meanings and power of music that had been taken for granted for too long. Norrington was associated with what used to be called 'authenticity' in the performance of 17th, 18th, and 19th century repertoires. But he was too intelligent to believe that what he was doing was a mere restoration job or a return to a sound world of Mozart's or Beethoven's time - something that can never truly be recaptured. He wasn't a musician trying to return to the past. Instead he was going back to find a musical future. The sound of his recordings is the sound of the indelible imagination of all those composers he loved being released in all their rapier wit, sublimity and delirium into our time.