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Mercury Prize
(Redirected from 1992 Mercury Prize)
The Mercury Prize, formerly called the Mercury Music Prize, is an annual music prize awarded for the best album released in the United Kingdom by a British or Irish act.[1] It was created by Jon Webster and Robert Chandler in association with the British Phonographic Industry and British Association of Record Dealers in 1992 as an alternative to the Brit Awards. The prize was originally sponsored by Mercury Communications, a brand owned by Cable & Wireless,[2] from which the prize gets its name. It was later sponsored by Technics[3] (1998 to 2001), Panasonic[2] (2002 and 2003), Nationwide Building Society (2004 to 2008) and Barclaycard (2009–14).[4][5] The 2015 prize was sponsored by the BBC,[5] while in 2016 it was announced that a three-year deal had been struck with Hyundai to sponsor the event.[6]
The Mercury Prize logo
Awarded for
Best album from the United Kingdom or Ireland
First awarded
1992; 30 years ago (1992) (as Mercury Music Prize)
mercuryprize.com
Any album released by a British or Irish artist, or by a band where over 50% of the members are British or Irish, may be submitted for consideration by their record label. Twelve submitted albums are shortlisted for the prize, chosen based solely on their musical merit and irrespective of how popular or successful an album or act that has been submitted may have been in the previous calendar year. The shortlist is chosen by an independent panel of musicians, music presenters, music producers, music journalists, festival organisers, and other figures in the music industry in the UK and Ireland.[1][7][8] The prize is open to all types of music, including pop, rock, folk, urban, grime, dance, jazz, blues, electronica and classical. Presentation of the awards usually takes place at an Awards Show in October, after the shortlist is announced at the Album of the Year Launch in September. It is often observed that bands whose albums are shortlisted, or win the prize, experience a large increase in album sales, particularly for lesser known acts.[9] Each shortlisted artist receives a specially commissioned 'Albums of the Year' trophy at the Awards Show. Unlike some other music awards, the overall winner of the Mercury Prize also receives a cheque; in 2017, the prize money was £25,000. The winner also receives an additional winner's trophy.[1]
To date, PJ Harvey is the only artist to have won the award on more than one occasion (in 2001 and 2011). She was also the first female solo artist to receive the award. Alex Turner has received five nominations as a member of Arctic Monkeys and The Last Shadow Puppets, winning once. Thom Yorke has 6 nominations, 5 with Radiohead and one for The Eraser, but has never won.[10]
2 Winners and shortlisted nominees
3 Artists with multiple wins
4 Artists with multiple nominations
ReputationEdit
The Mercury Prize can have a considerable effect on sales for those artists who are shortlisted. Elbow saw a 700% sales increase of their album The Seldom Seen Kid after winning the Prize in 2008.[11] In their winner's speech, Elbow's frontman Guy Garvey said that winning the Mercury Prize was 'Quite literally the best thing that has ever happened to us'.[12][13] Similarly, sales of The xx's winning album rose by 450% the day after they won the 2010 Mercury Prize[14][15] and 2013 winner James Blake saw a 2,500% sales increase on Amazon after he was announced as the winner of the 2013 Mercury Prize.[16][17] 2011 winner PJ Harvey's album Let England Shake jumped from number 181 to 24 in the UK official charts the week after the 2011 Awards Show.[18]
Despite being regarded by many as highly prestigious, it has been suggested that having an album nominated for or winning the Mercury Prize could be a curse on a career in music.[19][20]
In 2001, the band Gorillaz requested that their eponymous debut album be withdrawn from the shortlist, with cartoon bassist Murdoc Niccals saying that winning the award would be "like carrying a dead albatross round your neck for eternity".[21][22]
All genres of music are eligible for entry, and it is stated that all are treated equally, with only the music on the album being taken into account.[1] Simon Frith, chair of the Mercury Prize judging panel, has said that albums are chosen because they are the "strongest" each year, rather than according to genre.[23] However, the presence of classical, folk and jazz recordings has been cited by some as anomalous, arguing that comparisons with the other nominees can be invidious.[24] Classical acts to have an album nominated have included Sir John Tavener, Sir Peter Maxwell Davies, Gavin Bryars and Nicholas Maw. None has ever won, and there has not been a shortlisted classical album since 2002.
The Mercury Prize also has a reputation for being awarded to outside chances rather than the favourites.[25][26] The 1994 award winner was Elegant Slumming by the pop act M People, which some felt was a controversial decision considering the shortlist included popular albums from Britpop figureheads Paul Weller, Blur and Pulp, and electronica band The Prodigy.[27][28][29]
Other music journalists critical of the awards stated that the 2005 award should not have been given to Antony and the Johnsons for their album I Am a Bird Now as, although they are British-born and therefore eligible for the Prize, the band were based in the United States.[30][31] In 2006, Isobel Campbell's collaboration with Mark Lanegan, Ballad of the Broken Seas, was included in the shortlist, despite Lanegan being American, as the album was eligible due to Campbell's British citizenship, while Guillemots, whose album was also shortlisted in 2006, contained band members from Brazil and Canada, although the majority were from the UK.[32]
Current eligibility criteria state that all albums must be available to buy as a digital release in the UK.[1] In September 2013, My Bloody Valentine vocalist and guitarist Kevin Shields expressed concerns about the award in an interview with The Guardian, accusing the Mercury Prize's organisers of "banning" the band's self-released album, m b v, from the shortlist nominations and addressing the nomination criteria, which he claimed branded the album "virtually illegal".[33]
It has also been noted that heavy metal has been overlooked by the prize. A 2013 article by Vice on the Mercury Prize said "Metal certainly never gets a look-in, not even on the official entry information form: 'The Prize is open to all types of music, including pop, rock, folk, hip-hop, R'n'B, dance, soul, jazz, blues, electronica, classical…'"[34] The only metal record that has ever been nominated for the Mercury Prize is Troublegum by Therapy? in 1994. In 2011, Mercury chair of judges Simon Frith said "[Metal] is a niche that a lot of people don't listen to."[35] In 2011, The Guardian music critic Alexis Petridis agreed that the Mercury Prize underrepresented heavy metal, but argued that this actually benefitted the genre because "At least part of metal's appeal is its outsider status."[36]
Winners and shortlisted nomineesEdit
Shortlisted nominees
Ref(s)
(1st) Primal Scream – Screamadelica
Barry Adamson – Soul Murder
Erasure – Chorus
Jah Wobble's Invaders of the Heart – Rising Above Bedlam
The Jesus and Mary Chain – Honey's Dead
Bheki Mseleku – Celebration
Saint Etienne – Foxbase Alpha
Simply Red – Stars
U2 – Achtung Baby
John Tavener and Steven Isserlis – The Protecting Veil
Young Disciples – Road to Freedom
(2nd) Suede – Suede
Apache Indian – No Reservations
The Auteurs – New Wave
Gavin Bryars – Jesus' Blood Never Failed Me Yet
Dina Carroll – So Close
East 17 – Walthamstow
PJ Harvey – Rid of Me
New Order – Republic
Stereo MCs – Connected
Sting – Ten Summoner's Tales
Stan Tracey – Portraits Plus
(3rd) M People – Elegant Slumming
Blur – Parklife
Ian McNabb – Head Like a Rock
Shara Nelson – What Silence Knows
Michael Nyman – The Piano Concerto/MGV
Primal Scream – Give Out But Don't Give Up
The Prodigy – Music for the Jilted Generation
Pulp – His 'n' Hers
Take That – Everything Changes
Therapy? – Troublegum
Paul Weller – Wild Wood
(4th) Portishead – Dummy
Guy Barker – Into the Blue
The Boo Radleys – Wake Up!
Elastica – Elastica
PJ Harvey – To Bring You My Love
Leftfield – Leftism
James MacMillan – Seven Last Words from the Cross
Van Morrison – Days Like This
Oasis – Definitely Maybe
Supergrass – I Should Coco
Tricky – Maxinquaye
(5th) Pulp – Different Class
Artists for War Child – Help
Black Grape – It's Great When You're Straight... Yeah
Peter Maxwell Davies/BBC Philharmonic – The Beltane Fire / Caroline Mathilde
Manic Street Preachers – Everything Must Go
Oasis – (What's the Story) Morning Glory?
Courtney Pine – Modern Day Jazz Stories
Underworld – Second Toughest in the Infants
Norma Waterson – Norma Waterson
(6th) Roni Size & Reprazent – New Forms
The Chemical Brothers – Dig Your Own Hole
Beth Orton – Trailer Park
Primal Scream – Vanishing Point
The Prodigy – The Fat of the Land
Radiohead – OK Computer
Spice Girls – Spice
Suede – Coming Up
John Tavener – Svyati
Mark-Anthony Turnage – Your Rockaby
(7th) Gomez – Bring It On
4hero – Two Pages
Asian Dub Foundation – Rafi's Revenge
Eliza Carthy – Red Rice
Catatonia – International Velvet
Cornershop – When I Was Born for the 7th Time
Massive Attack – Mezzanine
Propellerheads – Decksandrumsandrockandroll
Pulp – This Is Hardcore
John Surman – Proverbs & Songs
The Verve – Urban Hymns
Robbie Williams – Life thru a Lens
(8th) Talvin Singh – Ok
Thomas Adès – Asyla
Denys Baptiste – Be Where You Are
Black Star Liner – Bengali Bantam Youth Experience!
Blur – 13
The Chemical Brothers – Surrender
Faithless – Sunday 8PM
Manic Street Preachers – This Is My Truth Tell Me Yours
Beth Orton – Central Reservation
Kate Rusby – Sleepless
Stereophonics – Performance and Cocktails
Underworld – Beaucoup Fish
(9th) Badly Drawn Boy – The Hour of Bewilderbeast
Richard Ashcroft – Alone with Everybody
Coldplay – Parachutes
M. J. Cole – Sincere
Death in Vegas – The Contino Sessions
The Delgados – The Great Eastern
Doves – Lost Souls
Helicopter Girl – How to Steal the World
Leftfield – Rhythm and Stealth
Nicholas Maw – Violin Concerto
Nitin Sawhney – Beyond Skin
Kathryn Williams – Little Black Numbers
(10th) PJ Harvey – Stories from the City, Stories from the Sea
Basement Jaxx – Rooty
Elbow – Asleep in the Back
Goldfrapp – Felt Mountain
Gorillaz – Gorillaz (nomination withdrawn at the request of the band)[44]
Ed Harcourt – Here Be Monsters
Tom McRae – Tom McRae
Radiohead – Amnesiac
Susheela Raman – Salt Rain
Super Furry Animals – Rings Around the World
Turin Brakes – The Optimist LP
Zero 7 – Simple Things
(11th) Ms. Dynamite – A Little Deeper
Guy Barker – Soundtrack
The Bees – Sunshine Hit Me
David Bowie – Heathen
The Coral – The Coral
Doves – The Last Broadcast
The Electric Soft Parade – Holes in the Wall
Gemma Hayes – Night on My Side
Beverley Knight – Who I Am
Roots Manuva – Run Come Save Me
Joanna MacGregor – Play
The Streets – Original Pirate Material
(12th) Dizzee Rascal – Boy in da Corner
Athlete – Vehicles and Animals
Eliza Carthy – Anglicana
Coldplay – A Rush of Blood to the Head
The Darkness – Permission to Land
Floetry – Floetic
Soweto Kinch – Conversations with the Unseen
Lemon Jelly – Lost Horizons
The Thrills – So Much for the City
Martina Topley-Bird – Quixotic
Radiohead – Hail to the Thief
Terri Walker – Untitled
(13th) Franz Ferdinand – Franz Ferdinand
Basement Jaxx – Kish Kash
Belle & Sebastian – Dear Catastrophe Waitress
Jamelia – Thank You
Keane – Hopes and Fears
Snow Patrol – Final Straw
Joss Stone – The Soul Sessions
The Streets – A Grand Don't Come for Free
Ty – Upwards
Amy Winehouse – Frank
Robert Wyatt – Cuckooland
The Zutons – Who Killed...... The Zutons?
(14th) Antony and the Johnsons – I Am a Bird Now
Bloc Party – Silent Alarm
Coldplay – X&Y
Hard-Fi – Stars of CCTV
Kaiser Chiefs – Employment
KT Tunstall – Eye to the Telescope
M.I.A. – Arular
Maxïmo Park – A Certain Trigger
Polar Bear – Held on the Tips of Fingers
Seth Lakeman – Kitty Jay
The Go! Team – Thunder, Lightning, Strike
The Magic Numbers – The Magic Numbers
(15th) Arctic Monkeys – Whatever People Say I Am, That's What I'm Not
Isobel Campbell and Mark Lanegan – Ballad of the Broken Seas
Editors – The Back Room
Guillemots – Through the Windowpane
Richard Hawley – Coles Corner
Hot Chip – The Warning
Muse – Black Holes & Revelations
Zoe Rahman – Melting Pot
Lou Rhodes – Beloved One
Scritti Politti – White Bread Black Beer
Sway – This Is My Demo
Thom Yorke – The Eraser
(16th) Klaxons – Myths of the Near Future
Arctic Monkeys – Favourite Worst Nightmare
Basquiat Strings with Seb Rochford – Basquiat Strings
Bat for Lashes – Fur and Gold
Dizzee Rascal – Maths + English
Maps – We Can Create
New Young Pony Club – Fantastic Playroom
Fionn Regan – The End of History
Jamie T – Panic Prevention
The View – Hats Off to the Buskers
Amy Winehouse – Back to Black
Young Knives – Voices of Animals and Men
(17th) Elbow – The Seldom Seen Kid
British Sea Power – Do You Like Rock Music?
Burial – Untrue
The Last Shadow Puppets – The Age of the Understatement
Laura Marling – Alas, I Cannot Swim
Neon Neon – Stainless Style
Robert Plant & Alison Krauss – Raising Sand
Portico Quartet – Knee Deep in the North Sea
Radiohead – In Rainbows
Rachel Unthank and the Winterset – The Bairns
(18th) Speech Debelle – Speech Therapy
Bat for Lashes – Two Suns
Florence and the Machine – Lungs
Friendly Fires – Friendly Fires
Glasvegas – Glasvegas
Lisa Hannigan – Sea Sew
The Horrors – Primary Colours
The Invisible – The Invisible
Kasabian – West Ryder Pauper Lunatic Asylum
La Roux – La Roux
Led Bib – Sensible Shoes
Sweet Billy Pilgrim – Twice Born Men
(19th) The xx – xx
Corinne Bailey Rae – The Sea
Biffy Clyro – Only Revolutions
Dizzee Rascal – Tongue n' Cheek
I Am Kloot – Sky at Night
Kit Downes Trio – Golden
Laura Marling – I Speak Because I Can
Mumford & Sons – Sigh No More
Villagers – Becoming a Jackal
Paul Weller – Wake Up the Nation
Wild Beasts – Two Dancers
(20th) PJ Harvey – Let England Shake
James Blake – James Blake
Anna Calvi – Anna Calvi
Elbow – Build a Rocket Boys!
Everything Everything – Man Alive
Ghostpoet – Peanut Butter Blues & Melancholy Jam
Katy B – On a Mission
King Creosote & Jon Hopkins – Diamond Mine
Metronomy – The English Riviera
Gwilym Simcock – Good Days At Schloss Elmau
Tinie Tempah – Disc-Overy
(21st) alt-J – An Awesome Wave
Django Django – Django Django
Field Music – Plumb
Richard Hawley – Standing at the Sky's Edge
Ben Howard – Every Kingdom
Michael Kiwanuka – Home Again
Lianne La Havas – Is Your Love Big Enough?
Sam Lee – Ground of its Own
The Maccabees – Given to the Wild
Plan B – ill Manors
Roller Trio – Roller Trio
Jessie Ware – Devotion
(22nd) James Blake – Overgrown
David Bowie – The Next Day
Jake Bugg – Jake Bugg
Disclosure – Settle
Foals – Holy Fire
Jon Hopkins – Immunity
Laura Marling – Once I Was an Eagle
Laura Mvula – Sing to the Moon
Rudimental – Home
Savages – Silence Yourself
Villagers – {Awayland}
(23rd) Young Fathers – Dead
Damon Albarn – Everyday Robots
Bombay Bicycle Club – So Long, See You Tomorrow
Anna Calvi – One Breath
East India Youth – Total Strife Forever
FKA twigs – LP1
GoGo Penguin – V2.0
Jungle – Jungle
Nick Mulvey – First Mind
Polar Bear – In Each and Every One
Royal Blood – Royal Blood
Kae Tempest – Everybody Down
(24th) Benjamin Clementine – At Least for Now
Aphex Twin – Syro
Gaz Coombes – Matador
C Duncan – Architect
Eska – Eska
Florence and the Machine – How Big, How Blue, How Beautiful
Ghostpoet – Shedding Skin
Róisín Murphy – Hairless Toys
Slaves – Are You Satisfied?
SOAK – Before We Forgot How to Dream
Wolf Alice – My Love Is Cool
Jamie xx – In Colour
(25th) Skepta – Konnichiwa
Anohni – Hopelessness
Bat for Lashes – The Bride
The Comet Is Coming – Channel the Spirits
Kano – Made in the Manor
Michael Kiwanuka – Love & Hate
Laura Mvula – The Dreaming Room
The 1975 – I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It
Savages – Adore Life
Jamie Woon – Making Time
(26th) Sampha – Process
alt-J – Relaxer
The Big Moon – Love in the 4th Dimension
Blossoms – Blossoms
Loyle Carner – Yesterday's Gone
Dinosaur – Together, As One
Glass Animals – How to Be a Human Being
J Hus – Common Sense
Ed Sheeran – ÷
Stormzy – Gang Signs & Prayer
Kae Tempest – Let Them Eat Chaos
The xx – I See You
(27th) Wolf Alice – Visions of a Life
Arctic Monkeys – Tranquility Base Hotel & Casino
Everything Everything – A Fever Dream
Everything Is Recorded – Everything Is Recorded
Florence + the Machine – High as Hope
Jorja Smith – Lost & Found
King Krule – The Ooz
Lily Allen – No Shame
Nadine Shah – Holiday Destination
Noel Gallagher's High Flying Birds – Who Built the Moon?
Novelist – Novelist Guy
Sons of Kemet – Your Queen Is a Reptile
(28th) Dave – Psychodrama
Anna Calvi – Hunter
Black Midi – Schlagenheim
Cate Le Bon – Reward
Foals – Everything Not Saved Will Be Lost – Part 1
Idles – Joy as an Act of Resistance
Little Simz – Grey Area
Nao – Saturn
SEED Ensemble – Driftglass
slowthai – Nothing Great About Britain
The 1975 – A Brief Inquiry into Online Relationships
(29th) Michael Kiwanuka – Kiwanuka
Anna Meredith – Fibs
Charli XCX – How I'm Feeling Now
Georgia – Seeking Thrills
Kano – Hoodies All Summer
Lanterns on the Lake – Spook the Herd
Laura Marling – Song for Our Daughter
Moses Boyd – Dark Matter
Porridge Radio – Every Bad
Sports Team – Deep Down Happy
Stormzy – Heavy Is the Head
(30th) Arlo Parks – Collapsed in Sunbeams
Berwyn – Demotape/Vega
Black Country, New Road – For the First Time
Celeste – Not Your Muse
Floating Points, Pharoah Sanders and the London Symphony Orchestra – Promises
Ghetts – Conflict of Interest
Hannah Peel – Fir Wave
Laura Mvula – Pink Noise
Mogwai – As the Love Continues
Nubya Garcia – Source
Sault – Untitled (Rise)
Wolf Alice – Blue Weekend
Artists with multiple winsEdit
PJ Harvey (2 wins 2001/2011, nominated 1993/1995/2001/2011)
Artists with multiple nominationsEdit
Totals listed are for bands or artists nominated more than once under the same name. It does not include appearances on compilations (e.g. Artists for War Child) or individuals nominated separately as a soloist and group member (e.g. Robbie Williams for his Life thru a Lens and Take That's Everything Changes).
Radiohead (no wins, nominated 1997/2001/2003/2008/2016)
Arctic Monkeys (1 win 2006, nominated 2006/2007/2013/2018)
Laura Marling (no wins, nominated 2008/2010/2013/2020)
Anna Calvi (no wins, nominated 2011/2014/2019)
Bat for Lashes (no wins, nominated 2007/2009/2016)
Coldplay (no wins, nominated 2000/2003/2005)
David Bowie (no wins, nominated 2002/2013/2016)
Dizzee Rascal (1 win 2003, nominated 2003/2007/2010)
Elbow (1 win 2008, nominated 2001/2008/2011)
Florence and the Machine (no wins, nominated 2009/2015/2018)
Foals (no wins, nominated 2010/2013/2019)
Laura Mvula (no wins, nominated 2013/2016/2021)
Michael Kiwanuka (1 win 2020, nominated 2012/2016/2020)
Primal Scream (1 win 1992, nominated 1992/1994/1997)
Pulp (1 win 1996, nominated 1994/1996/1998)
Wolf Alice (1 win 2018, nominated 2015/2018/2021)
The 1975 (no wins, nominated 2016/2019)
Adele (no wins, nominated 2008/2011)
alt-J (1 win 2012, nominated 2012/2017)
Amy Winehouse (no wins, nominated 2004/2007)
Basement Jaxx (no wins, nominated 2001/2004)
Beth Orton (no wins, nominated 1997/1999)
Blur (no wins, nominated 1994/1999)
The Chemical Brothers (no wins, nominated 1997/1999)
Doves (no wins, nominated 2000/2002)
Eliza Carthy (no wins, nominated 1998/2003)
Everything Everything (no wins, nominated 2011/2018)
Ghostpoet (no wins, nominated 2011/2015)
Guy Barker (no wins, nominated 1995/2002)
James Blake (1 win 2013, nominated 2011/2013)
John Tavener (no wins, nominated 1992/1997)
Jon Hopkins (no wins, nominated 2011/2013)
Kae Tempest (no wins, nominated 2014/2017)
Kano (no wins, nominated 2016/2020)
Leftfield (no wins, nominated 1995/2000)
Manic Street Preachers (no wins, nominated 1996/1999)
Oasis (no wins, nominated 1995/1996)
Paul Weller (no wins, nominated 1994/2010)
Polar Bear (no wins, nominated 2005/2014)
The Prodigy (no wins, nominated 1994/1997)
Richard Hawley (no wins, nominated 2006/2012)
Savages (no wins, nominated 2013/2016)
Stormzy (no wins, nominated 2017/2020)
The Streets (no wins, nominated 2002/2004)
Suede (1 win 1993, nominated 1993/1997)
Underworld (no wins, nominated 1996/1999)
Villagers (no wins, nominated 2010/2013)
The xx (1 win 2010, nominated 2010/2017)
Scottish Album of the Year Award
Welsh Music Prize
Choice Music Prize (Ireland, including Northern Ireland)
Polaris Music Prize (Canada)
Prix Constantin (France)
Shortlist Music Prize (United States)
Australian Music Prize
Nordic Music Prize
Premio Ruido (Spain)
Taite Music Prize (New Zealand)
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^ "Barclaycard Mercury Prize sponsorship announced". Barclays. 30 March 2009. Archived from the original on 13 September 2016. Retrieved 8 August 2010.
^ a b Sherwin, Adam (16 October 2015). "Mercury Prize 2015: Florence + The Machine tipped for success as Blur miss out on a global shortlist". The Independent.
^ "Hyundai Partners with Mercury Music Prize". Hyundai. Archived from the original on 18 September 2016. Retrieved 8 August 2016.
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^ "PJ Harvey wins Mercury Music Prize for second time". BBC News. 6 September 2011. Retrieved 6 September 2011.
^ "Young Fathers likely to be touched by unreliable magic of Mercury prize". The Guardian. 30 October 2014. Retrieved 4 December 2014. Mancunian band Elbow, who won in 2008, enjoyed a 700% rise in sales of their album The Seldom Seen Kid in the week following their Mercury victory
^ "Elbow elated at Mercury Prize win". BBC News. 9 September 2008. Retrieved 4 December 2014. "This is quite literally the best thing that's ever happened to us," singer Guy Garvey told the ceremony in London.
^ "Elbow: 'Mercury win is best thing that's ever happened to us'". NME. 9 September 2008. Retrieved 4 December 2014. Elbow claimed that their Nationwide Mercury Prize victory is "the best thing that's ever happened to us" during their acceptance speech tonight
^ "Young Fathers likely to be touched by unreliable magic of Mercury prize". The Guardian. 30 October 2014. Retrieved 4 December 2014. It was a similar tale for the XX after their 2010 win. Sales of their debut album soared 450% the day after they won, according to figures from music retailer HMV
^ "The xx "terrified" after Mercury win". Digital Spy. 9 September 2010. Retrieved 4 December 2014. Their debut album, which had sold 125,000 copies prior to winning the prize, has experienced a jump in sales of almost 450% since Tuesday's award ceremony.
^ "Young Fathers likely to be touched by unreliable magic of Mercury prize". The Guardian. 30 October 2014. Retrieved 4 December 2014. After winning the 2013 prize, James Blake saw sales of his album Overgrown jump more than 2,500% on Amazon.
^ "James Blake album sales increase 2500% on Amazon since Mercury Prize win". Music Week. 1 November 2013. Retrieved 4 December 2014.
^ "Pixie Lott and Example – all about number one!". Official Charts. 11 September 2011. Archived from the original on 28 June 2012. Retrieved 4 December 2014. Finally, the double Mercury Award winning PJ Harvey sees Let England Shake, last week's prize winner, jump a phenomenal 151 places from last week 181 to this week's 24.
^ Gill, Andy (14 July 2006). "Curse of the Mercury". The Independent. Archived from the original on 14 September 2009. Retrieved 18 June 2009. ...the Mercury Prize has acquired a well-established reputation for destroying its winners' futures...
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^ "Gorillaz taken off Mercury list". BBC News. British Broadcasting Corporation. Retrieved 4 December 2014.
^ "Mercury prize puts black artists to the fore". The Guardian. 23 July 2003. Retrieved 4 December 2014. .Simon Frith, the head of the judges, yesterday rejected the age-old complaint that the Mercury shortlist featured "token" jazz, folk, classical and soul acts who do not stand a chance. "We are not tokenist, we chose the albums that are strongest,"
^ Petridis, Alexis (20 September 2002). "Back to basics". The Guardian. Retrieved 10 June 2009.
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^ Barlow, Karen (26 September 2005). "Inaugural Australian music prize announced". Australian Broadcasting Company. Retrieved 10 June 2009.
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^ Swash, Rosie (21 July 2009). "Mercury Prize 2009 Nominations Announced". The Guardian. Retrieved 21 July 2009.
^ "Mercury Prize 2010 Nominations Announced". NME. 20 July 2010. Retrieved 20 July 2010.
^ Topping, Alexandra (19 July 2011). "Adele leads Mercury prize 2011 shortlist". The Guardian. Retrieved 19 July 2011.
^ Butterly, Amelia (13 September 2012). "Plan B hopes for his 'Dizzee Rascal' moment at Mercurys". BBC News. Retrieved 13 September 2012.
^ Topping, Alexandra (2 November 2012). "Mercury prize celebrates 20 years with award for Alt-J's debut album". The Guardian. Retrieved 9 November 2012.
^ Clark, Nick (11 September 2013). "Mercury Prize 2013: List of nominees in full". The Independent. Retrieved 11 September 2013.
^ "Mercury Prize: James Blake wins with Overgrown". BBC News. 31 October 2013. Retrieved 31 October 2013.
^ Beauchemin, Molly (30 October 2014). "Young Fathers Win the Mercury Prize". Pitchfork Media. Pitchfork. Retrieved 30 October 2014.
^ "Mercury Prize 2015 shortlist". BBC. Retrieved 16 October 2015.
^ "Mercury Prize 2016: David Bowie gets posthumous nomination". BBC. Retrieved 5 August 2016.
^ Mark Brown (14 September 2017). "Mercury prize 2017 is won by Sampha's Process". The Guardian. Retrieved 14 September 2017.
^ Savage, Mark (26 July 2018). "Arctics and Jorja Smith on Mercury list". BBC News. Retrieved 26 July 2018.
^ Edelstone, Steven; Manno, Lizzie (25 July 2019). "2019 Mercury Prize Nominations Announced: Predictions, Snubs and More". Paste Magazine. Retrieved 29 July 2019.
^ Savage, Mark (23 July 2020). "Mercury Prize 2020: Female artists lead nominations for the first time". BBC News. Retrieved 29 July 2020.
^ Savage, Mark (24 September 2020). "Michael Kiwanuka wins the 2020 Mercury Prize". BBC News. Retrieved 27 September 2020.
^ Beaumont-Thomas, Ben (22 July 2021). "Mercury prize 2021: first-time nominees dominate shortlist". The Guardian. Retrieved 22 July 2021.
^ Beaumont-Thomas, Ben (9 September 2021). "Mercury Prize 2021: Arlo Parks wins for Collapsed in Sunbeams". The Guardian. Retrieved 9 September 2021.
"Highs and Lows of the Mercury Prize". BBC News. 20 June 2005. Retrieved 22 June 2009.
"Barclaycard Mercury Prize 2012". 4Music. Archived from the original on 4 November 2012.
Mercury Prize – official site
Mercury Prize at BBC Online
Mercury Prize winners at Discogs
Retrieved from "https://en.wikipedia.org/w/index.php?title=Mercury_Prize&oldid=1059582973#Winners_and_shortlisted_nominees"


text:
Höchstätter ist der Familienname folgender Personen:
 Alfred Höchstätter (1902–1944), österreichischer Widerstandskämpfer
 Benjamin Höchstätter (1811–1888), deutscher Rabbiner

Siehe auch:
 Hochstätter
 Hochstetter
 Höchstädter
 Höchstetter
 Karin Hochstatter (* 1960), deutsche Bildhauerin und Medienkünstlerin

redpajama_set_name: RedPajamaWikipedia


text:
Making a submission
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Home / Publications / Uniform Evidence Law (ALRC Report 102) / 12. The Credibility Rule and its Exceptions / Evidence relevant only to a witness' credibility
Uniform Evidence Law (ALRC Report 102)
Uniform Evidence Law
Organisation of the Report
List of Recommendations
2. The Uniform Evidence Acts
3. Understanding the Uniform Evidence Acts
4. Competence and Compellability
5. Examination and Cross-Examination of Witnesses
6. Documentary Evidence
7. The Hearsay Rule and Section 60
8. The Hearsay Rule — First-hand and More Remote Hearsay Exceptions
9. The Opinion Rule and its Exceptions
10. Admissions
11. Tendency and Coincidence Evidence
12. The Credibility Rule and its Exceptions
14. Privileges: Extension to Pre-Trial Matters and Client Legal Privilege
15. Privilege: Other Privileges
16. Discretionary and Mandatory Exclusions
18. Comments, Warnings and Directions to the Jury
19. Aboriginal and Torres Strait Islander Traditional Laws and Customs
1. Introduction to the Inquiry
Harmonisation of Australian Evidence Law
Inquiry with other law reform bodies
The scope of the Inquiry
Process of reform
Organisation of this Report
The movement towards a uniform evidence law
Compellability
Examination of witnesses
Cross-examination of witnesses
The documentary evidence provisions
Summary of voluminous or complex documents
Reliability and accuracy of computer-produced evidence
Evidence of official records
Admissibility of banking records
The hearsay rule
Unintended assertions
The meaning of 'intention'
Evidence relevant for a non-hearsay purpose
Reform of s 60
Proceedings if maker available
Proceedings if maker not available
Representations 'fresh in the memory'
Contemporaneous statements about a person's health etc
Hearsay in interlocutory proceedings
Hearsay and children's evidence
Notice where hearsay evidence is to be adduced
Hearsay in civil proceedings
Lay opinion
Opinions based on specialised knowledge
Opinion on an ultimate issue
Opinion on matters of common knowledge
Expert opinion regarding children's development and behaviour
Expert opinion regarding other categories of witness
Background to admissions under the uniform Evidence Acts
Meaning of 'in the course of official questioning'
The circumstances of the admission
The 'unfairness' discretion in s 90
Admissions which are not first-hand
Tendency evidence—s 97
Coincidence evidence
Issues common to ss 97 and 98
The operation of s 101
Evidence relevant only to a witness' credibility
The definition of substantial probative value
Is the test of substantial probative value too high?
Matters to which the court may have regard
Credibility and the character provisions
Leave to cross-examine the defendant
Rebutting denials in cross-examination by other evidence
Other s 106 issues
Rebuttal of evidence led on a collateral issue
Credibility of persons making a previous representation
Expert evidence going to credibility
Unsworn statements by a defendant
Credibility issues in sexual offence cases
13. Identification Evidence
Background: identification evidence under the uniform Evidence Acts
Definition of identification evidence
Identification parades
Picture identification
Directions to the jury
In-court identification
The need for extension of privilege
Client legal privilege
Privileges protecting other confidential communications
Religious confessions
Privilege in respect of self-incrimination in other proceedings
Evidence excluded in the public interest
Exclusion of evidence of settlement negotiations
Exclusions pursuant to ss 135 and 137
General discretion to limit the use of evidence
Exclusion of improperly or illegally obtained evidence
17. Judicial Notice
Judicial notice at common law
Section 143: Judicial notice of matters of law
Section 144: Judicial notice of matters of common knowledge
Section 145: Judicial notice of matters of state
A targeted inquiry into the operation of the jury system
Warnings about unreliable evidence
The statutory warning
Children's evidence
Common law warnings
Evidence of traditional laws and customs
Breadth of evidence to which the exception should apply
Privilege and traditional laws and customs
20. Matters Outside the Uniform Evidence Acts
Uniform Evidence Acts and other legislation
Rape shield laws
Evidence and child witnesses
Family law proceedings
Other evidentiary provisions
Last modified on 17 August, 2010.
12.5 IP 28 and DP 69 raised the issue of the literal interpretation of s 102 of the uniform Evidence Acts by the High Court in Adam v The Queen.[4] The decision has led to a situation where the credibility rule will not apply if evidence is relevant both to credibility and a fact in issue, even where the evidence is not admissible for the purpose of proving a fact in issue. Prior to the decision in Adam, the provisions in Part 3.7 had been used to control the admissibility of such evidence. As a result of Adam, that control no longer exists.
12.6 Stephen Odgers SC illustrates this point with the example of prior statements.[5] Evidence of a prior statement relevant to the facts in issue may not be admissible to prove the facts stated in it because it does not come within one of the hearsay exceptions. It is likely, however, also to be relevant to the witness' credibility. The literal interpretation of s 102 has the result that the credibility rule does not apply to the evidence. The statement will be admissible for a credibility use without having to satisfy the requirements of Part 3.7. Having been admitted for credibility purposes, s 60 will then apply to lift the hearsay rule so that the evidence is admissible as evidence of the facts stated, unless it is excluded under ss 135–137.
12.7 Substantially similar terminology ('relevant only because it is relevant to the defendant's credibility') is used to define the evidence which attracts the additional protections provided in s 104 to an accused person when cross-examined.[6] The interpretation in Adam would also exclude the operation of these provisions where credibility evidence is relevant but not admissible for another purpose, reducing the protection available to the accused.
12.8 The Commissions proposed in DP 69 that the uniform Evidence Acts be amended to ensure the credibility provisions apply both to evidence relevant only to credibility and to evidence which is also relevant for another purpose although not admissible for that purpose.[7] A draft amendment was included in DP 69 which included a new s 101A to define the evidence to which the Part relates and amendments to ss 102, 104 and 108A. The draft of s 101A put forward was in the following terms:
101A Credibility Evidence
(1) A reference in this Part to evidence that is relevant to a witness's credibility, or to the credibility of a person referred to in s 108A, is a reference to evidence that:
(a) is relevant only because it affects the assessment of the credibility of the witness or person; or
(b) is otherwise relevant but is not admissible.
(2) For the purposes of paragraph (1)(b), ignore sections 60, 77, 135, 136 and 137.
Submissions and consultations
12.9 In DP 69, the Commissions identified support in submissions and consultations for amending the uniform Evidence Acts to address the consequences of the decision in Adam.[8] The Law Council of Australia submit that s 102 should be amended to read:
Evidence is not admissible that is either (a) relevant only to credibility; or (b) relevant to credibility and, insofar as it is also otherwise relevant, inadmissible under this Act.[9]
12.10 In DP 69, the Commissions also referred to submissions from the Office of the Director of Public Prosecutions (NSW) (NSW DPP)[10] and the New South Wales Public Defenders Office (NSW PDO)[11] which express the view that there is no need to amend s 102 as a result of the decision in Adam.
12.11 In response to the DP 69, Dr Jeremy Gans proposes that the credibility rule in s 102 be re-drafted as follows:
(1) Evidence is not admissible to prove that a witness has or lacks credibility.
(2) Subsection (1) does not apply to evidence that is admitted for a purpose other than to prove that a witness has or lacks credibility.[12]
12.12 Others submissions support the amendment proposed in DP 69.[13]
12.13 The NSW DPP,[14] the Commonwealth Director of Public Prosecutions (CDPP)[15] and the NSW PDO[16] submit that the proposed amendment is unnecessary. While the NSW PDO maintains its earlier position, it indicates in its second submission that it does not oppose the amendment.[17]
The Commissions' view
12.14 In the Commissions' view, it is necessary to amend s 102. The Commissions agree with Odgers that it is unsatisfactory to have a situation in which control of evidence relevant for more than one purpose including credibility depends entirely upon the exercise of the discretions and exclusionary rules contained in ss 135 to 137. This has the potential to lead to greater uncertainty, inconsistent outcomes and increased appeals.[18] Evidence relevant both to credibility and a fact in issue, but not admissible for the latter purpose, should be subject to the same rules as other credibility evidence. Section 102 should be amended to enable it to operate as originally intended. The terms 'relevant only because it is relevant to the defendant's credibility' in s 104 and 'relevant only to the credibility of the person who made the representation' in s 108A also need to be addressed through amendment.
12.15 The Commissions considered the draft put forward by Dr Gans as a possible means of achieving the desired outcome. It has the advantage of greater simplicity and is closer to the original draft proposed by the ALRC.[19] However, the draft presents a difficulty. It assumes that the admissibility of evidence for another purpose is determined before the credibility provisions are applied. The design of the Acts requires the admissibility of the evidence to be determined by the evidence passing through a 'grid' system, one component of which is Part 3.7.[20] Evidence cannot be admitted unless it passes through that grid and therefore the credibility rule must be drafted to define the evidence to which it applies without reference to 'evidence which has been admitted'. The draft proposed does not do this.
12.16 It is clear, however, that the drafting proposed in DP 69 requires further revision to clarify its operation and make it easier to understand and apply. A revised provision has been included in Appendix 1 and is reproduced below.
A reference in this Part to evidence relevant to the credibility of a witness or other person is a reference to evidence that:
(b) is relevant because it affects the assessment of the credibility of the witness or person and is relevant for some other purpose but is not admissible for, or cannot be used for the other purpose because of a provision of Parts 3.2 to 3.6 inclusive.
Note: Sections 60 and 77 will not be relevant to the application of sub-paragraph (b) because they cannot be applied to evidence that is yet to be admitted.
12.17 The amendment now put forward by the Commissions has two main components. It introduces the notion of purpose, and directs attention to the preceding provisions of the Acts rather than those that follow.
By referring to evidence which is not admissible for another purpose, the section picks up those provisions which exclude the admission of evidence for a particular purpose (eg ss 59, 76, 91, 97 and 98) rather than those which exclude evidence entirely (eg ss 84, 85 and 86).
By referring to Parts 3.2 to 3.6, the section removes from consideration the provisions which follow—ie, privileges and the mandatory and discretionary exclusions, leaving the latter provisions to operate if the evidence is not excluded by the credibility provisions.
12.18 The amendment also includes a note to clarify that ss 60 and 77 are not relevant in the determination of admissibility for another purpose because they relate to evidence which has been admitted, and are therefore an exception to the sequential grid structure of the Acts.
12.19 The concept of when the credibility rules should apply is well understood by practitioners, but difficult to express in legislation. While ideally the wording of the amended provisions would be simpler, the somewhat cumbersome drafting is necessary to meet the scrutiny of literal interpretation which it will inevitably meet. In day-to-day practice, however, once understood, it should not require laboured consideration. In practice, it will be clear that certain evidence is either solely relevant to credibility or is relevant to credibility because it has been determined or conceded not to be admissible for another purpose under the preceding provisions of the Act.[21]
Recommendation 12–1 The uniform Evidence Acts should be amended to include a definition of the evidence to which the credibility rule applies and to make consequential amendments to ss 102, 104 and 108A to ensure that the provisions of Part 3.7 apply to evidence:
relevant only to credibility; and
relevant to credibility and relevant for some other purpose, but not admissible or capable of being used for that other purpose because of a provision of Parts 3.2 to Parts 3.6 inclusive.
[4] Australian Law Reform Commission, Review of the Evidence Act 1995, IP 28 (2004), [9.9]–[9.14], referring to Adam v The Queen (2001) 207 CLR 96; Australian Law Reform Commission, New South Wales Law Reform Commission and Victorian Law Reform Commission, Review of the Uniform Evidence Acts, ALRC DP 69, NSWLRC DP 47, VLRC DP (2005), [11.8]–[11.20].
[5] S Odgers, Uniform Evidence Law (6th ed, 2004), [1.3.7660]. See also Odgers' example of tendency evidence.
[6] See Uniform Evidence Acts s 104(2), (4).
[7] Australian Law Reform Commission, New South Wales Law Reform Commission and Victorian Law Reform Commission, Review of the Uniform Evidence Acts, ALRC DP 69, NSWLRC DP 47, VLRC DP (2005), Proposal 11–1.
[8] Law Council of Australia, Submission E 32, 4 March 2005; T Game, Consultation, Sydney, 25 February 2005; Confidential, Submission E 31, 22 February 2005; A Palmer, Consultation, Melbourne, 16 March 2005; S Finch, Consultation, Sydney, 3 March 2005; Judicial Officers of the Supreme Court of the ACT, Consultation, Canberra, 8 March 2005.
[9] Law Council of Australia, Submission E 32, 4 March 2005.
[10] Director of Public Prosecutions (NSW), Submission E 17, 15 February 2005.
[11] New South Wales Public Defenders Office, Submission E 50, 21 April 2005.
[12] J Gans, Submission E 59, 18 August 2005.
[13] C Ying, Submission E 88, 16 September 2005; The Criminal Law Committee and the Litigation Law and Practice Committee of the Law Society of New South Wales, Submission E 103, 22 September 2005.
[14] Director of Public Prosecutions (NSW), Submission E 17, 15 February 2005; Director of Public Prosecutions (NSW), Submission E 87, 16 September 2005.
[15] Commonwealth Director of Public Prosecutions, Submission E 108, 16 September 2005.
[17] New South Wales Public Defenders Office, Submission E 89, 19 September 2005.
[18] S Odgers, Uniform Evidence Law (6th ed, 2004), [1.3.7660].
[19] Australian Law Reform Commission, Evidence, ALRC 38 (1987), 175–176.
[20] The 'grid' system is illustrated by the diagram included in the Introductory Note to Chapter 3 of the uniform Evidence Acts.
[21] Unless it is admitted for the credibility purpose and therefore rendered admissible for another purpose by s 60 for example.
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text:
Gmane ( []) ist ein Mail2News-Gateway.

Dienst
Benutzer können über Gmane Mailinglisten mit einem Newsreader über NNTP lesen und Mails an die Listen versenden, ohne sie persönlich abonniert zu haben. Neben dem Zugang über NNTP steht auch ein Webinterface für den Zugriff über einen Webbrowser zur Verfügung.

Gmane versteht sich als Archiv, es werden also keine alten Mails gelöscht. Auf alle Beiträge kann über einen Permalink zugegriffen werden. Wenn eine Mailingliste neu bei Gmane angemeldet wird, kann das Archiv der Liste in Gmane importiert werden. Außerdem besteht eine Suchfunktion für einzelne Mailinglisten und für das gesamte Archiv. Der Schwerpunkt des Angebots liegt bei Mailinglisten zu Freien Software-Projekten.

E-Mails von Listen werden mit SpamAssassin und einem Antivirenprogramm überprüft, so dass der Benutzer nicht durch Spam-E-Mails (UBE/UCE) und Viren gestört wird. Ausgehende Nachrichten werden durch TMDA überprüft, damit sichergestellt wird, dass es sich nicht um Spam handelt.

Geschichte
Gegründet wurde das Projekt 2001 vom norwegischen Programmierer Lars Magne Ingebrigtsen, der auch der Maintainer des Newsreaders Gnus ist.

2016 wurde das Web-Interface von Gmane vom Netz genommen. Ingebrigtsen sprach von einem möglichen Ende des bisher privat betriebenen Projekts. Als Gründe nannte er DDoS-Angriffe, häufige Bitten um nachträgliche Entfernung von Informationen sowie Gerichtsverfahren.

Schon September 2016 nahm der Dienst wieder den Betrieb auf, diesmal unter der Leitung der Yomura Corporation. Der neue Betreiber bezeichnet das "neue Gmane" als "Gmane v2". Seit Ende März 2019 war die Website von Gmane nicht erreichbar. Im Januar 2020 wurden 15,000 Mailinglisten auf news.gmane.io migriert, welche wieder von Newsreadern zugreifbar sind.

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text:
14-year-old at Telangana orphanage allegedly sexually assaulted for a year, 3 held
Three people were arrested after a chilling case of sexual assault on a 14-year-old residing at an orphanage came to light in Telangana. The girl, living at Maruti Orphanage at Medchal district, was allegedly made to drink soft drinks laced with sedatives and raped, and this continued for over one year.
Based on the survivor's statement, the Ameenpur police, under Sangareddy district, on Friday arrested 51-year-old Naredla Venugopal Reddy, a donor to the orphanage and an employee with Reddy Labs. The police also arrested the owner of Maruthi Orphanage, Chielukuri Vijaya, who is also the hostel's warden, and her brother Surapaneni Jayadeep.
The girl has undergone a medical test at Nilopher hospital and has been shifted to a children's home in Hyderabad. Officials with the Women and Child Welfare Department have rescued 50 other girls who were residing at the registered Child Care Institute (CCI). Maruti orphanage is one of the 130 CCIs operational in Medchal district.
The girl was enrolled into the orphanage in 2015 by her uncle and the abuse allegedly began in 2019, when the hostel warden Vijaya, instructed the girl to go to a room in the fifth floor of the orphanage with Venugopal, who has given donations to the orphanage.
According to the statement given by the survivor to the police, Venugopal allegedly gave the girl a juice laced with sedatives and raped her. The survivor informed the hostel warden of the sexual assault but was threatened not to reveal the incident to anyone. The abuse continued several times over the year well into 2020.
The survivor told the police that she had seen Venugopal give money to the brother-sister duo several times. The survivor also said in her statement that many other girls there have alleged that there has been a similar sexual assault on another girl at the orphanage. The Sangareddy police were have refused comment on the case.
Police have registered cases against the accused under Section 376(3) for rape, Section 342 for wrongful confinement, Section 323 for voluntarily causing hurt, Section 328 for causing hurt by means of poison and Section 506 for criminal intimidation, under Indian Penal Code (IPC) as well as under sections of the POCSO Act 2012.
Speaking to TNM, an official with the Women and Child Welfare Department said that officials with the Child Welfare Committee visited the orphanage on August 1. "None of the girls could open up; they are terrified. The children were shifted to other CCIs on August 3.
The incident came to light when the girl child went to reside at her uncle's house at the start of lockdown. She was refused admission back to the orphanage as the warden allegedly insisted on getting COVID-19 tests done before letting her in. However, that was not the end of her ordeal, as the minor was also allegedly physically assaulted by her uncle and was later shifted to her aunt's residence under the Bowenpally police limits.
"She was limping due to her injuries and her aunt kept pressing her for details and realised she was physically assaulted by her uncle and also sexually assaulted at the orphanage. It was her aunt who took her to the police station," said the WCWD official, who added that a separate police case has been filed at the Jeedimetla police station by the department against the minor girl's uncle for assaulting the child.
The official stated that there are 130 CCIs in the district and it is difficult for the department to keep track of all the children at these orphanages. "130 orphanages for one district alone is an unusually high number; it's almost like a business here. It takes four months to make visits to all these CCIs, which is not enough. There is no clear policy on donors and their visits either. The department officials need time to spend with the children so that they open up and tell us about such instances," said the officer.


text:
The Cowboy
The Cowboy, excerpt
Facts about 1970 – The Year of "The Cowboy"
Book Club Discussion Questions – The Cowboy
Once Removed
Once Removed, excerpt
Succession Excerpts
In the Company of Thieves
In the Company of Thieves Excerpt
Occupation Excerpts
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Cash Burn Excerpts
Book and Key Series by Curtis Walker
The King's Verses (Volume 1)
The Freeing (Volume 2)
Gracie's Song (Volume 3)
New Beginning (Volume 4)
Anti-Trafficking
They shoved Medina in and yanked the hood off his head. He blinked against the brightness.
The man he feared sat across the room.
Roque Isidro. El Roque. Two women flanked the narco like sculptures adorning a throne.
El Roque spoke a word, and the women stood and strode barefooted out of the room and onto the patio, leaving only El Roque, Medina, and the two men who had brought him.
On an ordinary day, Medina would have taken in El Roque's estate and all its trappings with jealous appreciation. But this was no ordinary day. Today, all Medina could truly appreciate was the threat of El Roque himself. El Roque not looking at him. El Roque rising from the sofa, his unbuttoned shirt falling open to expose the loose, brown flesh of his belly and chest. El Roque bending to take a half-smoked cigar from the ashtray on the table, sparking a lighter to get the cigar going, a cloud obscuring his features and then clearing to reveal black eyebrows clenched against the smoke, his hair slicked back over a head the shape of the end of a hammer.
And now, El Roque looking up at Medina. "You are costing me money," he said.
El Roque spoke in English with only a trace of an accent, but in English and not Spanish. It conveyed that Medina was an outsider, an Americano like the consumers at the other end of the chain and not inside the circle with El Roque and the two big-shouldered men who had brought Medina here.
Medina replied in Spanish. It was worth a try. "I have isolated the problem and I will end it."
El Roque turned his back to him. "This is not something complex," El Roque said, continuing in English. "It is throwing raw meat to caged animals. The only difficulty is not getting bitten." He turned away from the patio and the sunlight played on his shoulders and gleamed in the blackness of the hair pasted to his scalp.
Then Medina heard the first scream.
It came from a distant room, a muffled wail that began sharply and trailed off into halting sobs. A man's sobs.
El Roque lifted his eyes and met Medina's.
For a moment, Medina wondered if El Roque had somehow learned of his temptations, had somehow read in Medina's terror-filled eyes the plans that had begun to take shape. Over the years he'd been affiliated with El Roque the plans had seemed to form on their own, without prompting. And he'd done nothing to put them into action. Hadn't revealed even the temptations to anyone, much less taken steps to carry them out.
El Roque switched to Spanish. "Do you know why they call me El Roque?"
Medina couldn't bring himself to answer. The distant sobs had died away, but they still rang in his ears. He could only shake his head.
El Roque stepped forward. He pinched the cigar between the big, yellow dominoes of his teeth and kept them bared as he advanced. He seemed to grow in size as he came, seemed to eclipse the patio behind him where the women splashed in the pool and the very sky, until his vastness overtook all Medina could see and Medina couldn't believe he'd ever considered double-crossing him.
In English El Roque said, "It is because I do not move."
He stared at Medina.
Did he want a response? Medina gazed back into the brown pits of El Roque's eyes. Words, English or Spanish, wouldn't come. They seemed petrified in the frozen mire of the plans that had formed unbidden in his mind, plans that he'd never voiced, never even seriously considered—had he? An Americano at the helm of the cartel? It was impossible. In the shadow of El Roque, inhaling El Roque's smoky breath, Medina saw too clearly how impossible it was. And now, again with the pathetic wail of a man suffering somewhere in this compound, he saw that not only was it impossible, it was suicidal.
"I don't move," El Roque repeated, removing the cigar with the scissors of two fingers. "I can't afford to. A rock has no pity, no…" he waved his hand in the air, smoke trailing in a ribbon of gray against the peaceful blue sky at his back, "…no remorse. A rock is solid. Unmovable. This is what I've become. To be in this business I can't be affected by things that affect other men. I can't be moved. Do you understand?" He pinched the cigar with his teeth.
Medina did not understand. The words El Roque had spoken to him had been drowned in the sea of screams from the man in the other room. The screams faded. Medina nodded even though he didn't understand. It might have been not understanding that had led the sufferer into the room of torture.
Another scream rose, feral and sorrowful, with a different tone to it, one that said fatigue was replacing the shock of the pain.
El Roque tilted his head. "Do you want to help him?" he said.
"I… I don't know."
A grin twitched the edge of the lips surrounding the cigar. "You don't know?"
Medina shook his head. He blinked at the smoke and tears came to his eyes.
El Roque said, "What if I told you that man says you are stealing from me?"
Medina took a step back. He ran into someone. A big-shouldered man had moved up behind him. The other one stood so close Medina felt breath on his ear.
"It's not true!" Medina blurted out in English. He switched to Spanish. "I would not do this."
The man screamed again, a high-pitched primal scream that reached down into the core of Medina's belly and twisted into a slipknot that tightened, tightened. It was the last sound the man would ever make. Medina was sure of it.
El Roque peered at him. One of the men gripped Medina's elbow and squeezed. His hand tingled, and went numb. The other man took hold of Medina's other arm.
Now they would take him into the room of torture.
His head began to turn from side to side. A plea was on his lips.
El Roque said, "Soon important things will happen." He removed the cigar from his teeth and licked his lips. Smoke puffed from his nostrils. He pointed at Medina. "This is not the time to be unsure of my people."
Medina would have dropped to his knees if his elbows weren't held. "I'm not able to betray El Roque. You must believe me."
El Roque looked over Medina's shoulder and gestured for something to be brought to him.
Medina heard stumbling footsteps gain control. And then a familiar voice spoke. "You must be Roque."
Garza.
El Roque stepped away. The two men turned Medina around so he could see El Roque approach Garza.
The soldier had only worked for Medina for three months. First in the body shop where they built compartments into vehicles to move product back and forth across the border, and then, to do more important work when Medina learned of Garza's talents—the way the American government had trained him, and how his skills had been honed in Afghanistan.
Garza's impassive face bore a vertical scar from his right eyebrow to his upper lip. He watched El Roque's approach. His only reaction to the smoke El Roque blew into his eyes was a double blink.
"Maybe you are the problem," El Roque said to Garza. "Before you arrived, we had no problems with our shipments."
Garza watched him. Medina thought of giving him up to El Roque, blaming the soldier for the shipments the DEA had seized. The thought had some relish to it. But it would require outsmarting Garza here and now. And Medina knew that in his current state of mind he was in no condition to outsmart anyone.
"You don't believe that," Garza said in Spanish to El Roque. "Or you would not have brought me here."
"Perhaps I want to make an example of you. Him, I need." He gestured with a thumb toward Medina. "You, not so much."
Garza lifted the eyebrow that hadn't been scarred. "I thought that was why you killed that other guy just now."
"Some messages are better repeated."
Garza waited. When El Roque blew smoke into his face again, Garza spoke in English, "You got another one of those?"
Medina couldn't see El Roque's expression, only the tilt of his head. "Maybe I give you a gun instead," he said. "You kill the traitor for me."
Garza eyed the men in the room. Last of all, he let his eyes rest on Medina. The only plea Medina made was silent. If El Roque had decided to execute him, begging would accomplish nothing.
Garza said, "I don't see a traitor in this room." He turned his eyes back to El Roque.
Seconds of silence followed. Medina bit his tongue.
El Roque turned and walked with deliberate steps to the table at the far end of the room. He placed his hand on a wooden box and lifted the lid. He reached inside.
And came out with a cigar, not a gun.
He pointed the cigar he'd taken from the box at Garza. "Maybe I will believe you."
"Yes," Medina broke in, and now the words gushed out, words that would remove El Roque's 'maybe' and make it assured. "You can believe us. I wouldn't. We wouldn't. It wouldn't be possible for me. I don't have the nerve to steal from you. It would be foolish. I couldn't."
The big-shouldered men continued to grip Medina's arms. He flexed his numb right hand, but felt nothing.
El Roque stared at him a moment before crossing back to Garza. He held out the cigar and Garza took it, examined the tip and bit it off. Garza stepped to an ash tray to dispose of the tip, and then moved to one of the men holding Medina.
Garza stood within eight inches of the man, the cigar in his teeth. "¿Tienes fuego?"
He was asking for a light.
The man hesitated. Medina sensed a shift in the room. The man went to his pocket and came out with a gold lighter, flicked it and held the flame before Garza's cigar. Garza focused on the flame, puffing smoke into the air. When he had it going fully, he returned to El Roque.
"Gracias," he said to the narco.
Their smoke mingled above their heads.
El Roque regarded him for a moment longer. Then he spoke to him in the Spanish of a co-conspirator. "We have important things happening now. Very important for us. And these shipments—losing them is causing me concern."
Garza said, "Tell me. How can we be of help to you?"
El Roque paced toward the open windows. He seemed to have lost interest in Medina. "Moving our product accomplishes nothing if the wool doesn't come to us. Washed clean."
Even here, in his own compound, El Roque used the slang. Drugs were product and money was wool. Everyone knew it, and it hid nothing. As the distributor of El Roque's product north of the border, Medina only knew a little about how El Roque's product was brought north. And washing the wool clean and getting it back south of the border was even farther removed from Medina's link in the chain.
They waited. El Roque turned his back to the view of the women outside and said to Garza, "Usted me ayudará a fijarlo."—You will help me fix it.
Garza nodded.
Someone darkened the doorway leading to the hall. "¿Papá?"
A young man stood waiting to gather the attention of the others. Something in the set of his lips reminded Medina of El Roque. Could this be the heir?
"Es hora,"—It's time, the young man said.
El Roque turned toward Medina. He said to the men holding him, "Take them away."
One of the men yanked the hood back over Medina's head.
Medina planted his feet. But they dragged him off. Were they taking him to the torture room?
Against the hood he cried out, "I could not steal from you, El Roque. I don't have the stones."
El Roque made no answer.
They pulled Medina away. Away from the open doors. Away from the patio. Away from sunlight, from the women playing in the pool, from El Roque. He wanted them to pull him toward the entrance to the compound, out to the airstrip where the plane would be waiting to take him home. Not to the room of torture.
And then, like the sound of deliverance, Medina heard the sweet sputter of the plane's engine coming to life.
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It could be said that I have fairly lofty ambitions for this season. However, even if I didn't, I know that I cannot even hope to continue to hold my own in the National Omnium Series unless I step up my training; as every year, the competition gets stronger and more aggressive. The UK produces some of the best track cyclists in the World and I have seen quite a number who have used the Omnium Series as their spring board into the GB squad and the Series trophy now reads like a who's who of Women's cycling.
Add to that my desire to set a World Masters' Record in the 2k pursuit in October and it is clear that I need to do some things differently. This has meant that the endurance side of my training has increased significantly; I now properly understand the meaning of over-reaching and have become a real bore with my power numbers.
In truth, I really enjoy the training (in a masochistic sort of way), but when it comes to racing, I put off entering "the first race of the Season" for as long as I possibly can. A bit like a trip to the dentist! So this year, when it became obvious to everyone around me that I was really dragging my feet, my coach pretty much insisted that I go out and ride a local 10 mile Time Trial.
For me, the first race of the season needs to tick a couple of boxes. Firstly, I need for it to be a local – I do enough traveling when I am chasing the National Series around the country. Add to that the European and World Masters Track Championships (which can involve trips abroad) and so a local 10 seemed quite perfect.
Secondly, it needs to be low key – I am very happy for the results never to be seen by anyone except those who race and ideally there will be no expectation on me to do well. Again (on paper at least), a club 10 ticked that box; I hadn't ridden a time trial for five years, so surely no one in this community would even know me and if they did, they couldn't possibly expect that I would be a force to be reckoned with?
Sadly, I was busted before I even started. As when my email came back from the club's Chairman (to confirm that the TT was indeed open to Non-Club Members), it also elicited an exceptionally generous comment of "it will be really interesting to see how your times compare to some of our other regular female TT riders, you will certainly give them something to aim for" and finished with "obviously we would welcome a cyclist with your palmarès into the club." Don't get me wrong, I am hugely flattered when anyone notices my results, but these words were certain to ensure that I was doomed to mediocrity.
I am neither stupid nor arrogant enough to expect that I can step up from riding a respectable 2K pursuit in the wonderfully controlled environment of a velodrome, to a 10 mile Time Trial on the road and be an instant sensation. The pacing is entirely different – 10 miles is just over eight times further than two kilometres – and then there are climbs and descents to be ridden on a bike with gears and brakes – a concept which is certain to catch on!
1. Denial – this involves the checking and re-checking of equipment, at the very least a calibration of the power meter and a full analysis of the numbers in Excel. In the worst cases, it can extend to a direct challenge to the time keeper's methods and stop watch accuracy.
2. Anger – characterised by repeating the words "I have done too much training to be so average." This is the stage when you realise you could have had a lot more fun sitting at home with a glass of wine than you did beasting yourself on a bike in the middle of nowhere, for nothing but a large portion of humble pie.
3. Depression – is typified by fantasies about how much money could be raised by selling all the bikes on ebay and what could be done with the time and energy that would be freed up by giving up cycling altogether.
4. Acceptance – finally the realisation that "it is what it is" and no one died. It becomes clear that there are a number of positives that can be drawn from the experience and on reflection it's not all bad. Towards the end of this stage, acceptance turns to the steely determination that next time will be different, better, faster and plans for the next race are put into place.


Packing always takes longer than people expect, and doing a little each day is much less stressful than trying to do it all right before your movers arrive. You're going to need a lot of boxes and... Whether you move to a new apartment or home, there are many benefits to packing everything yourself. There are many things to to prepare for before moving into a new home.
Whether you move to a new apartment or home, there are many benefits to packing everything yourself. There are many things to to prepare for before moving into a new home.... I like to also give myself one day to clean the new house when I move in, before the removalists arrive � usually I�ll grab the keys as early in the morning as I can, clean that day and then move in the next day.
How to Pack Everything For Your Move in One Day. by Paige Smith on March 2, 2017 July 20, 2017. 0 Comments. Facebook Google Plus Twitter Pinterest LinkedIn Email. Packing your place for a move is nothing short of daunting, especially if you�re in a time-crunch or you tend to procrastinate. It�s easy to feel totally stressed out (and maybe even panicked), but with a bit of prep work and... We know that packing can be a stressful task, especially when it is right before your move. Our St. Paul residential movers have put together these tips to help you pack in one day. At USA Family Moving, our Twin Cities full-service movers want to help you have a stress-free moving experience.
The road is always easier if you're traveling with a good map. Knowing when to get things done -- and in what order -- will put your mind at ease when the details of a big move threaten to overwhelm you.
I like to also give myself one day to clean the new house when I move in, before the removalists arrive � usually I�ll grab the keys as early in the morning as I can, clean that day and then move in the next day.


Our luxuriously spacious rooms boast versatility to suit single, double and family style accommodation. Our well-appointed guest-rooms offer one, two and three bedroom units. Queen size beds are standard in all guest-rooms.
Standard and deluxe rooms with a queen size bed are suitable for single or double accommodation with separate en-suite.
Add a little extra luxury in executive rooms, suitable for the family with one or two bedrooms and a separate lounge room for entertaining or just relaxing.
Our two bedroom unit will comfortably accommodate twin share travellers, with a queen size bed in each room, or alternatively a queen and two single beds making it very comfortable for a family of four.
Our spacious apartments sleep up to 6 guests, with kitchen facilities suitable for all the family, and a bath in the bathroom.
Wheel chair accessible accommodation is also available.


Q: What other treatments are given for prostate cancer besides ProstRcision or Radical Prostatectomy?
A: The list here shows 10 other treatment methods: Before selecting any of these treatment methods, you should carefully research how well they work for curing prostate cancer.
Q: Why should I research how well treatment options cure prostate cancer?
A: The answer to your question raises the single most important issue in your learning about prostate cancer. This issue can be stated simply. The fundamental purpose for treatment is to cure you of your prostate cancer which means for you to have a zero PSA 15 years later. This is the gold standard PSA measurement for cure. So far, this standard is used to calculate cure rates by doctors only after Radical Prostatectomy and only after ProstRcision.
Q: What PSA level is used by doctors to show cure rates?
A: They do not have a PSA level. If your PSA is 0.7, 1.7 or 2.7 after a treatment I shared with you in my previous few questions and your PSA does not later go up very much, you are considered free of cancer using the treatment methods I shared the past few questions you asked me. In fact, there has never been a peer-reviewed medical research paper published using any of the methods I shared with you in the past few questions you asked me that shows a zero PSA 15 years after treatment.
Q: What is so important about knowing that many doctors do not measure cure by the gold standard?
A: It is critically important. You cannot talk about "cure rates" or "cure" with a doctor if you do not know the definition. You must speak only of the chance of having zero PSA at 15 years. The refusal by doctors to use the gold standard PSA level is the basic reason for so much confusion about treatment for prostate cancer. Of the 12 different treatment choices for prostate, only two – ProstRcision and Radical Prostatectomy – have cure rates 15 years after treatment measured by zero PSA – the gold standard.
Q: Can you give me an example from one of the treatment methods you have shared with me and there not being cure rate data available using zero PSA 15 years after treatment?
A: Proton beam radiation for prostate cancer was started in 1991 and since then several thousand men have been treated with proton beam for this disease. Although well over 20 years have passed since the first patient was treated, there has not been a single medical report published showing cure rates measured by the gold standard zero PSA 15 years after proton beam. Thus, there is no medical information published in peer-reviewed medical journals showing the cure rate of proton beam. The lack of peer-reviewed 15 year published cure rates from proton beam using zero PSA as the gold standard for cure raises questions about the real results of proton beam radiation.
Q: ProstRcision is a method of giving irradiation. How does ProstRcision differ from other radiation methods?
A: Irradiation synergy. None of these other methods I shared in the previous few questions you asked me has a synergistic effect which is the key to how ProstRcision kills both cancerous and normal prostate cells.
Q: Some of the treatment methods you shared with me have both beam and seeds, how does this differ from ProstRcision?
A: Yes, but the radiation is not given at the same time so you do not have a synergistic effect. When beam is given first, beam radiation is stopped before the seed implant so that they are given separately. HDR is a temporary implant that is removed before the subsequent beam radiation; so, again they are given separately.


text:
Chamberlain International School
This is a dorm where 10 female students reside. There is also a classroom at this location.
This is a dorm for 7 female students.
This is a dorm for 6 female students. The admissions office is also located here.
1 Pleasant Street
This is a dorm for 18 male students. Some administrative and therapist offices are located here as well.
Pratt Free School
This is a school building with 4 classrooms in it.
This is a dorm for 5 students. The nurses offices and station is also located in the lower level of this building.
This is a dorm for 15 male students. There are also two classrooms and the speech/language office.
This is a dorm for 12 female students. Also located here are the educational administration offices, the Clinical Director, many of the therapist's offices as well as the offices of the two psychiatrists. Located beside this building is our swimming pool.
This building was originally a barn and has been renovated and updated to house our reception area, a classroom, our IT/facilities office, and our school cafeteria.
As the name implies, this was originally the carriage house to the estate and has been renovated into two classrooms.
Go Cart Course
Course where students drive and ride in the schools go carts after school and on weekends and school breaks.
Basketball court where students often play for both Physical Education classes as well as to practice or have "pick up" games during breaks in the school day or after school and weekends.
Soccer Field
The soccer field is used for physical education classes, intramural games, and games with area schools.
Bedford Street
This building houses our automotive and art programs. Students can take either as an enrichment course or as a more highly focused course. In the last 5 years students have built 3 replica 1964 Shelby Cobras here. This building is located approximately 3 miles from the main campus.
This is a dorm located approximately 10 miles off campus for 18 male students.
Harmony Farms in Rochester
Harmony Farms is located approximately 20 miles from Chamberlain. Students may choose equestrian studies as an enrichment course during school or, occassionally after school, on weekends or during school breaks.
Burt Wood School of Performing Arts
Burt Wood School of Performing Arts is located approximately 7 miles from the main campus in the center of Middleboro. Students have the opportunity to take part in plays, talent showcases and/or have private lessons in a wide variety of the performing arts.
Lakeville MBTA Stop
This is the closest train stop to the school, and is approximately 10 miles from our main campus. Many students travel via train to and from home visits. Our staff will bring these students to the "T" and pick them up after home visits at designated times.
LeBaron Hills Golf Course
LeBaron Hills Golf course is located approximately 8 miles from the main campus and is where our golf enrichment course takes place. www.lebaronhills.com
Ricks Music
Ricks Music is located 10 miles from campus and students may participate in a variety of music related activities, including everything from private music lessons and group "jams," to attending and participating in open mic nights.
Logan Airport is approximately 45 miles from the main campus. It is an international airport where many of our students and their families fly into.
Lincoln Maritime Center in Hingham
Hingham rowing is where our students participate in the crew enrichment course. It is about a 35 minute drive from the campus. Our students practice and compete both here and at other venues in the warmer months.
Plymouth Airport
Plymouth Airport is where our aviation program is based. Students who choose aviation as an enrichment course will have both ground school and in-flight training from.
T.F. Green Airport
T.F. Green Airport in Providence is approximately a 45 minute drive from the school. This airport is smaller and less congested than Logan Airport in Boston and some families and students prefer to fly in and out of this airport when visiting the school or going for a home visit.
Bermuda Institute of Oceanographic Studies
Bermuda Institute of Ocean Sciences is a world class facility, hosting some of the top researchers in their field. Students can opt to go on a marine science trip accompanied by our faculty and staff, where they will stay at BIOS and take part in a week long course of study and activities. Information on this trip and costs associated with it are sent to families annually.
Hilltop School
Hilltop School in Skive, Denmark is a school for students similar to the students who attend Chamberlain. We have an annual student exchange between the school were students can live and go to classes and activities alongside the Hilltop students, and vice versa.
This is a dorm for 18 boys as well as 2 classrooms. Students also use the basketball court and field for sports.
High School Program of Studies
Enrichment Courses
Student Graduation Speech 2018
Chris' Perspective
Chase's Perspective
Daniel's Perspective
Contact Information for Student Residences
Example Student Life Schedule
Meet Our Clinical Director and Psychiatrist
Nursing, Nutrition and Wellness
Admissions Application Portal
Admissions Officers' Travel Schedule
Nearby Hotels and Attractions
Bermuda Trip
Denmark/Holland Trip
Tour Our
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As most of my readers know, I am very keen on education and all for making the most out of the opportunities you have. I have been through a lot and here is a collection of tips, tricks, helps and aids that may help you find success in whatever path you choose to take! If you have any requests for topics, don't hesitate to contact me. I will always help where I can!


text:
Q: What is "Bourbaki's style in mathematics"? I know Nicolas Bourbaki "is the pseudonym of a group of (mainly) French mathematicians who publish an authoritative account of contemporary mathematics." But what characterizes "Bourbaki's style in mathematics"?

A: From Leo Corry, Writing the Ultimate Mathematical Textbook : Nicolas Bourbaki's Éléments de mathématique :

In the decades following the founding of the group, Bourbaki's books became classic in many areas of pure mathematics in which the concepts and main problems, the nomenclature and the peculiar style introduced by Bourbaki were adopted as standard.
The branches upon which Bourbaki exerted the deepest influence were algebra, topology and functional analysis and they became the backbone of mathematical curricula and research activity in many places around the world.
Notations such as the symbol ∅ for the empty set, and terms like injective, surjective, and bijective owe their widespread use to their adoption in the Éléments de mathématique.

And :

Bourbaki's extremely austere and idiosyncratic presentation of the topics discussed in each of the chapters – from which diagrams and external motivations were expressly excluded – became a hallmark of the group's style and a main manifestation of its thorough influence.
Also the widespread adoption of approaches to specific question, concepts, and nomenclature promoted in the books of the series indicate the breadth of this influence.
Concepts and theories were presented in a thoroughly axiomatic way and systematically discussed always going from the more general to the particular, and never generalizing a particular result.

And :

In 1950 Dieudonné published, signing with the name of Bourbaki, an article that came to be
  identified as the group's manifesto, "The Architecture of Mathematics". Faced with the
  unprecedented growth and diversification of knowledge in the discipline over the preceding
  decades, Dieudonné raised once again the well-known question of the unity of mathematics.
Mathematics is a strongly unified branch of knowledge in spite of appearances, he claimed, and now it is clear that the basis of this unity is the use of the axiomatic method as the work of David Hilbert had clearly revealed starting from the beginning of the century.
Mathematics should be seen, Dieudonné added, as a hierarchy of structures at the heart of which lie the so called "mother structures":

At the center of our universe are found the great types of structures, ... they might be called the mother structures ... Beyond this first nucleus, appear the structures which might be called multiple structures. They involve two or more of the great mother-structures not in simple juxtaposition (which would not produce anything new) but combined organically by one or more axioms which set up a connection between them... Farther along we come finally to the theories properly called particular.

In additon to Leo Corry's papers, cab be useful also his book :

Leo Corry, Modern Algebra and the Rise of Mathematical Structures (2nd ed - 2003).

redpajama_set_name: RedPajamaStackExchange


text:
Q: I am have an error in Manifest AAPT: error: resource mipmap/ic_launcher_round not found PC\AndroidStudioProjects\TabLayout\app\build\intermediates\packaged_manifests\debug\AndroidManifest.xml:12: AAPT: error: resource mipmap/ic_launcher_round (aka com.example.tablayout:mipmap/ic_launcher_round) not found

A: Check your AndroidManifest.xml and find property android:roundIcon. Then remove this line, it's optional.
In case if you need android:roundIcon, just create it with in-IDE tools (right-mouse-click on resources directory, then "New" -> "Image Asset")

A: when you create your image assets make sure you choose debug mode or release mode. So make it a release mode and create your icon asset

A: Android build failed due to mipmap/launcher_icon missing or path change. without launcher_icon app not install . drag and drop app icon to mipmap & re-run ur app.


Video is becoming more and more important as a way of communicating with clients, staff and the wider world. Paul Curran, who leads our Smart Video training courses, has written this brilliant guide to DIY business video.
What would you rather do – read five pages of text or watch a two minute video? If you're like me it's the video every time. Video is an incredibly powerful way to engage with audiences and that's why more and more businesses are making video a key part of their marketing mix.
Of course with technology easier to use and less expensive than ever, there's no reason why you can't produce decent video yourself – if you know where to start!
For me the starting point is in your pocket – your smartphone. Most modern smartphones shoot video in High Definition (HD) or even 4k –perfect for YouTube etc.
So what do you need to consider when shooting a video to showcase you or your business? Here are five top tips.
When you are filming an interview, don't fall into the trap of shooting someone from so far back they are lost in the frame. People love faces so make sure your subject's face is large in the frame and aim to have their eyes two thirds to three quarters of the way up the screen. Also offset them to one side so they have some 'looking room'.
Don't underestimate how important decent audio is to a video. Video isn't just moving pictures, particularly for vlogs, case studies and testimonials. So invest in a microphone. I'd recommend a lavalier or tie mic that plugs into your headphone socket.
Nothing cries out 'amateur' more than an out of focus interview. Smartphones do a good job with autofocus but in certain circumstances it's safer and better to lock the focus. Google how to do it for your particular make and model.
Smartphones are great at coping with most light conditions but every now and then they will struggle. For instance if you shoot an interview with your subject in front of a bright window their face will be dark. If you're shooting outside an overcast day is your friend because the light will be more even.
If you're serious about producing decent video buy a tripod. Steady shots look make your shots look way more professional.
If you'd like to find out more about the best way to produce DIY business video, and our Smart Video training courses, contact us on 020 8332 6200 or info@roughhouse.co.uk.
This article first appeared in the Brighton and Hove Independent.
Tripods are definitely one of the cheapest ways to avoid one of the most amateur-looking video stumbles! Great post – it's also worth noting that a good DIY video will have the same amount of planning and preparation as a professional one, so be sure to engage in conversations around tone, branding, style, and message.


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Nightfall in Middle-Earth
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22 tracks, 61:40
Nightfall In Middle-Earth is a concept album by Blind Guardian, released in 1998. It is also Blind Guardian's sixth studio album. The album is based upon J. R. R. Tolkien's The Silmarillion, a book of tales from the First Age of Middle-earth, recounting the War of the Jewels. The album contains not only songs but also spoken parts narrating parts of the story. The music is more "melodic" on this album, compared to previous works such as Somewhere Far Beyond, and the songs have much more fluency, without losing any of the traditional speed or guitar solos and lead… read more
Nightfall In Middle-Earth is a concept album by Blind Guardian, released in 1998. It is also Blind Guardian's sixth studio album. The album is b… read more
Nightfall In Middle-Earth is a concept album by Blind Guardian, released in 1998. It is also Blind Guardian's sixth studio album. The album is based upon J. R. R. Tolkien's The… read more
german artist
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Running order
War of Wrath
1:50 100,891 listeners
Lammoth
0:28 6,046 listeners
The Minstrel
0:32 94,564 listeners
The Curse Of Feanor
Blood Tears
10 Play track
Face The Truth
Noldor (Dead Winter Reigns)
Battle of Sudden Flame
Time Stands Still (At The Iron Hill)
The Dark Elf
The Eldar
Nom The Wise
When Sorrow Sang
Out On The Water
The Steadfast
A Dark Passage
Final Chapter (Thus Ends…)
0:48 394 listeners
Iron Savior
36,616 listeners
Black In Mind
104,966 listeners
The Frozen Tears Of Angels
Fighting the World
The Dark Ride
Tunes of War
Freedom Call
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Tuesday 20 July 2021 47
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Blind Guardian is a german power metal band formed in 1984 in Krefeld (NRW), Germany. They are often credited as one of the seminal and most influential bands in the power metal and speed metal subgenres. Ten musicians have been a part of the band's line-up in its history, which has consisted of singer Hansi Kürsch, guitarists André Olbrich and Marcus Siepen, and drummer Frederik Ehmke since 2005. Blind Guardian is a part of the German heavy metal scene that emerged in the mid-1980s. The band was formed in 1984 as Lucifer's Heritage by Kürsch (then also bass guitarist), Ol… read more
Blind Guardian is a german power metal band formed in 1984 in Krefeld (NRW), Germany. They are often credited as one of the seminal and most influential bands in the power metal and speed m… read more
Blind Guardian is a german power metal band formed in 1984 in Krefeld (NRW), Germany. They are often credited as one of the seminal and most influential bands in the power metal and speed metal subgenres. Ten musicians have been a part… read more
Demons & Wizards
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