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Mr Taylor's' family branded the 16 month prison sentence given to Neil Hotchkiss, 33, 'ridiculous' and an 'utter disgrace', after the bouncer admitted grievous bodily harm at Shrewsbury Crown Court. Injury: Scott Taylor, 42, was left disabled and in need of full-time care after a single punch caused his skull to collapse inwards. He suffered extensive brain damage and will be in a wheelchair for the rest of his life.
Upset: Kirsty Taylor pictured right with her father branded the 16 month prison sentence given to Neil Hotchkiss an 'utter disgrace'. Mr Taylor left is now permanently disabled after being punched in the head. Mr Taylor had been out drinking at Bar Station in Wellington on a Friday night when father-of-eight Hotchkiss asked him to leave the establishment. After a brief exchange of words, Hotchkiss punched Mr Taylor, knocking him out cold with a single punch and causing him to collapse on the pavement.
Mr Taylor was taken to the University Hospital of North Staffordshire in a critical condition and placed on a life support machine. The grandfather-of-one had suffered a skull fracture and extensive brain damage from the fall, with the injuries leaving him in need of a wheelchair for the rest of his life. Mr Taylor was also left with a shocking dent in the side of his head caused by his skull collapsing, with the injury needing to be filled out with fat from his stomach. Wound: The grandfather-of-one had suffered a skull fracture and extensive brain damage from the fall, with the injuries leaving him in need of a wheelchair for the rest of his life.
Speaking after Hotchkiss was jailed for 16 months at Shrewsbury Crown Court yesterday, Mr Taylor's daughter Kirsty, 19, branded the sentence an utter disgrace. The police knocked on the door at 4am and rushed me to hospital.
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Ms Taylor, who is now her father's full-time carer, said he was kept on a life support machine for a long time after the punch. She said that until her father's skull was reconstructed, it looked like half his head was missing. Mr Taylor has since had a stroke, although doctors can't be certain if that was linked to the injuries. He was using the sob story in court that he has got eight kids,' Ms Taylor said. Since the attack, Mr Taylor has had to move from his home to a warden-assisted bungalow. He is visited by professional carers four times a day, with Ms Taylor also spending eight hours at the property.
Scene: Mr Taylor had been out drinking at Bar Station in Wellington pictured on a Friday night when father-of-eight Hotchkiss asked him to leave the establishment. Prosecutor Andrew Wilkins told the court Hotchkiss paced up and down after the blow and made no effort to help Mr Taylor.
He also said the bouncer initially lied to police and said he had not touched Mr Taylor. Kirsty Taylor said that until her father's skull was reconstructed pictured , it looked like half his head was missing. Mr Wilkins added: 'Mr Taylor was clearly not doing what he had been told to do but, on the other hand, he was not being violent or aggressive. Sentencing Recorder Adrian Jack told him: 'As far as the Taylor family are concerned, any sentence I pass on you will be grievously inadequate for the very serious injuries suffered by Mr Taylor. I have to accept, however, that you did not intend to cause this sort of injury.
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At the Edinburgh Fringe, its show times clashed with my own Grouchy Club shows. The one with the Human Defence League guys in a shed… We spent 16 hours in a normal-sized garden shed with five people. There are several Casual Violence taster sketches on YouTube. Casual Violence — not appearing at the Edinburgh Fringe. But also group stuff. You came to see the Obsoletium read-through a year ago. A picture painted by William Frederick Yeames in DVD… erm download. We filmed it at the Brighton Fringe in May which was advantageous, because we won an award specifically for the show we filmed.
In , I had trophies made for every year up to I did originally have the idea that part of the prize for each winner would be that they had to buy the judges drinks. It would somehow diminish the award. Although there did used to be the Tap Water Awards. Perhaps I should reconsider the idea. Leave a comment. Filed under Comedy , Theatre. Sometimes there are days when I know I will have to write a daily blog or — more accurately — have no time to transcribe some interesting blog chat I have had with people.
Today is such a day. And they are sex objects. This mad thing about Oh, you sexually objectify women. Yes I do.
I grew up in a school where we had to praise the lord. He who would valiant be. So I will sometimes be racist. I will sometimes be sexist. I will sometimes be homophobic. Chris makes his money — perfectly legally — by running a legitimate lock-picking company. He designs the devices himself.
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Apparently some of his best customers are government departments. I seem to remember MI6, the police and an American agency were mentioned. Online, he gives instructions. Filed under Gay , Racism , Sex. Tagged as Chris Dangerfield , homophobia , lock picking , racism , sexism. Karl Schultz left and Joz Norris chatted over tea yesterday.
Somewhere along the way, the conversation went off course. It basically gives somewhere to go in the week to homeless people, unemployed people, people trying to come off drugs — recreational, free meals and stuff. She had breakfast with Desmond Tutu twice and the choir came over here and stayed in my room and I had to stay in the shed all week. I taught them about iPods. Karl Schultz: one of his more understated stage performances.
But Karl hates short women. He says their bottoms are too close to the ground. But I was brought up in Ghana from the age of — the most formative time — and all the Ghanaians hit puberty before me. So, when I went back after the summer holidays, I had grown an inch but, in Ghana, they had grown six inches.
So all the girls I was in love with in my class were all tall.
Tales from mean streets
Did a cabaret out there. In hindsight, I should not have been invited. I had to do it at the weekend. Like become a bus driver. They believed that demons or ghosts might visit you in the night and, if they saw you almost upright, they might think you were awake and go away. It really is like you have acid inside your tubes. I was in the play in ; I played the man at the fair. The character has a calm exterior, but my eyes were very violent.
So it was like a crocodile smile. I saw a video of a crocodile being licked by a zebra. Never ever take ketamine wearing a lion mask at London Zoo. It was a terrible afternoon. I was in a really bad place. Have you heard of K-holing? The play began just before Christmas as a one-act hour-long show at the Old Red Lion in Islington.
The bizarre thing, to my mind, when I saw it last week, was that the second act is even better than the first. After that, it was going to be called Murder at Haversham Manor. The title tells you everything you need to know. So giving it a West End platform and using the success of this show to springboard it is good. We will do it once a month and you do feel a sense of freedom — that you can just let loose. We were the ones who were not successful, so we put on our own show. I think they love English people looking stupid. He was covering the part of the actor who is playing the dead man and he accidentally kicked the bucket — literally — and a massive flame shot up.
The problem is that, when stuff actually goes wrong, it can be quite difficult because everything is so specifically timed. We had to improvise around that, which was a lot of fun but it messed with the structure of the play. If something does not fall when it is meant to, that is not good, because it interferes with the way of doing the gag and getting the laugh. Each show is totally different. Sometimes you get quiet audiences, sometimes loud, sometimes people heckle. Was the set added just for the West End production? For a live audience it works well but, if it is performed live but viewed through a screen, it might not be the same.
I think very often, when someone writes an interview piece, the intention is only partly to communicate what the interviewee said. The same often seems to happen particularly in American magazines when you read a feature piece on a subject. The intention is only partly to explain or illuminate the subject. Very often there is a parallel intention: to show-off the writing skills of the interviewer or feature writer who would really rather be a novelist. So you get long, irrelevant descriptions like:. If I add in extraneous facts, it is usually to create an overall unity — to cover over any jumps in the flow of the piece — not to make it look like I have an admirable literary style.
If you are aware of the style and not what is being said, it is probably a shit piece of writing. As in clothes, so in writing… There is no John Fleming style. I bloody try to write in whatever bloody style suits the bloody subject of the bloody piece! I remember one evening I had to write a script which smoothly and enticingly listed a World in Action current affairs report on some worthy subject followed by I think it was The Benny Hill Show followed by a one-hour documentary on the Auschwitz concentration camp.
When I was at college, I remember one early exercise was to go into a room and record a chat with someone about anything… then to transcribe from the tape not what you had heard said but what was actually said. That was when I first fully realised no-one speaks coherently. What we hear is what the person intended to say, not what they actually said.
I was on the way here to… tonight. And a man dressed as a… a fish — he was dressed as a fish and he was juggling ora.. When you interview someone and transcribe what was actually said, you almost always have to clean-up what was said. There is always that sort of editing involved. The trick is to edit the words without in any way editing what the person was trying to say. The trick to me is to create an illusion of real speech from the anarchic mess of words and flitting-back-and-forth ideas that actually is real speech.
Because almost no-one speaks coherently. The trick — if it is a trick — is to get them to talk without thinking. If they think too much about the fact they will be quoted, they may try to speak in well-formed sentences. That ends in a terrible disaster of awkward phrasing and unrevealing formality.
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