A Prog-Rock Bonanza: Anthony Phillips Reissued

Anthony Phillips The Geese and the Ghost Wise After the Event Sides Private Parts & Pieces I-iv Harvest of the Heart (Esoteric/Cherry Red)   Anthony "Ant" Phillips, an original member of Genesis, left after their second album (Trespass, 1970) because of stage fright -- an especially problematic situation, one supposes, for the lead guitarist. He spent the ensuing years studying music at the Guildhall School of Music and Drama (which is to say classical music), along with occasionally recording demos of new material at home. It would be seven years before his first solo album would appear, but after that he would be fairly prolific. Though he never achieved mainstream success -- which sadly makes sense given that this progressive rock legend didn't issue anything in 1971-76, the peak prog years -- aficionados of the style have long admired his work. Cherry Red's Esoteric imprint is now in its third year of
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Oscar-Nominated Actor Biggest Professional Regret: Turning Down 'Doctor Who'

Ron Moody in Mel Brooks' 'The Twelve Chairs.' The 'Doctor Who' that never was. Ron Moody: 'Doctor Who' was biggest professional regret (See previous post: "Ron Moody: From Charles Dickens to Walt Disney – But No Harry Potter.") Ron Moody was featured in about 50 television productions, both in the U.K. and the U.S., from the late 1950s to 2012. These included guest roles in the series The Avengers, Gunsmoke, Starsky and Hutch, Hart to Hart, and Murder She Wrote, in addition to leads in the short-lived U.S. sitcom Nobody's Perfect (1980), starring Moody as a Scotland Yard detective transferred to the San Francisco Police Department, and in the British fantasy Into the Labyrinth (1981), with Moody as the noble sorcerer Rothgo. Throughout the decades, he could also be spotted in several TV movies, among them:[1] David Copperfield (1969). As Uriah Heep in this disappointing all-star showcase distributed theatrically in some countries.
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Mental Health Foundation questions 'Bgt'

Mental Health Foundation questions 'Bgt'
The Mental Health Foundation has questioned Britain's Got Talent's approach to selecting contestants, claiming that a tragedy is "inevitable". Head of the Foundation Andrew McCulloch said that allowing "vulnerable people" to be ridiculed posed problems for the show's producers. "[It] is deeply offensive," he told The Guardian. "It is far beyond any ethical boundaries. And I fear the worst. Inevitably if enough people are subjected to enough stress, someone will end up taking their life; that is a statistical proposition." McCulloch's comments come after contestant Alyn James was placed in a psychiatric unit and deemed a suicide risk following his TV audition. The 60-year-old musician, who is a retired dentist, had a history of severe mental health problems. James claimed that he spoke to a researcher about (more)
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Britain's Got Talent faces suicide warning over humiliation of performers

Simon Cowell under attack by mental health charities after ex-dentist is jeered on TV reality show

Mental health charities are calling for ITV and Simon Cowell to re-examine urgently how they select contestants for their talent shows, warning that a tragedy is "inevitable".

It comes after a 60-year-old man with a history of severe mental health problems, who was placed in a secure psychiatric unit after being judged a suicide risk, told the Observer that he believes he was selected by the producers of Britain's Got Talent specifically because they expected he would be jeered and ridiculed.

Alyn James, a retired dentist from Neath, South Wales, appeared on the talent show two weeks ago but was buzzed off before he could finish his song, to shouts and boos from the audience.

James told the producers of the show that on seven occasions he had been judged to be a serious risk of suicide,
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Letters: It's a dog's life

"The generation that has passed ... held together the bonds of our society." Thus spoke the archbishop of Canterbury at Westminster Abbey (Silence of the brave, 12 November). Surely, with the death of three old soldiers, the archbishop cannot really believe that "a generation has passed". It is likely that a few women centenarians still living worked in the fields and factories during the Great War. And what about the thousands of us born before 1914 who helped their mothers to keep the home fires burning?

James Thirsk

Hadlow, Kent

• Lyn Gardner's piece about envying people who are seeing a play for the first time (Critic's notebook, 11 November) reminded me of a recent visit to see Jude Law play Hamlet at Wyndham's Theatre. When Gertrude reached to drink from the poisoned cup there was an audible and heartfelt gasp of, "Oh no!" from a large number of audience members. I envied all of them.
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