#Ian Forsyth

[ifreakingloveroyals]

19 July 2019 | Princess Anne, Princess Royal walks part of the Cleveland Way National Trail as she visits the Valley Gardens in Saltburn-By-The-Sea to mark the 50th Anniversary of the National Trail in Saltburn-By-The-Sea, England. The visit to Valley Gardens comes half a century after the 109-mile Cleveland Way National Trail was launched. The trail runs in a horseshoe loop across the North York Moors National Park from Helmsley to Saltburn before following the coastline down to Filey Brigg. During her visit to the region Princess Anne had earlier visited the Zetland Lifeboat museum in Redcar. (c) Ian Forsyth/Getty Images

[dreaminginthedeepsouth]

A starfish lies on the sand and is one of hundreds washed up on to the beach with sea coal in Saltburn-by-the-Sea, UK. Sea coal is found on beaches due partly to erosion of underwater seams but also as a historical result from the dumping of waste from coal mines. Photo: Ian Forsyth/Getty Images    [h/t Scott Horton]

* * * *

Starfish This is what life does. It lets you walk up to the store to buy breakfast and the paper, on a stiff knee. It lets you choose the way you have your eggs, your coffee. Then it sits a fisherman down beside you at the counter who says, Last night, the channel was full of starfish. And you wonder, is this a message, finally, or just another day? Life lets you take the dog for a walk down to the pond, where whole generations of biological processes are boiling beneath the mud. Reeds speak to you of the natural world: they whisper, they sing. And herons pass by. Are you old enough to appreciate the moment? Too old? There is movement beneath the water, but it may be nothing. There may be nothing going on. And then life suggests that you remember the years you ran around, the years you developed a shocking lifestyle, advocated careless abandon, owned a chilly heart. Upon reflection, you are genuinely surprised to find how quiet you have become. And then life lets you go home to think about all this. Which you do, for quite a long time. Later, you wake up beside your old love, the one who never had any conditions, the one who waited you out. This is life's way of letting you know that you are lucky. (It won't give you smart or brave, so you'll have to settle for lucky.) Because you were born at a good time. Because you were able to listen when people spoke to you. Because you stopped when you should have and started again. So life lets you have a sandwich, and pie for your late night dessert. (Pie for the dog, as well.) And then life sends you back to bed, to dreamland, while outside, the starfish drift through the channel, with smiles on their starry faces as they head out to deep water, to the far and boundless sea. - Eleanor Lerman

[via “Alive On All Channels”]

[motionpicturelover]

"Bedknobs and Broomsticks" (1971) - Robert Stephenson

Films I've watched in 2024 (34/?)

My absolute favourite of all the Disney live action films!

[ozkar-krapo]

V/A

"I/D/V 02"

(7"EP. Unframed. 2009)

[ulrichgebert]

Als Gedenkfilm für den nun auch verstorbenen Sherman-Brother Richard M. schauten wir einmal mehr das eigenwillige 2. Weltkriegs-Nazinvasionsbekämpfung-durch-Hexerei-Spektakel mit Zaubertricks und Unterwasseraufnahmen namens Bedknobs and Broomsticks, für das und insbesonders seine Hauptdarstellerin wir eine gewisse Schwäche haben, obwohl es wirklich nicht besonders sinnvoll ist und man an manchen Stellen (beispielsweise nach "Portobello Road", einer Tanznummer, die gefühte 10 Minuten lang wiederholt, daß man dort alles mögliche kaufen kann) schon fragen kann, wie diese Nummer jetzt die Handlung voranbrachte....

[jrocksmetalzone]

THAT METAL INTERVIEW presents Ian Forsythe of CYBORG OCTOPUS (recorded August 2022). Frontman Ian Forsythe chats about the band's newesr release, 'Between the Light and Air' and it's writing process. He also categorizes the band's genre; talks about the band's future touring plans. Donate to the channel to help create new content! https://www.paypal.me/thatmetalinterv... That Metal Interview Podcast is FREE and ON DEMAND, stream now on Apple Podcasts, iHeart Radio, Spotify, Anchor, Google Podcasts, Pandora, Amazon Music, TuneIn, Deezer, Bandcamp. Listen to The #ThatMetalInterviewPodcast​​​​​: https://lnk.to/uj7sH3k4 Follow us on Twitter: https://twitter.com/InterviewThat Follow us on Instagram: https://www.instagram.com/thatmetalinterview/ Like us on Facebook: https://www.facebook.com/ThatMetalInterview Subscribe on YouTube: http://youtube.com/JrocksMetalZoneSupport the show

[theroyalsandi]

British Royal Family - The Prince of Wales as he visits James' Place Newcastle in Newcastle upon Tyne, England. The charity's new centre in Newcastle, which was opened by the Prince of Wales today, will provide help to men experiencing suicidal crisis in the region. (Photo by Ian Forsyth) | April 30, 2024

[neil-gaiman]

Hello Mr Gaiman!

This may be quite odd, but one of my favourite works of yours is the series "Neil Gaiman's Likely Stories". It's so eerie but incredibly intriguing and fascinating. Every time I watch it I eventually discover something new I have missed during the past rewatches. I stumbled upon it because of the lovely Paul Ritter, and I was very pleased and surprised to see that he had a part in every episode, one bigger than the other.

So my question is, did you deliberately choose Paul to be in the series and made sure to give him several roles in the series because of a potential personal connection? Or do you have no connection to him and it was clear from the start that whoever got to be in his position would appear in every episode? (My apologies if my question doesn't really make sense, I'm not good with words...)

I didn't cast Likely Stories -- that was Ian Forsyth and Jane Pollard, the directors. But we talked from the beginning about having a theatrical company, who played different roles in all the stories. Paul was marvellous.

[useless-englandfacts]

a protestor storms the stage and throws glitter over labour party leader, sir keir starmer during the leader's speech at the labour party conference in liverpool [📷: ian forsyth]

[projectourworld]

Whitby, England

Participants parade through the streets during the annual Whitby Krampus run. Led by St Nicholas, the Krampus, a horned beast who traditionally carries sticks to beat naughty children, follows marching to the beat of drums.

Photograph: Ian Forsyth/Getty Images / Guardian Newspaper

[anonymoushouseplantfan]

The teacher who accused Prince Harry of cheating, and claimed she ghost-wrote his A-level course work, has been awarded £45,000 in damages.

Last July, Sarah Forsyth, a former art teacher at Eton College, won her case for unfair dismissal against the school, during which she said she had written the text to accompany the paintings the prince submitted for his A-level art project.

The employment tribunal investigating the claims found no evidence of cheating, but it accepted the prince had received help in preparing his A-level "expressive" project, which he needed to pass to secure his place at Sandhurst.

An exam board later cleared Harry of cheating, but the scandal tarnished the reputation of the so-called party prince, and threw into doubt the integrity of one of the country's oldest and most venerable schools, whose management was described by the tribunal as prejudicial, unprofessional and high-handed in its treatment of Ms Forsyth.

During the ensuing unfair dismissal hearing, Ms Forsyth claimed she was bullied by staff, and that she was a victim of sexual discrimination. She also said she was asked by the college's head of art, Ian Burke, to help Harry with the written submission to accompany his artworks. She claimed she had a tape of a conversation between herself and the prince which backed her claim.

In its judgment which criticised the school's senior management, the tribunal said: "It is clear whichever version of the evidence is accepted that Mr Burke did ask the claimant to assist Prince Harry with text for his expressive art project ... It is not part of this tribunal's function to determine whether or not it was legitimate."

Yesterday, Ms Forsyth's lawyer, Anthony Sakrouge of Russell-Cooke, said his client was "content that the settlement that has been agreed reflects the fact that she was unfairly treated".

During the ensuing unfair dismissal hearing, Ms Forsyth claimed she was bullied by staff, and that she was a victim of sexual discrimination. She also said she was asked by the college's head of art, Ian Burke, to help Harry with the written submission to accompany his artworks. She claimed she had a tape of a conversation between herself and the prince which backed her claim.

In its judgment which criticised the school's senior management, the tribunal said: "It is clear whichever version of the evidence is accepted that Mr Burke did ask the claimant to assist Prince Harry with text for his expressive art project ... It is not part of this tribunal's function to determine whether or not it was legitimate."

Yesterday, Ms Forsyth's lawyer, Anthony Sakrouge of Russell-Cooke, said his client was "content that the settlement that has been agreed reflects the fact that she was unfairly treated"

Harry still claims he didn’t cheat, lol.

[ifreakingloveroyals]

7 September 2018 | Prince William, Duke of Cambridge attends a reception at the Baltic Centre for Contemporary Art as he visits The Great Exhibition Of The North in Gateshead, England. The reception was held to celebrate and acknowledge all those who have been involved in making the Great Exhibition happen. During the visit Prince William also visited the Sage international music centre, PROTO which is an emerging Technology Centre and Ryder Architecture Cooper’s Studios. The Great Exhibition of the North is a three-month celebration of the North of England’s pioneering spirit and draws to a close this weekend. Showcasing great art and culture, design and innovation across the North, the Exhibition tells the story of the North of England and how its innovators, businesses, artists and designers have shaped the region in the present and how they are inspiring the future. (c) Ian Forsyth - WPA Pool/Getty Images

[dustedmagazine]

Danny Paul Grody Duo — Arc of Night (Three Lobed)

Photo by Ian Albert

The guitar-drums duo concept has produced a lot of good music lately, whether in Gunn-Truscinski’s abstract explorations (sometimes augmented with Bill Nace) or Jim White’s percussive conversations with Marisa Anderson. Like these outfits, the Danny Paul Grody Duo often allows the drummer (in this case Rich Douthit of The Drift) to range free form, using percussion as a color and a mood as much as a timekeeper.

Arc of Night follows the similarly titled Arc of Day by about a year, and it’s very similar in texture and vibe, though perhaps a little moodier and introspective.  Once again, the tracks foreground Grody’s lyrical guitar lines but this time, there’s more space for Douthit and other guests are kept to a minimum.  Only two tracks feature artists outside the duo. Trevor Montgomery adds some electric bass to eerie, hovering “Hawk Hill,” while Chuck Johnson joins on pedal steel for the slow-blooming, very nocturnal “Moon Garden.” 

Both of those cuts have their own appeal, but perhaps it makes sense to focus first on unassisted tracks. Grody and Douthit have an undeniable chemistry that comes through best when it’s just the two of them. Consider, for instance, the opening “Last Light,” which unfolds in a free-form, unhurried, unconstrained way. Grody unspools a thoughtful melody, his tone full of force and clarity, but with long meditative pauses between phrases. Into those gaps, Douthit inserts abstracted bits of cymbal shimmer, short drum rolls and unexpected thwacks. Their interaction sounds like a conversation, the guitar proposing, the drums answering with bursts of conciliatory or contradictory energy. There’s a fluidity to the piece, which moves as it will, without the guardrails of obvious time signature.

Later, the two extend their dialogue into a longer form in “Coyote Valley at Dusk.” The guitar licks flurry upwards from a single lingering low note. At first, the percussion simmers a barely audible jangle of bells. Then, in time, a rhythm asserts itself, first in the guitar line, later picked up in a minimalist cadence of cymbal and snare. The piece takes on purpose and propulsion; it sounds a bit like Chris Forsyth’s extended grooves with Solar Motel Band. You can hear the two musicians testing cracks in the repetition, finding ways to make a repeated motif fresh from measure to measure without violating its integrity. The addition of slide (or maybe e-bow?) in the second half infuses ethereal spirituality, turning the music from chug to free flight.

The music is quite beautiful in a somnolent, dusky sort of way. It can fade into the background if you let it, but there are details worth hearing if you take care and listen closely.

Jennifer Kelly

[thepastisalreadywritten]

The Prince of Wales Visits The Northeast Of England

Prince William visits Low Carbon Materials to learn more about how they are working to create low-carbon construction material alternatives since becoming a 2022 Earthshot Prize Finalist on 30 April 2024 in Seaham, England.

📷: Oli Scarff - WPA Pool / Getty Images

Prince William visits James' Place Newcastle on 30 April 2024 in Newcastle upon Tyne, England.

The charity's new centre in Newcastle, which was opened by the Prince of Wales today, will provide help to men experiencing suicidal crisis in the region.

📷: Ian Forsyth / Getty Images

[justforbooks]

The actor Brigit Forsyth, who has died aged 83, made her name as Thelma in the BBC television series Whatever Happened to the Likely Lads? One critic described Thelma as so prim that she could turn the lifting of a lace curtain into an art form.

Dick Clement and Ian La Frenais’s creation, which ran from 1973 to 1974, was the sequel to the popular 1960s sitcom The Likely Lads, which starred Rodney Bewes and James Bolam as Bob Ferris and Terry Collier, two single north-east England factory workers who share a flat and the same interests – women, drink and football.

Thelma Chambers was brought in as a girlfriend for the upwardly mobile Bob, now in the white-collar class with a house, car and annual holiday on the Costa Brava, scoffed at by Terry, who clings on to his working-class roots. Thelma and Bob were married halfway through the two series of the show.

“Up until then, I had done a lot of drama on telly,” said Forsyth. “If I wasn’t being murdered, I was murdering somebody or I was a disturbed art teacher. I was playing quite a lot of deranged people, so comedy was a nice change.”

She created laughs again with the sitcom Sharon and Elsie (1984-85), in which she co-starred as the middle-class Elsie Beecroft alongside Janette Beverley as the more down-to-earth Sharon Wilkes, two employees in a greetings card manufacturing company.

But Forsyth’s own favourite television part was Francine Pratt in Playing the Field (1998-2002), the on- and off-pitch women’s football drama created by Kay Mellor. Her character, who hates the game, is married to the Castlefield Blues’ sponsor, played by Ricky Tomlinson, and keeps him happy in return for designer clothes and other luxuries.

“I have never played awful glamour before,” she said. “I had a blond wig, six-inch heels, makeup and my bosom hitched up high.”

Forsyth was born in Malton, North Yorkshire, to Scottish parents, Anne (nee Forsyth), an artist, and Frank Connell, an architect and town planner, and brought up in Edinburgh. She was mesmerised by Stanley Baxter’s performances as a pantomime dame at the city’s King’s theatre and, aged 18, landed her own first lead role, as Sarat Carn, on her way to the gallows, in Charlotte Hastings’s play Bonaventure with the Makars amateur drama group.

But when she left St George’s school, Edinburgh, her parents insisted she learn a skill, so she trained as a secretary. After a couple of jobs, she headed for London and Rada (1958-60), where she won the Emile Littler prize.

She began her professional career back in Edinburgh with the Gateway theatre company (1960-61) before moving on to the Theatre Royal, Lincoln (1961-62) and the Arthur Brough Players in Folkestone (1962). With other actors already named Brigit McConnell and Bridget O’Connell, she changed her professional name to Forsyth on her return to Lincoln in 1962.

At the Edinburgh festival three years later, she played one of the witches in a headline-making production of Macbeth. “That show caused an absolute uproar because they wanted the witches to have the bodies of young girls and the faces of old women, and they wanted us to have our top half naked,” Forsyth recalled. “But the Earl of Harewood, who was running the EIF at the time, said ‘No’. So they put nipple caps on us, which looked absolutely disgusting – and they used to drop off each night. It was absolutely hysterical.”

Later, in the West End, Forsyth played Annie in The Norman Conquests (Globe, now Gielgud, and Apollo theatres, 1974-76) and Dusa in the feminist play Dusa, Fish, Stas and Vi (Mayfair theatre, 1976-77). She put her TV breakthrough down to cutting her hair short. “It proved a tremendously lucky omen,” she said.

That break came with Adam Smith (1972), in which she played the younger daughter of the title character, a Scottish minister (Andrew Keir). The director, Brian Mills, then worked with Forsyth on the psychological thriller Holly (1972), when she took the part of a young art teacher kidnapped by a mentally unstable student. Forsyth and Mills married in 1976.

Television roles kept on coming. She was Veronica, one of the product-promotion team, in The Glamour Girls (1980-82), Harriet in the inter-generational sitcom Tom, Dick and Harriet (1982-83), and Helen Yeldham, a hotelier, in the 1989 series of Boon.

There were also appearances in soap opera: as GP Judith Vincent in The Practice (1985-86); Babs Fanshawe, Ken Barlow’s escort agency date who dies of a heart attack, in a 1998 Coronation Street episode; Delphine LaClair, a sales rep for a French company interested in buying Rodney Blackstock’s vineyards, for two short runs in Emmerdale (2005 and 2006); Cressida, mother of the millionaire Nate Tenbury-Newent, in Hollyoaks in 2013; and three roles in Doctors between 2000 and 2012.

Forsyth also played the miserable Madge, who frustrates her sister Mavis’s attempts at a relationship with Granville, in the sitcom sequel Still Open All Hours (2013-19).

A cellist from the age of nine, Forsyth starred as the real-life virtuoso Beatrice Harrison in a 2004 tour of The Cello and the Nightingale. Also on tour, she was a remarkably believable Queen Elizabeth II in A Question of Attribution (2000) and played Marie in Calendar Girls (2008). “I’m Mrs Frosty-Knickers, the one who doesn’t approve of it all.”

In 2017, she played a terminally ill musician in the stage comedy Killing Time, written by her daughter, Zoe Mills, who acted alongside her. At the time, Forsyth revealed that her maternal grandfather, a GP in Yorkshire, had helped dying patients to end their lives. Declaring herself a supporter of euthanasia, she said: “He bumped off probably loads of people with doses of morphine.”

In 1999, Forsyth separated from her husband, but they remained friends until his death in 2006. She is survived by their children, Ben and Zoe.

🔔 Brigit Forsyth (Brigit Dorothea Connell), actor, born 28 July 1940; died 1 December 2023

Daily inspiration. Discover more photos at Just for Books…?

[scotianostra]

The Scottish actor and director Kenny Ireland passed away ten years ago, on July 31st 2014.

Born as George Ian Kenneth Ireland in Paisley, Renfrewshire, the son of Ian, an RAF bomber pilot who was killed on a secret mission when Ireland was five months old, and Elizabeth (nee Cowie). On leaving Paisley grammar school, he worked as an apprentice at the town’s thread manufacturer, J&P Coats. However, his ambition was to act and he eventually left to train at the Royal Scottish Academy of Music and Drama. Then, as an actor and assistant director, he helped to establish the Lyceum Youth theatre in Edinburgh.

He made his West End acting debut in Mr Laurel and Mr Hardy (Mayfair theatre, 1976) after the Traverse theatre Company’s Edinburgh production transferred to London. He was then a member of the Royal Shakespeare Company, before work at the National Theatre, where he was Apollo in Peter Hall’s production of The Oresteia, and the Old Major and Pilkington in Animal Farm. By then, he was himself directing at the Traverse theatre.Ireland first appeared on television as an Edinburgh bank manager in an episode of the police drama Strangers. In between many other one-off roles, he played Sammy, alongside Simon Cadell and Carol Royle, in the first series of the sitcom Life Without George and the thuggish American media tycoon Ben Landless in the political drama House of Cards. He was also one of the regular group of actors in Victoria Wood: As Seen on TV, best remembered in blue dungarees and cap as the handyman Derek in the much-loved Acorn Antiques sketches, which lampooned the soap opera Crossroads. “

In the cinema, Ireland was in the Scottish film comedy Local Hero, directed by last week’s birthday boy, Bill Forsyth, other films included The Big Man, but it was TV that we mainly say Kenny in appearances in Dr. Finlay’s Casebook, Enemy at the Door, Taggart, Dempsey and Makepeace, Auf Wiedersehen, Pet, Rab C Nesbit, Hamish Macbeth and many more saw that he was kept busy and the bills were paid between many theatre appearances as well as at stint as artistic director of the Royal Lyceum theatre, Edinburgh from 1993 to 2003.

Of course Kenny is best remembered for is role in Derren Litten’s Benidorm, which became an instant hit. Alongside actress Janine Duvitski, the pair played a sex-mad couple who frequent the Solana hotel in the Spanish resort every year.

It wasn’t an easy role for the mild mannered Ireland, he recalled “Half the things I don’t understand, There was one episode where I had to say, ‘Jacqueline prefers the sausage in cider.’ I said, ‘What’s funny about that?’ and had to have it explained to me. I’ve always taken the line that they’re complete innocents.

Ireland’s first marriage, to the writer, producer and director Marilyn Imrie, ended in divorce. In 1980, he married the theatrical agent Meg Poole

Kenny Ireland passed away on this day 2014 a month after it was announced he had brain cancer.