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104 G000 LISTENING First Broadcast:1929 (under title "Rise of Milligan); Moriarity (Harry Secombe); Ma- the Goldbergs"). jor Bloodknock, Indian Army, retired (Harry Secombe);Bluebottle,the Good Listening character who always reads the stage directions in his script (Harry Secombe), Type:Quiz Min and Henry (Harry Secombe, Spike Milligan). Format:Calledforcontestantstoans- wer questions based on a medley of vocalAnnouncer:Wallace Greenslade. clues that were constantly interrupted by Vocalist:Max Geldry. plants in the studio audience. A playerOrchestra:Wally Stark. won money ($3, $6, or $9) based on how Also:The Ray Ellington Quartet. many questions he could answer thatLength:30 minutes. were related to the interrupted songs. Network:NBC. Host:Lionel Kaye. First Broadcast: 1955. Vocalists:The Three Chances. Orchestra:Van Alexander. Length:30 minutes. The Gordon MacRae Show Network:CBS. First Broadcast: 1943. Type:Musical Variety Host:Gordon MacRae. Vocalists:Sheila Stevens, Marian Bell. Good News Announcer:Dan Seymour. Orchestra:Archie Bleyer, Johnny Guar- Type:Musical Variety neri. Host:Dick Powell. Length:15 minutes. Vocalist:Mary Martin. Network:CBS. Orchestra:Meredith Wilson. First Broadcast:1945. Length:30 minutes. Network:NBC. First Broadcast:1939. The Gracie Fields Show The Goon Show Type:Variety Hostess:Gracie Fields (a British comed- Type:Comedy ienne). Format:British series about a group ofRegulars:Bob Burns, The Spartan Quar- goons, people "of inarticulate language tet, Don Hancock. with one -cell brains who think in theAnnouncer:Bill Goodwin. fourth dimension," who are anti -every-Orchestra:Harry Sosnik, Lou Bring, Carl thing and whose sole purpose is first to Hoffman. destroy the British Empire, then the restLength: 5minutes(1942),15minutes of the world. Every known effect that (1943), 30 minutes (1944). broadcasting can offer was used to pre-Network:Blue (1942), Mutual (1943), NBC sent the stories-all of which revolved (1944). around one Netty Seagoon, a man ofFirst Broadcast: 1942. many occupations, yet completely naive and stupid. His exploits in the absurdGramps world of dimwitted, absolutely unbeliev- able buffoons is the basis of the series. Type:Comedy PrincipalCharacters:NettySeagoonFormat:The story of a small town news- (Peter Sellers), Eccles, the idiot (Spike paper editor, his wife, their two children,.

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Wales-Ireland Travelogue 2009
WALES AND IRELAND TRIP MAY 12 TO JUNE 4, 2009 What a coincidence! Meaningless, to be sure - but a coincidence, nonetheless. Our trip to the British Isles in 2009 began and ended one day earlier than our trip to Scotland, May 14 to June 5, 2001. (One can only hope that September of this year doesn't hold the same sort of unpleasant surprise that was visited upon us eight years ago.) OK, so I made a "small" error - we are departing two days earlier, not one. And, OK, so it wasn't much of a coincidence, was it? I mean, a real coincidence - one of excruciating consequence - occurred at the Polo Grounds in NYC on October 3, 1951 when Ralph Branca of the Blessed Brooklyn Dodgers was called in to pitch in the 9th inning and, by coincidence, Bobby Thomson of the Bestial New York Giants happened to come to bat, and, by coincidence, Mr. Branca happened to throw a pitch that the aforementioned Mr. Thomson happened to swing at, and, by coincidence, made contact with said pitch and drove it a miserable 309 feet into the first row of the left- field seats of the absurdly apportioned Polo Grounds, thus ending the Dodgers' season and causing a certain 12-year-old, watching on TV, in Brooklyn to burst into tears. Now that was a coincidence! But I digress. Tuesday, May 12 to Wednesday, May 13 Rather than leaving our car at the Seattle Airport Parking Garage (cost for three-plus weeks $468) or at an airport hotel (about $335) we decide to try the new Gig Harbor Taxi (at $95 each way, including tip).
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The Goon Show: Forog
THE GOON SHOW: FOROG First broadcast on December 21, 1954. Script by Eric Sykes and Spike Milligan. Produced by Peter Eton. Announced by Wallace Greenslade. Orchestra conducted by Wally Stott. Transcribed by Mark Wallace, corrections by Peter Olausson. Greenslade: This is the BBC. Secombe: The wretched man was about to refer to the highly ignored Goon Show. FX: [Huge cheers and whistles] Secombe: Stop! [stops] Greenslade? Greenslade: Sir? Secombe: Leave your toys for a moment, and lets have some words. Greenslade: Yes big brother. Ladies and gentlepong this week the Goons present a science-fiction fantasy play in a cunning attempt to take the place of the horror comics. This masterpiece of mediocrity is entitled... Orchestra: [Horror and suspense chord] Secombe: Forog! [Inane laughter] Orchestra: [Clarinet playing a very low sinister piece] Peter: [Low, sinister voice] It was one of those days that follow the night. London was blanketed by a thick swirling pea-soup fog. All was still as Ned Seagoon put on his hat and coat. Seagoon: Yes, I decided to go out for a breath of fresh air. Milligan: Let him go! Seagoon: I hadn't realised it was so foggy, but indeed it was so thick that I had to walk in front of myself with a blazing torch. Eccles: You're not the only one! Seagoon: As I walked long a stream of buses and cars followed in my wake. Strange how men recognise a leader. I hurried them along when suddenly... 1 Minnie Bannister: Ooooooh no, please! ...Oooooh no, oooh! Seagoon: ...I bumped into someone.
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HANCOCK's HALF HOUR COLLECTIBLES Notes To
HANCOCK’S HALF HOUR COLLECTIBLES Notes to Accompany Volume 3 All photographs copyright (C) BBC (unless otherwise stated) The Tony Hancock Appreciation Society is delighted to have given its support to the production of this new and unique series concerning the lost works of Tony Hancock. Tony Hancock: BBC Publicity Shot for Hancock’s Half Hour, November 1956 The Tony Hancock Appreciation Society (THAS) Since its creation in 1976, the THAS has dedicated itself to preserving and promoting the works of Tony Hancock and, more crucially, to finding his broadcasts that were missing from the archives. Over the decades, these efforts have yielded a wealth of material, most notably lost episodes of his most beloved work on Hancock’s Half Hour for both television and radio. Many of these have now been located and returned to the BBC; some feature in this special series of Collectibles, now into 1 its third volume. However, many still remain lost at this time. In addition, our efforts have found other material – shows recorded before Hancock became a household name – from series such as Calling All Forces, Variety Bandbox and Star Bill. Again, examples of these can be found in this series. In the previous volumes, there was an extensive analysis of missing recordings from Hancock’s radio career, and, as ever, we remain hopeful that some of these recordings will emerge from private collections or, perhaps, the archives of the BBC or other institutions. In these notes, we will focus on a number of missing recordings and shows outside the ‘core’ work Hancock did on his eponymous series and those that preceded it.
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5.1 May 2018 Newsletter.Cdr
5.1 3D BBC CiNA/RNIB May 2018 Newsletter Summary April 1. April Competition 4. March Winner’s email 2. Clues & Explanations 5.May Extra mid-month 2018 3. Presentations 2017 6. Spike Milligan Crossword Enigmatist Pickles 1. April Competition I TOLD YOU I WAS ILL The April competition with Spike Milligan themed grid by Pickles and clued by Enigmatist, was won by Jos Tait of Preston Australia. Excellent solving! SPIKE MILLIGAN Feedback included: Enigmatist is one of my favourite setters and many of the reasons for that can be found in this puzzle: clever and challenging exploitation of an interesting theme; complex, cryptic and misleading clues – for example, it took me a long time to unravel the clue to IRONIC, but it is, as indeed are all his clues, ultimately both intricate and fair. A most enjoyable solve this month. Kmc One solver is speaking to another :- “Would you like to do this puzzle set by Enigmatist or climb the North face of the Eiger?” “Wait right there – I'll get the crampons!” GS Much fun to be had here, as Andre always has a go first. He was amazed when he came to complain that nothing could really contain Y__G T__G and I immediately burst into song... Quite an education in British culture for him! AR Thanks again for the great, and consistently entertaining, puzzles. JN Lovely to have the brilliant madcap humour of Spike Milligan celebrated and brought back to life again in such a clever puzzle. Again I am in awe of how much Engimatist was able to pack into the grid, and how many references Grid by there are, since I imagine the constraints of 3D must be greater than those Pickles of 2D.
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The Goon Show: the Spanish Suitcase
THE GOON SHOW: THE SPANISH SUITCASE First broadcast on December 7, 1954. Script by Spike Milligan and Eric Sykes. Produced by Peter Eton. Announced by Wallace Greenslade. The orchestra was conducted by Wally Stott. Transcribed by Kurt Adkins, corrections by Peter Olausson. Greenslade: This is the BBC Home Service. Grytpype: Oh dear! Greenslade: Never-the-less, this is the BBC Home Service, my almamata! Bluebottle: Olé! Seagoon: That olé of olés can only herald the coming of the highly esteemed Goon Show! Grams: [Panic stricken audience running out, door slams] Seagoon: Who unlocked the doors? Mr. Greenslade, emergency music! Grams: [’The Archers’ theme tune and animal noises] Seagoon: Stop! [Music stop] I knew that would get them back in. Heads above the trough! [country accent] Now then, Dan Greenslade, me dear, tell 'em as 'ow we're going to be doing that there Goon Show. I'll be off to mend my tractor. Greenslade (country accent): Aaaaah, aaalright me old dear Ned Archer, I reckon as all we'll be having a ripe harvest of compost from 'im tonight! Greenslade: Aaaaaarh! Seagoon: Aaaaaarh! Regal Woman: Hello you two, still arguing about the old cow? Greenslade: Aaaaaaaarh! Regal Woman: Where's Daddy? Greenslade: Well, he were asking if them beams up in the barn were strong. 1 Seagoon: Ay, he asked I that, he did, he asked I that then he went up there with a coil of rope and a noose around his neck. Regal Woman: No no, he... Oh look! Grams: [’The Archers’ end theme tune] Sellers: Easy money! Seagoon (himself): Right, now Greenslade, off with your dung smock and into a serious vein.
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The Goon Show: Napoleon's Piano
THE GOON SHOW: NAPOLEON’S PIANO First broadcast on October 11, 1955. Script by Spike Milligan. Produced by Peter Eton. Announced by Wallace Greenslade. Orchestra conducted by Wally Stott. Transcribed by Paul Martin, corrections by Peter Olausson. Greenslade: This is the BBC Home Service. Grams: [Wailing] Greenslade: Oh, come, come, come, come, dear listeners. You know, it's not that bad. Secombe: Of course not! Come, Mr. Greenslade – tell them the good news! Greenslade: Ladies and Gentlemen, we have the extraordinary talking-type wireless Goon Show. Grams: [Crowd screaming and stampeding] Secombe: Mmm. Is the popularity waning? Hmmph. Milligan: Oh ho ho ho ho! Fear not, Neddy-lad! We'll jolly them up with a merry laughing type joke show. Stand prepared for the story of Napoleon's Piano. Ho ho ho ho! Orchestra: [Piano mood-setting music] Seagoon: Napoleon's piano. The story starts in the bad old days, back in April 1955. It was early one morning, and breakfast had just been served at Beaulieu Manor, and I was standing at the window, looking in. With the aid of a telescope I was reading the paper on the breakfast table, when... when suddenly an advertisement caught my eye. It said: Grytpype-Thynne: [bassy, echoey] Will pay anybody five pounds to remove piano from one room to another. Apply: The Bladders, Harpiapipe, The Quants. Seagoon: In needle nardle noo time I was at the address, and with the aid of a piece of iron and a lump of wood, I made this sound: FX: [Knocks five times on door] Moriarty: Sapristi knockos! When I heard that sound I ran downstairs, and with the aid of a doorknob and two hinges I made this sound: FX: [Door handle turns, door creaks open] 1 Seagoon: Ah! Good morning! Moriarty: Good morning? Just a moment..
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The National Life Story Collection
Daphne Shadwell Page 1 COPYRIGHT: No use may be made of any interview material without the permission of the BECTU History Project (http://www.historyproject.org.uk/). Copyright of interview material is vested in the BECTU History Project (formerly the ACTT History Project) and the right to publish some excerpts may not be allowed. CITATION: Women’s Work in British Film and Television, Daphne Shadwell, http://bufvc.ac.uk/bectu/oral-histories/bectu-oh [date accessed] By accessing this transcript, I confirm that I am a student or staff member at a UK Higher Education Institution or member of the BUFVC and agree that this material will be used solely for educational, research, scholarly and non-commercial purposes only. I understand that the transcript may be reproduced in part for these purposes under the Fair Dealing provisions of the 1988 Copyright, Designs and Patents Act. For the purposes of the Act, the use is subject to the following: The work must be used solely to illustrate a point The use must not be for commercial purposes The use must be fair dealing (meaning that only a limited part of work that is necessary for the research project can be used) The use must be accompanied by a sufficient acknowledgement. Guidelines for citation and proper acknowledgement must be followed (see above). It is prohibited to use the material for commercial purposes and access is limited exclusively to UK Higher Education staff and students and members of BUFVC. I agree to the above terms of use and that I will not edit, modify or use this material in ways that misrepresent the interviewees’ words, might be defamatory or likely to bring BUFVC, University of Leeds or my HEI into disrepute.
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The Rude Mechanicals Present Ying Tong – a Walk with the Goons
The Rude Mechanicals present The Australian première of Ying Tong – A Walk With The Goons By Roy Smiles, Directed by Ian Hart The Street Theatre, Canberra 17 August – 2 September 2006 Great wits are sure to madness near allied, And thin partitions do their bounds divide. —John Dryden The subversive anarchy and surreal humour of The Goon Show burst on post-war Britain and Australia like an exploding batter pudding. The shockwave wrenched English comedy off its secure moorings and set the course for Monty Python, Beyond the Fringe, The Goodies… all the way to Little Britain. Peter Sellers, Harry Secombe and Spike Milligan became household names. Today, 50 years later, The Goon Show is still being repeated on the ABC. Roy Smiles’ brilliant new play celebrates the genius of The Goons, but also demonstrates the truth of Dryden’s couplet in the high price that Milligan, its creator, paid for his success. Ying Tong opened at the West Yorkshire Playhouse and then transferred to The West End and has been touring in Britain and South Africa for the past year. The Street Theatre season is its Australian première. The Rude Mechanicals production is directed by Ian Hart and features four talented Canberra actors: Robert de Fries (Spike Milligan), Steven Kennedy (Peter Sellers), Robbie Matthews (Harry Secombe) and John Honey (Wallace Greenslade). The choral performance of The Ying Tong Song is by OOTS Choir, Tuggeranong, directed by Jenny Sawer. Visit the Rude Mechanicals web site http://www.camrin.com/rudemech Preview: 16 August Season: 17-19, 22-26, 29 August-2 September Wednesdays-Saturdays 7:30pm, Tuesdays 6:30pm Matinees 19 Aug, 26 Aug, 2 Sept at 1:30pm Venue: The Street Theatre Studio Tickets: $28 Concessions available.
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The Goon Show: Tales of Men's Shirts
THE GOON SHOW: TALES OF MEN’S SHIRTS A STORY OF DOWN UNDER First broadcast on December 31, 1959. Script by Spike Milligan. Produced by John Browell. Announced by Wallace Greenslade. Orchestra conducted by Wally Stott. Transcribed by Josh Hayes, corrections by Peter Olausson. Greenslade: This is the BBC. After the news there'll be a talk on Early Christian Plastic Knees and the first broadcast of a piece of knotted string. If you would like a piece of knotted string, send three rust- proof shillings to "Honest" Wal Greenslade of Weybridge. Ta. Seagoon: Hello folks of world! Hello folks of world! And in that order! Greenslade: Ta. That voice comes from inside a short fat round blob, namely Neddie of Wales. Seagoon: Thank you, Jim Krint. My first impression will be of Peter Sellers. Sellers: Hello folks. Grams: [Sudden burst of cheering] Seagoon: Stop! [stops] My next impression will be of Spike Milligan saying "Thynne". Milligan: Thynne! Orchestra and Omnes: Thynne! Milligan: Thyyyynne! Orchestra and Omnes: Thyyyynne! Milligan: ThyyyyYYYYyyyynne! Orchestra and Omnes: ThyyyyYYYYyyyynne! Seagoon: That's Thynne enough! Thank you, thank you. Remember, folks, saying "Thynne" cures you of monkeys on the knees. Sellers: Yes, if you've got monkeys on the knees, just say: Milligan: Thynne! 1 Sellers: And they are only three and six a box. Milligan: Yes, I swear by Thynne. One morning I woke up and there they were monkeys on the knees! Grams: [Monkeys in a temper] Milligan: Then I said the cure word, Thynne! Grams: [Speed up and fade record of the monkeys at high speed] Milligan: And away they went! Greenslade: Ta.
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The Last Goon Show of All
The Last Goon Show of All Transcribed by John Koster, corrections by Sean Dwyer. Final corrections and colour-coded separation of versions by Helen. Green text = Radio version only Red text = TV version only (At least, the TV version that's on YouTube) Black text = Both versions ORCHESTRA: OLD COMRADES MARCH BROWELL: Well, good evening and welcome to the Camden. And if you'll forgive me, this is a most illustrious occasion. We're are playing this Goon Show, the first since 1960, in front of a very distinguished audience. And I am very glad to see you and I hope you have a wonderful time. First of all the "Old Comrades", obviously played by the Wally Stott Orchestra. Wally Stott, I'm afraid is not able to be with us this evening, so the orchestra is conducted by Peter Knight. AUDIENCE APPLAUSE BROWELL: Well, when Con Mahoney, who's head of my department, said "Can you get these bods together?", it was a bit of a job. But I got the principals. And I found Ray Ellington. But Max was a bit more difficult because he's in America. But the BBC dug deep into its pocket… AUDIENCE APPLAUSE BROWELL: …which was most unusual. But here, from America, is Max Geldray. AUDIENCE APPLAUSE BROWELL: Ha, ha. Well, we didn't have quite so far to go for our colour sergeant. Who else but Ray Ellington! AUDIENCE APPLAUSE BROWELL: Now it's absolutely fascinating because I am so delighted than nearly every one of the old musicians… Old? …have returned for tonight.
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The Goon Show: the Spon Plague
THE GOON SHOW: THE SPON PLAGUE First broadcast on March 3, 1958. Script by Spike Milligan and John Antrobus. Produced by Charles Chiltern. Announced by Wallace Greenslade. Orchestra conducted by Wally Stott. Transcribed by anon, corrections by Paul Webster and Peter Olausson. Greenslade: This is the BBC. It might not sound much but [tearfully] it’s home to me. [Sings] We’ve been together now fer forty years and it ain’t been a day... FX: [Pistol shot] Secombe: Got him, folks! It was the kindest way out. We had the vet’s permission, ha ha. Now, folks, by permission of one of the Lord Chamberlain’s secretaries, we present - Orchestra: [Timpani roll (come in on word ‘secretary’)] Throat: ‘The Great Spon Plague.’ Orchestra: [Dramatic chords] Sellers: My name is Doctor Hairy MacSquirter, Squirter MacSquirters of the Clan MacThud and Jim Thudder of Leeds. Our history goes back over half a decade. I have got nothing to do with tonight’s show, so I’ll bid ye all a guid night. Orchestra: [Tatty chord] Greenslade: The scene opens in a granny-hurling factory in Tooting. FX: [Stone chisel sculpting on granite. Then hammering iron from the forge] Grytpype (over FX): Ah, my masterpiece! Don’t move, Moriarty, keep that pose. Ahh - how Michaelangelo would have envied me. Moriarty: What are you making? Grytpype: A pill, Moriarty. Moriarty: Sapristi - you mean you made me pose in the nude to model for a pill?! Grytpype: I wasn’t using all of you, just a certain area you know. Ahm - round off the pill with sandpaper.
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The Pirates and Pop Music Radio
SELLING THE SIXTIES Was pirate radio in the sixties a non-stop psychedelic party – an offshore discothèque that never closed? Or was there more to it than hip radicalism and floating jukeboxes? From the mavericks in the Kings Road and the clubs ofSohotothemultinationaladvertisers andbigbusiness boardrooms Selling the Sixties examines the boom of pirate broadcasting in Britain. Using two contrasting models of unauthorized broadcasting, Radios Caroline and London, Robert Chapman situates offshore radio in its social and political context. In doing so, he challenges many of the myths which have grown up around the phenomenon. The pirates’ own story is framed within an examination of commercial precedents in Europe and America, the BBC’s initial reluctance to embrace pop culture, and the Corporation’s eventual assimilation of pirate programming into its own pop service, Radio One. Selling the Sixties utilizes previously unseen evidence from the pirates’ own archives, revealing interviews with those directly involved, and rare audio material from the period. This fascinating look at the relationship between unauthorized broadcasting and the growth of pop culture will appeal not only to students of communications, mass media, and cultural studies but to all those with an enthusiasm for radio history, pop, and the sixties. Robert Chapman’s broadcasting experience includes BBC local radio in Bristol and Northampton. He has also contributed archive material to Radios One and Four. He is currently Lecturer and Researcher in the Department of Performing Arts and Media Studies at Salford College of Technology. Selling the Sixties THE PIRATES AND POP MUSIC RADIO ROBERT CHAPMAN London and New York First published 1992 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc.
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