Podcasts about The Goon Show

Field Marshals are queuing up to draw their pensions – it's the first time they ever really wanted to go to the front. But Gunner Ned Seagoon, former Ablutions Orderly at Alamein, has other ways of making a mint. He's writing his memoirs and reckons they'll earn him a fortune. For – shock horror – they reveal the truth about the hygiene of the General Staff and the secrets of the military laundry.Written by himself and Maurice Wiltshire, this was the last Goon Show script Larry Stephens ever worked on (he died the following month) and although it has its moments it rarely rises above the average. Tyler and returning guest Andy Bell talk about its highlights and lowlights, the career of Maurice Wiltshire and whether More Goon Show Scripts should be on the school curriculum.

“Caw!” said the crow. “Balls!” said the Milligan.This week, we look at a book that Spike Milligan claimed took either five years - or ten years and fifteen secretaries - to write, and which “damn nearly drove me mad.” But just how much of Spike himself and his life bled into the narrative? And how did a marriage proposal expedite its completion? Puckoon was, for a long time, Spike's only novel, and it proved both a commercial and critical success. Set in the fictional Irish village of Puckoon, a casually drawn border line places graves, a pub, and even church grounds in British territory. From this spring comic scenarios involving two ragged-arsed IRA men attempting to smuggle explosives past a Customs post in a coffin, the digging up of the late Dan Doonan, and an escaped panther on the prowl.And what of the cast of characters? We meet the hapless Dan Milligan and his “poorly written” legs; the financially desperate Father Rudden; Murphy with the unfeasibly hairy eyebrows; the regulars of The Holy Drinker pub; and the - slightly problematic - Constable Lee Ah Pong.We discuss Spike's complex relationship with Ireland, despite having spent very little time there, and ask whether Puckoon is a satire on partition, bureaucracy, religion, marriage… or simply the human condition itself. There's also a look at the novel's darker undercurrents, including the heartbreaking story of Farmer O'Mara and sequences Spike later regretted destroying. It's rather like The Goon Show in novel form, with hints of Joyce, Flann O'Brien, and even Hollywood screwball comedy.Join Tyler and voice actor/podcaster David Wills as they try to decide where Puckoon sits among the pantheon of great comic novels in English.

Louis sits down with Grammy award-winning rapper, producer and former Beastie Boy Mike D. Speaking ahead of the release of his first solo album, Thank You, Mike tells Louis about breaking rap into the mainstream, the mechanics behind the Beastie Boys' 20 foot hydraulic penis, and breaking up the band after Adam Yauch's death.  Warnings: Strong language and adult themes.     Links/Attachments:    Song: Rapture, Blondie (1980)  https://open.spotify.com/track/1hQr0D1ZXbGHFcWLhusijv     Book: Everybody's Fly, Fat Five Freddy with Mark Rozzo (2026)  https://www.penguinrandomhouse.com/books/775871/everybodys-fly-by-fab-5-freddy-with-mark-rozzo/     Song: Cooky Puss, Beastie Boys (1983)  https://open.spotify.com/track/7DZSImZVNfImxqehwNtPuB     Song: Rapper's Delight, Sugarhill Gang (1979)  https://open.spotify.com/track/7sZDbHZiuHEzS00vzCuhqS     Song: Good Times, Chic (1979)  https://open.spotify.com/track/0PQFPcSK1gnBGlbV4CZCG0     Song: The Message, Grandmaster Flash and the Furious Five (1982)  https://open.spotify.com/album/4dEczweFPXeLMMVD1zIdi7     Song: Sucker M.C.'s, Run-D.M.C. (1983)  https://open.spotify.com/track/3hx5R8nOKu5zvhlfDNSIQC     Album: Licensed to Ill, Beastie Boys (1986)  https://open.spotify.com/album/11oR0ZuqB3ucZwb5TGbZxb     Radio Show: The Goon Show (1951-1960) - BBC   https://www.bbc.co.uk/programmes/b0072vdz     Film: National Lampoon's Animal House (1978)  https://www.imdb.com/title/tt0077975/     Film: Caddyshack (1980)  https://www.imdb.com/title/tt0080487/     Album: Paul's Boutique, Beastie Boys (1989)  https://open.spotify.com/album/1kmyirVya5fRxdjsPFDM05     Song: Shadrach, Beastie Boys (1989)  https://open.spotify.com/track/1vIJBVsuMouxSuDxRtTaYI     Album: Hello Nasty, Beastie Boys (1998)  https://open.spotify.com/album/1HhBu55aklCwIus7KffIji     Song: Intergalactic, Beastie Boys (1998)  https://open.spotify.com/track/5fpizYGbi5IQoEraj6FP0R     Song: What We Got, Mike D (2026)  https://open.spotify.com/track/3UeGo2iTVN98fWW96iRL5p     Song: Switch Up, Mike D (2026)  https://open.spotify.com/track/1FHSvpvNWmJcpDcmsxrtbH       Credits:  Producer: Millie Chu   Assistant Producer: Beth Johnstone  Audio Mixer: Tom Guest  Video Mixer: Scott Edwards  Production Manager: Francesca Bassett   Music: Miguel D'Oliveira   Executive Producer: Arron Fellows       A Mindhouse Studios Production for Spotify   www.mindhouse.co.uk   Learn more about your ad choices. Visit podcastchoices.com/adchoices

Join us as we march off to war wearing squeaky socks and woolly underpants, before surrendering to the twisted logic of Spike Milligan (“better looking than Peter Sellers”).This show, one of the highlights of the Goon Show's eighth series and released on BBC LP in 1981, has a plot of sorts: 1917 and England is at war, France is at war, while Eccles is at lunch. Grytpype and Moriarty sell German army shares to Neddie. They claim that the Germans are bound to win any war they enter. Seagoon discovers to his horror that the Germans are losing, but Major Bloodnok sells Seagoon 10,000 unused 1904 calendars. The plan is to drop the calendars on England by zeppelin, making the English think the war hasn't even started, therefore giving the Germans an advantage. However, the British drop 1918 calendars on Berlin, and the Germans capitulate. There's a lot more to it than that and joining Tyler to ‘rifle'through it is Graeme Lindsay-Foot, man of a thousand voices and motorcar enthusiast. That said, he can't hold a torch to the late Peter Sellers, whose obsession with the horseless carriage they also examine this week, as well as singing the praises of the sound effects chaps, querying quite why Secombe got given six characters to voice and asking whether this could possibly be one of Spike's greatest performances of his career.

It's 75 years since the first Goon Show (billed as Crazy People) was broadcast and to mark the occasion Tyler welcomes listeners from all over the world - Ian Richards, Colleen Dawson, Martin Eggleston, Fred Velez, Colin Fee and Ted Webb - to share their Goon Show stories and memories in a special episode. Topics include where they first discovered the show, the importance of Harry Secombe, the show's legacy, favourite music in the show, how it has directly impacted on their lives, obscure references, favourite episodes, what 'lost' episode would they like to hear, best guests, Michael Bentine's role and so much more.It's a riotous 90 minutes of people trying to get a word in!

"Now, Neddie… what experience have you had in translating ancient scripts? " - "Three years with Ray's A Laugh."What do the Piltdown Man, a calculating canine, Norwich Castle Museum and a one-eyed cat peeping in a sea food store all have to do with this week's show? Listen as we discuss The Missing Scroll from Series 5 and offer a fascinating and in-depth behind-the-scenes look at the making of a Goon Show from this period. Neddie Seagoon is recruited by antique dealer Grytpype-Thynne to help recover a lost Babylonian manuscript containing ancient music for which the BBC Home Service are offering a reward. Seagoon travels to Mesopotamia, where he is abandoned in the desert by Willium but rescued by Eccles who accompanies him on his quest. Their search takes them to an antique shop run by Minnie and Henry, where confusion reigns and Seagoon learns the manuscript was discarded on a dust-heap at Sidi Rosaic. Can he recover the scroll in time? We also eavesdrop on a conversation taking place on a bus from Oldham and hear live from a revolutionary new type of prison.Joining Tyler from the USA is performer and Goon enthusiast Brian Phillips.

It's 1972 and Dick Emery - once described as "a fugitive from The Goon Show" - is one of the most popular comedians on television. His show is a regular ratings-topper, featuring a cast of comic grotesques – toothy vicars, leering jezebels, cats-bum-mouthed frumps and camp as Christmas extroverts.With the success in the early seventies of the On The Buses films and other sitcom-to-big-screen transitions it was perhaps inevitable that Dick would make a movie, one that would showcase many of his best-loved characters, plus introduce one or two new ones. “Ooh… You Are Awful” (named after the ubiquitous catchphrase of his easily-confused slattern Mandy) concerns conmen Charlie Tully and Reggie Peek, who fleece a couple of Italian worthies for £500,000 and are about to hop on a plane to Switzerland until Charlie is arrested for trying to pull a stupid con on a pair of witless Americans in the airport lounge.Banged up for six months, Charlie finally emerges from prison and is about to be told by Reggie the bank account details when the latter is murdered by local villain Sid Sabbath for having it away with his sister. There follows a farcical sequence of events involving the Mafia, several Emery disguises, an exploding milk bottle and a lot of women's bums. Yes, seriously.Joining Tyler are two-thirds of The Trap – Jeremy Limb & Paul Litchfield – for a loud, rambunctious journey through a film which the two have previously covered for one of their Film Commentaries - https://www.patreon.com/c/TheTrapComedy/posts Warning: contains language that would make Hetty swoon!

“Their gags are paralysing. Sometimes the director has to let everybody have five minutes' rest, so that we can laugh the laughs out.” (Pamela Thomas, supporting cast)In 1956 a short film was released which with hindsight was probably the most successful Goon Show celluloid transfer, despite only featuring two-thirds of the team. Ironically, it wasn't even intended for theatre release but a lack of interest by US television networks nixed any further forays so it ended up as a cinematic supporting feature. The Case of the Mukkinese Battle-Horn (an early working title was The Yard Has Three Feet) starred Peter Sellers as Superintendent Quilt and Spike Milligan as Sgt Brown plus honorary Goon Dick Emery as Nodule, a museum curator. All three appear in multiple guises, including Sellers as Henry Crun, Milligan as Eccles and Emery as Maurice Ponque. Joining Tyler this week to talk about the background to the film, including the revelation that it sprang from The Adventures of Robin Hood on television and that Harry Secombe's absence could at least be partly laid at the door of Jimmy Grafton, is returning guest Chris Diamond.

This week the great Neil Brand visits the show to share his love of the Goons and in particular the music. Neil of course is a well-respected writer, composer and broadcaster and the country's leading silent film accompanist. A self-taught musician, Neil describes the instinctive feel of the music in the Goon Show from people like Max Geldray and Ray Ellington and admires the sheer musical chutzpah of the boys in the band. He's also a huge fan of Angela Morley and the cinematic sweep of some of her arrangements. As well as talking about the show we get glimpses into Neil's career and passions, a description of the one time he met Milligan and a story about a chance encounter with someone very much within Sellers' and Milligan's orbit.Neil's podcast All About The Music: https://www.allaboutthemusicpod.com/

So we had another idea for a movie canon.After blinking our way through The Moment – the recent mockumentary about Charli XCX by director Aidan Zamiri – we got thinking about a certain kind of music film that exists between the margins of biopic and rockdoc. Not real, not exactly fake… and all the more incisive for it.We came up with a handful of movies – some of them HIGHLY recommended! – which dramatise rather than document the artist's status as a ‘star': their negotiations with fame and celebrity, their discomfort with being the centre of attention, their feelings of being trapped inside the machine.In our conversation about these films – including Pavements, The Nowhere Inn, Spice World, A Hard Day's Night and Slade in Flame – we think about the irreversible vibe shift that marks 21st century humour, and identify the influence of film and TV comedy, from the Goon Show to Charlie Brooker.The canon is a slim one so far – at least compared to our adventures in Big Beat Cinema, the made-up movie niche coined by Finn and mapped out over two NT episodes and a list last year. But we've built a Rockufiction Letterboxd list nonetheless and are all ears for your suggestions. A reminder of the criteria: A film about a musician or band in which they play themselves, generally to comic effect. A blurring of reality and fiction. Not a biopic. Not a documentary.This episode contains some spoilers but not too many. If you need to skip the Charli chat for any reason, it's from 17:00–29:00. Get full access to No Tags at notagspodcast.substack.com/subscribe

Join me and Harry Almey as we talk about the legendary Goon Show! He's directing for the Fringe Festival and it's definitely something you don't want to miss. Grab your grandparents and strap in, we're about to get silly. This show was broadcast on OAR 105.4FM Dunedin - oar.org.nz

INTERVIEW: Harry Almey on upcoming Fringe show 'The Goon Show' by Sillyboy Productions by Jack Knowles on Radio One 91FM Dunedin

TYLER ADAMS joins me to discuss THE CASEBOOK OF SHERLOCK HOLMES: THE MASTER BLACKMAILER.First broadcast on FAB RADIO INTERNATIONAL at 19:00 on January 11th 2026.This week we welcome back - after far too long an absence - our friend TYLER ADAMS whose popular GOON POD podcast has become the very benchmark for everything that you should ever need to know about that peculiarly British radio comedy phenomenon, THE GOON SHOW, the Goons themselves, just about everything relating to them, and British comedy in general, and is well worth tracking down.For a bit of a change, however, TYLER suggested that we talk about a subject that is not Goon related, nor is it even a comedy topic, which is THE MASTER BLACKMAILER a feature-length offering from GRANADA TELEVISION's now legendary SHERLOCK HOLMES series featuring JEREMY BRETT as HOLMES and, in this instance EDWARD HARDWICKE as DOCTOR WATSON.This episode, featuring an astonishing guest appearance by ROBERT HARDY, was part of THE CASEBOOK OF SHERLOCK HOLMES selection which followed on from their very popular ADVENTURES OF and RETURN OF series, and comes from 1992, eight years after the series first began, and during a period when the series was experimenting with a longer format for the short stories after previously only extending the episodes for adaptations of the CONAN-DOYLE NOVEL-LENGTH stories, THE SIGN OF FOUR and, inevitably, THE HOUND OF THE BASKERVILLES.PLEASE NOTE - For Copyright reasons, musical content sometimes has to be removed for the podcast edition. All the spoken word content remains (mostly) as it was in the broadcast version. Hopefully this won't spoil your enjoyment of the show.

Goon Show - The International Christmas Pudding

What happens when curiosity, resilience, and storytelling collide over a lifetime of building something meaningful? In this episode, I welcome Nick Francis, founder and CEO of Casual Films, for a thoughtful conversation about leadership, presence, and what it takes to keep going when the work gets heavy. Nick's journey began with a stint at BBC News and a bold 9,000-mile rally from London to Mongolia in a Mini Cooper, a spirit of adventure that still fuels how he approaches business and life today. We talk about how that early experience shaped Casual into a global branded storytelling company with studios across five continents, and what it really means to lead a creative organization at scale. Nick shares insights from growing the company internationally, expanding into Southeast Asia, and staying grounded while producing hundreds of projects each year. Along the way, we explore why emotionally resonant storytelling matters, how trust and preparation beat panic, and why presence with family, health, and purpose keeps leaders steady in uncertain times. This conversation is about building an Unstoppable life by focusing on what matters most, using creativity to connect people, and choosing clarity and resilience in a world full of noise. Highlights: 00:01:30 – Learn how early challenges shape resilience and long-term drive. 00:06:20 – Discover why focusing on your role creates calm under pressure. 00:10:50 – Learn how to protect attention in a nonstop world. 00:18:25 – Understand what global growth teaches about leadership. 00:26:00 – Learn why leading with trust changes relationships. 00:45:55 – Discover how movement and presence restore clarity. About the Guest: Nick Francis is the founder and CEO of Casual, a global production group that blends human storytelling, business know-how, and creativity turbo-charged by AI. Named the UK's number one brand video production company for five years, Casual delivers nearly 1,000 projects annually for world-class brands like Adobe, Amazon, BMW, Hilton, HSBC, and P&G. The adventurous spirit behind its first production – a 9,000-mile journey from London to Mongolia in an old Mini – continues to drive Casual's growth across offices in London, New York, LA, San Francisco, Amsterdam, Barcelona, Sydney, Singapore, Hong Kong and Greater China. Nick previously worked for BBC News and is widely recognised for his expertise in video storytelling, brand building, and corporate communications. He is the founding director of the Casual Films Academy, a charity helping young filmmakers develop skills by producing films for charitable organisations. He is also the author of ‘The New Fire: Harness the Power of Video for Your Business' and a passionate advocate for emotionally resonant, behaviorally grounded storytelling. Nick lives in San Francisco, California, with his family. Ways to connect with Nick**:** Website: https://www.casualfilms.com/ YouTube: https://www.youtube.com/@casual_global  Instagram: https://www.instagram.com/casualglobal/  Facebook: https://www.facebook.com/CasualFilms/  Nick's LinkedIn: https://www.linkedin.com/in/nickfrancisfilm/  Casual's LinkedIn: https://www.linkedin.com/company/casual-films-international/  Beyond Casual - LinkedIn Newsletter: https://www.linkedin.com/build-relation/newsletter-follow?entityUrn=6924458968031395840 About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us. Michael Hingson  01:21 Well, hello everyone. I am your host, Mike hingson, that's kind of funny. We'll talk about that in a second, but this is unstoppable mindset. And our guest today is Nick Francis, and what we're going to talk about is the fact that people used to always ask me, well, they would call me Mr. Kingston, and it took me, as I just told Nick a master's degree in physics in 10 years to realize that if I said Mike hingson, that's why they said Mr. Kingston. So was either say Mike hingson or Michael hingson. Well, Michael hingson is a lot easier to say than Mike hingson, but I don't really care Mike or Michael, as long as it's not late for dinner. Whatever works. Yeah. Well, Nick, welcome to unstoppable mindset. We're glad you're Nick Francis  02:04 here. Thanks, Mike. It's great to be here. Michael Hingson  02:08 So Nick is a marketing kind of guy. He's got a company called casual that we'll hear about. Originally from England, I believe, and now lives in San Francisco. We were talking about the weather in San Francisco, as opposed to down here in Victorville. A little bit earlier. We're going to have a heat wave today and and he doesn't have that up there, but you know, well, things, things change over time. But anyway, we're glad you're here. And thanks, Mike. Really looking forward to it. Tell us about the early Nick growing up and all that sort of stuff, just to get us started. Nick Francis  02:43 That's a good question. I grew up in London, in in Richmond, which is southwest London. It's a at the time, it wasn't anything like as kind of, it's become quite kind of shishi, I think back in the day, because it's on the west of London. The pollution from the city used to flow east and so, like all the kind of well to do people, in fact, there used to be a, there used to be a palace in Richmond. It's where Queen Elizabeth died, the first Queen Elizabeth, that is. And, yeah, you know, I grew up it was, you know, there's a lot of rugby played around there. I played rugby for my local rugby club from a very young age, and we went sailing on the south coast. It was, it was great, really. And then, you know, unfortunately, when I was 10 years old, my my dad died. He had had a very powerful job at the BBC, and then he ran the British Council, which is the overseas wing of the Arts Council, so promoting, I guess, British soft power around the world, going and opening art galleries and going to ballet in Moscow and all sorts. So he had an incredible life and worked incredibly hard. And you know, that has brought me all sorts of privileges, I think, when I was a kid. But, you know, unfortunately, age 10 that all ended. And you know, losing a parent at that age is such a sort of fundamental, kind of shaking of your foundations. You know, you when you're a kid, you feel like a, you're going to live forever, and B, the things that are happening around you are going to last forever. And so, you know, you know, my mom was amazing, of course, and, you know, and in time, I got a new stepdad, and all the rest of it. But you know, that kind of shaped a lot of my a lot of my youth, really. And, yeah, I mean, Grief is a funny thing, and it's funny the way it manifests itself as you grow. But yeah. So I grew up there. I went to school in the Midlands, near where my stepdad lived, and then University of Newcastle, which is up in the north of England, where it rains a lot. It's where it's where Newcastle Football Club is based. And you know is that is absolutely at the center of the city. So. So the city really comes alive there. And it was during that time that I discovered photography, and I wanted to be a war photographer, because I believe that was where life was lived at the kind of the real cutting edge. You know, you see the you see humanity in its in its most visceral and vivid color in terrible situations. And I kind of that seemed like an interesting thing to go to go and do. Michael Hingson  05:27 Well, what? So what did you major in in college in Newcastle? So I did Nick Francis  05:31 history and politics, and then I went did a course in television journalism, and ended up working at BBC News as a initially running on the floor. So I used to deliver the papers that you know, when you see people shuffling or not, they do it anymore, actually, because everything, everything's digital now digital, yeah, but when they were worried about the the auto cues going down, they we always had to make sure that they had the up to date script. And so I would be printing in, obviously, the, you know, because it's a three hour news show, the scripts constantly evolving, and so, you know, I was making sure they had the most up to date version in their hands. And it's, I don't know if you have spent any time around live TV Mike, but it's an incredibly humbling experience, like the power of it. You know, there's sort of two or 3 million people watching these two people who are sitting five feet in front of me, and the, you know, the sort of slightly kind of, there was an element of me that just wanted to jump in front of them and kind of go, ah. And, you know, never, ever work in live TV, ever again. But you know, anyway, I did that and ended up working as a producer, writing and developing, developing packets that would go out on the show, producing interviews and things. And, you know, I absolutely loved it. It was, it was a great time. But then I left to go and set up my company. Michael Hingson  06:56 I am amazed, even today, with with watching people on the news, and I've and I've been in a number of studios during live broadcasts and so on. But I'm amazed at how well, mostly, at least, I've been fortunate. Mostly, the people are able to read because they do have to read everything. It isn't like you're doing a lot of bad living in a studio. Obviously, if you are out with a story, out in the field, if you will, there, there may be more where you don't have a printed script to go by, but I'm amazed at the people in the studio, how much they are able to do by by reading it all completely. Nick Francis  07:37 It's, I mean, the whole experience is kind of, it's awe inspiring, really. And you know, when you first go into a Live, a live broadcast studio, and you see the complexity, and you know, they've got feeds coming in from all over the world, and you know, there's upwards of 100 people all working together to make it happen. And I remember talking to one of the directors at the time, and I was like, How on earth does this work? And he said, You know, it's simple. You everyone has a very specific job, and you know that as long as you do your bit of the job when it comes in front of you, then the show will go out. He said, where it falls over is when people start worrying about whether other people are going to are going to deliver on time or, you know, and so if you start worrying about what other people are doing, rather than just focusing on the thing you have to do, that's where it potentially falls over, Michael Hingson  08:29 which is a great object lesson anyway, to worry about and control and don't worry about the rest Nick Francis  08:36 for sure. Yeah, yeah, for sure. You know, it's almost a lesson for life. I mean, sorry, it is a lesson for life, and Michael Hingson  08:43 it's something that I talk a lot about in dealing with the World Trade Center and so on, and because it was a message I received, but I've been really preaching that for a long time. Don't worry about what you can't control, because all you're going to do is create fear and drive yourself Nick Francis  08:58 crazy, completely, completely. You know. You know what is it? Give me the, give me this. Give me the strength to change the things I can. Give me the give me the ability to let the things that I can't change slide but and the wisdom to know the difference. I'm absolutely mangling that, that saying, but, yeah, it's, it's true, you know. And I think, you know, it's so easy for us to in this kind of modern world where everything's so media, and we're constantly served up things that, you know, shock us, sadness, enrage us, you know, just to be able to step back and say, actually, you know what? These are things I can't really change. I'd have to just let them wash over me. Yeah, and just focus on the things that you really can change. Michael Hingson  09:46 It's okay to be aware of things, but you've got to separate the things you can control from the things that you can and we, unfortunately aren't taught that. Our parents don't teach us that because they were never taught it, and it's something. That, just as you say, slides by, and it's so unfortunate, because it helps to create such a level of fear about so many things in our in our psyche and in our world that we really shouldn't have to do Nick Francis  10:13 completely well. I think, you know, obviously, but you know, we've, we've spent hundreds, if not millions of years evolving to become humans, and then, you know, actually being aware of things beyond our own village has only been an evolution of the last, you know what, five, 600 years, yeah. And so we are just absolutely, fundamentally not able to cope with a world of such incredible stimulus that we live in now. Michael Hingson  10:43 Yeah, and it's only getting worse with all the social media, with all the different things that are happening and of course, and we're only working to develop more and more things to inundate us with more and more kinds of inputs. It's really unfortunate we just don't learn to separate ourselves very easily from all of that. Nick Francis  11:04 Yeah, well, you know, it's so interesting when you look at the development of VR headsets, and, you know, are we going to have, like, lenses in our eyes that kind of enable us to see computer screens while we're just walking down the road, you know? And you look at that and you think, well, actually, just a cell phone. I mean, cell phones are going to be gone fairly soon. I would imagine, you know, as a format, it's not something that's going to abide but the idea that we're going to create technology that's going to be more, that's going to take us away from being in the moment more rather than less, is kind of terrifying. Because, I would say already, even with, you know, the most basic technology that we have now, which is, you know, mind bending, compared to where we were even 20 years ago, you know, to think that we're only going to become more immersive is, you know, we really, really as a species, have to work out how we are going to be far better at stepping away from this stuff. And I, you know, I do, I wonder, with AI and technology whether there is, you know, there's a real backlash coming of people who do want to just unplug, yeah, Michael Hingson  12:13 well, it'll be interesting to see, and I hope that people will learn to do it. I know when I started hearing about AI, and one of the first things I heard was how kids would use it to write their papers, and it was a horrible thing, and they were trying to figure out ways so that teachers could tell us something was written by AI, as opposed to a student. And I almost immediately developed this opinion, no, let AI write the papers for students, but when the students turn in their paper, then take a day to in your class where you have every student come up and defend their paper, see who really knows it, you know. And what a great teaching opportunity and teaching moment to to get students also to learn to do public speaking and other things a little bit more than they do, but we haven't. That hasn't caught on, but I continue to preach it. Nick Francis  13:08 I think that's really smart, you know, as like aI exists, and I think to to pretend somehow that, you know, we can work without it is, you know, it's, it's, it's, yeah, I mean, it's like, well, saying, you know, we're just going to go back to Word processors or typewriters, which, you know, in which it weirdly, in their own time, people looked at and said, this is, you know, these, these are going to completely rot our minds. In fact, yeah, I think Plato said that was very against writing, because he believed it would mean no one could remember anything after that, you know. So it's, you know, it's just, it's an endless, endless evolution. But I think, you know, we have to work out how we incorporate into it, into our education system, for sure. Michael Hingson  13:57 Well, I remember being in in college and studying physics and so on. And one of the things that we were constantly told is, on tests, you can't bring calculators in, can't use calculators in class. Well, why not? Well, because you could cheat with that. Well, the reality is that the smart physicists realized that it's all about really learning the concepts more than the numbers. And yeah, that's great to to know how to do the math. But the the real issue is, do you know the physics, not just the math completely? Nick Francis  14:34 Yeah. And then how you know? How are the challenges that are being set such that you know, they really test your ability to use the calculator effectively, right? So how you know? How are you lifting the bar? And in a way, I think that's kind of what we have to do, what we have to do now, Michael Hingson  14:50 agreed, agreed. So you were in the news business and so on, and then, as you said, you left to start your own company. Why did you decide to do that? Nick Francis  14:59 Well, a friend of. Ryan and I from University had always talked about doing this rally from London to Mongolia. So, and you do it in an old car that you sort of look at, and you go, well, that's a bit rubbish. It has to have under a one liter engine. So it's tiny, it's cheap. The idea is it breaks down you have an adventure. And it was something we kind of talked about in passing and decided that would be a good thing to do. And then over time, you know, we started sending off. We you know, we applied, and then we started sending off for visas and things. And then before we knew it, we were like, gosh, so it looks like we're actually going to do this thing. But by then, you know, my job at the BBC was really taking off. And so I said, you know, let's do this, but let's make a documentary of it. So long story short, we ended up making a series of diary films for Expedia, which we uploaded onto their website. It was, you know, we were kind of pitching this around about 2005 we kind of did it in 2006 so it was kind of, you know, nobody had really heard of YouTube. The idea of making videos to go online was kind of unheard of because, you know, broadband was just kind of getting sorry. It wasn't unheard of, but it was, it was very, it was a very nascent industry. And so, yeah, we went and drove 9000 miles over five weeks. We spent a week sitting in various different repair yards and kind of break his yards in everywhere from Turkey to Siberia. And when we came back, it became clear that the internet was opening up as this incredible medium for video, and video is such a powerful way to share emotion with a dispersed audience. You know, not that I would have necessarily talked about it in that in those terms back then, but it really seemed like, you know, every every web page, every piece of corporate content, could have a video aspect to it. And so we came back and had a few fits and starts and did some, I mean, we, you know, we made a series of hotel videos where we were paid 50 quid a day to go and film hotels. And it was hot and it was hard work. And anyway, it was rough. But over time, you know, we started to win some more lucrative work. And, you know, really, the company grew from there. We won some awards, which helped us to kind of make a bit of a name for ourselves. And this was, there's been a real explosion in technology, kind of shortly after when we did this. So digital SLRs, so, you know, old kind of SLR cameras, you know, turned into digital cameras, which could then start to shoot video. And so it, there was a real explosion in high quality video produced by very small teams of people using the latest technology creatively. And that just felt like a good kind of kick off point for our business. But we just kind of because we got in in kind of 2006 we just sort of beat a wave that kind of started with digital SLRs, and then was kind of absolutely exploded when video cell phones came on the market, video smartphones. And yeah, you know, because we had these awards and we had some kind of fairly blue chip clients from a relatively early, early stage, we were able to grow the company. We then expanded to the US in kind of 2011 20 between 2011 2014 and then we were working with a lot of the big tech companies in California, so it felt like we should maybe kind of really invest in that. And so I moved out here with some of our team in 2018 at the beginning of 2018 and I've been here ever since, wow. Michael Hingson  18:44 So what is it? What was it like starting a business here, or bringing the business here, as opposed to what it was in England? Nick Francis  18:53 It's really interesting, because the creatively the UK is so strong, you know, like so many, you know, from the Beatles to Led Zeppelin to the Rolling Stones to, you know, and then on through, like all the kind of, you know, film and TV, you know, Brits are very good at kind of Creating, like, high level creative, but not necessarily always the best at kind of monetizing it, you know. I mean, some of those obviously have been fantastic successes, right? And so I think in the UK, we we take a lot longer over getting, getting to, like, the perfect creative output, whereas the US is far more focused on, you know, okay, we need this to to perform a task, and frankly, if we get it 80% done, then we're good, right? And so I think a lot of creative businesses in the UK look at the US and they go, gosh. Firstly, the streets are paved with gold. Like the commercial opportunity seems incredible, but actually creating. Tracking it is incredibly difficult, and I think it's because we sort of see the outputs in the wrong way. I think they're just the energy and the dynamism of the US economy is just, it's kind of awe inspiring. But you know, so many businesses try to expand here and kind of fall over themselves. And I think the number one thing is just, you have to have a founder who's willing to move to the US. Because I think Churchill said that we're two two countries divided by the same language. And I never fully understood what that meant until I moved here. I think what it what he really means by that is that we're so culturally different in the US versus the UK. And I think lots of Brits look at America and think, Well, you know, it's just the same. It's just a bit kind of bigger and a bit Brasher, you know, and it and actually, I think if people in the US spoke a completely different language, we would approach it as a different culture, which would then help us to understand it better. Yeah. So, yeah. I mean, it's been, it's been the most fabulous adventure to move here and to, you know, it's, it's hard sometimes, and California is a long way from home, but the energy and the optimism and the entrepreneurialism of it, coupled with just the natural beauty is just staggering. So we've made some of our closest friends in California, it's been absolutely fantastic. And across the US, it's been a fantastic adventure for us and our family. Michael Hingson  21:30 Yeah, I've had the opportunity to travel all over the US, and I hear negative comments about one place or another, like West Virginia, people eat nothing but fried food and all that. But the reality is, if you really take an overall look at it, the country has so much to offer, and I have yet to find a place that I didn't enjoy going to, and people I never enjoyed meeting, I really enjoy all of that, and it's great to meet people, and it's great to experience so much of this country. And I've taken that same posture to other places. I finally got to visit England last October, for the first time. You mentioned rugby earlier, the first time I was exposed to rugby was when I traveled to New Zealand in 2003 and found it pretty fascinating. And then also, I was listening to some rugby, rugby, rugby broadcast, and I tuned across the radio and suddenly found a cricket game that was a little bit slow for me. Yeah, cricket to be it's slow. Nick Francis  22:41 Yeah, fair enough. It's funny. Actually, we know what you're saying about travel. Like one of the amazing things about our Well, I kind of learned two sort of quite fundamentally philosophical things, I think, you know, or things about the about humans and the human condition. Firstly, like, you know, traveling across, you know, we left from London. We, like, drove down. We went through Belgium and France and Poland and Slovenia, Slovakia, Slovenia, like, all the way down Bulgaria, across Turkey into Georgia and Azerbaijan and across the Caspian Sea, and through Turkmenistan, Uzbekistan, Kyrgyzstan, Kazakhstan, into Russia, and then down into Mongolia. When we finished, we were due north of Jakarta, right? So we drove, we drove a third of the way around the world. And the two things that taught me were, firstly that human people are good. You know, everywhere we went, people would invite us in to have meals, or they'd like fix our car for not unit for free. I mean, people were so kind everywhere we went. Yeah. And the other thing was, just, when we get on a plane and you fly from here to or you fly from London, say to we, frankly, you fly from London to Turkey, it feels unbelievably different. You know, you fly from London to China, and it's, you know, complete different culture. But what our journey towards us, because we drove, was that, you know, while we might not like to admit it, we're actually quite, you know, Brits are quite similar to the French, and the French actually are quite similar to the Belgians, and Belgians quite similar to the Germans. And, you know, and all the way through, actually, like we just saw a sort of slowly changing gradient of all the different cultures. And it really, you know, we are just one people, you know. So as much as we might feel that, you know, we're all we're all different, actually, when you see it, when you when you do a drive like that, you really, you really get to see how slowly the cultures shift and change. Another thing that's quite funny, actually, was just like, everywhere we went, we would be like, you know, we're driving to Turkey. They'd be like, Oh, God, you just drove through Bulgaria, you know, how is like, everything on your car not been stolen, you know, they're so dodgy that you Bulgarians are so dodgy. And then, you know, we'd get drive through the country, and they'd be like, you know, oh, you're going into Georgia, you know, gosh, what you go. Make, make sure everything's tied down on your car. They're so dodgy. And then you get into Georgia, and they're like, Oh my God, you've just very driven through Turkey this, like, everyone sort of had these, like, weird, yeah, kind of perceptions of their neighbors. And it was all nonsense, yeah, you know. Michael Hingson  25:15 And the reality is that, as you pointed out, people are good, you know, I think, I think politicians are the ones who so often mess it up for everyone, just because they've got agendas. And unfortunately, they teach everyone else to be suspicious of of each other, because, oh, this person clearly has a hidden agenda when it normally isn't necessarily true at all. Nick Francis  25:42 No, no, no, certainly not in my experience, anyway, not in my experience. But, you know, well, oh, go ahead. No, no. It's just, you know, it's, it is. It's, it is weird the way that happens, you know, well, they say, you know, if, if politicians fought wars rather than, rather than our young men and women, then there'd be a lot less of them. Yeah, so Well, Michael Hingson  26:06 there would be, well as I tell people, you know, I I've learned a lot from working with eight guy dogs and my wife's service dog, who we had for, oh, gosh, 14 years almost, and one of the things that I tell people is I absolutely do believe what people say, that dogs love unconditionally, unless they're just totally traumatized by something, but they don't trust unconditionally. The difference between dogs and people is that dogs are more open to trust because we've taught ourselves and have been taught by others, that everyone has their own hidden agenda. So we don't trust. We're not open to trust, which is so unfortunate because it affects the psyche of so many people in such a negative way. We get too suspicious of people, so it's a lot harder to earn trust. Nick Francis  27:02 Yeah, I mean, I've, I don't know, you know, like I've been, I've been very fortunate in my life, and I kind of always try to be, you know, open and trusting. And frankly, you know, I think if you're open and trusting with people, in my experience, you kind of, it comes back to you, you know, and maybe kind of looking for the best in everyone. You know, there are times where that's not ideal, but you know, I think you know, in the overwhelming majority of cases, you know, actually, you know, you treat people right? And you know what goes what goes around, comes around, absolutely. Michael Hingson  27:35 And I think that's so very true. There are some people who just are going to be different than that, but I think for the most part, if you show that you're open to trust people will want to trust you, as long as you're also willing to trust Nick Francis  27:51 them completely. Yeah, completely. Michael Hingson  27:54 So I think that that's the big thing we have to deal with. And I don't know, I hope that we, we will learn it. But I think that politicians are really the most guilty about teaching us. Why not to trust but that too, hopefully, will be something we deal with. Nick Francis  28:12 I think, you know, I think we have to, you know, it's, it's one of the tragedies of our age, I think, is that the, you know, we spent the 20th century, thinking that sex was the kind of ultimate sales tool. And then it took algorithms to for us to realize that actually anger and resentment are the most powerful sales tools, which is, you know, it's a it's something which, in time, we will work out, right? And I think the problem is that, at the minute, these tech businesses are in such insane ascendancy, and they're so wealthy that it's very hard to regulate them. And I think in time, what will happen is, you know, they'll start to lose some of that luster and some of that insane scale and that power, and then, you know, then regulation will come in. But you know whether or not, we'll see maybe, hopefully our civilization will still be around to see that. Michael Hingson  29:04 No, there is that, or maybe the Vulcans will show up and show us a better way. But you know, Nick Francis  29:11 oh, you know, I'm, I'm kind of endlessly optimistic. I think, you know, we are. We're building towards a very positive future. I think so. Yeah, it's just, you know, get always bumps along the way, yeah. Michael Hingson  29:24 So you named your company casual. Why did you do that? Or how did that come about? Nick Francis  29:30 It's a slightly weird name for something, you know, we work with, kind of, you know, global blue chip businesses. And, you know, casual is kind of the last thing that you would want to associate with, a, with a, with any kind of services business that works in that sphere. I think, you know, we, the completely honest answer is that the journalism course I did was television, current affairs journalism, so it's called TV cadge, and so we, when we made a film for a local charity as part of that course. Course, we were asked to name our company, and we just said, well, cash, cash casual, casual films. So we called it casual films. And then when my friend and I set the company up, kind of formally, to do the Mongol Rally, we, you know, we had this name, you know, the company, the film that we'd made for the charity, had gone down really well. It had been played at BAFTA in London. And so we thought, well, you know, we should just, you know, hang on to that name. And it didn't, you know, at the time, it didn't really seem too much of an issue. It was only funny. It was coming to the US, where I think people are a bit more literal, and they were a bit like, well, casual. Like, why casual, you know. And I remember being on a shoot once. And, you know, obviously, kind of some filmmakers can be a little casual themselves, not necessarily in the work, but in the way they present themselves, right? And I remember sitting down, we were interviewing this CEO, and he said, who, you know, who are you? Oh, we're casual films. He's like, Oh, is that why that guy's got ripped jeans? Is it? And I just thought, Damn, you know, we really left ourselves open to that. There was also, there was a time one of our early competitors was called Agile films. And so, you know, I remember talking to one of our clients who said, you know, it's casual, you know, when I have to put together a little document to say, you know, which, which supplier we should choose, and when I lay it on my boss's desk, and one says casual films, and one says agile films, it's like those guys are landing the first punch. But anyway, we, you know, we, what we say now is like, you know, we take a complex process and make it casual. You know, filmmaking, particularly for like, large, complex organizations where you've got lots of different stakeholders, can be very complicated. And so, yeah, we sort of say, you know, we'll take a lot of that stress off, off our clients. So that's kind of the rationale, you know, that we've arrived with, arrived at having spoken to lots of our clients about the role that we play for them. So, you know, there's a kind of positive spin on it, I guess, but I don't know. I don't know whether I'd necessarily call it casual again. I don't know if I'm supposed to say that or not, but, oh, Michael Hingson  32:00 it's unique, you know? So, yeah, I think there's a lot of merit to it. It's a unique name, and it interests people. I know, for me, one of the things that I do is I have a way of doing this. I put all of my business cards in Braille, so the printed business cards have Braille on them, right? Same thing. It's unique completely. Nick Francis  32:22 And you listen, you know what look your name is an empty box that you fill with your identity. They say, right? And casual is actually, it's something we've grown into. And you know it's we've been going for nearly 20 years. In fact, funny enough for the end of this year is the 20th anniversary of that first film we made for the for the charity. And then next summer will be our 20th anniversary, which is, you know, it's, it's both been incredibly short and incredibly long, you know, I think, like any kind of experience in life, and it's been some of the hardest kind of times of my entire life, and some of the best as well. So, you know, it's, it is what it is, but you know, casual is who we are, right? I would never check, you know? I'd never change it. Michael Hingson  33:09 Now, no, of course not, yeah. So is the actual name casual films, or just casual? Nick Francis  33:13 So it was casual films, but then everyone calls us casual anyway, and I think, like as an organization, we probably need to be a bit more agnostic about the outcome. Michael Hingson  33:22 Well, the reason I asked, in part was, is there really any filming going on anymore? Nick Francis  33:28 Well, that's a very that's a very good question. But have we actually ever made a celluloid film? And I think the answer is probably no. We used to, back in the day, we used to make, like, super eight films, which were films, I think, you know, video, you know, ultimately, if you're going to be really pedantic about it, it's like, well, video is a digital, digital delivery. And so basically, every film we make is, is a video. But there is a certain cachet to the you know, because our films are loved and crafted, you know, for good or ill, you know, I think to call them, you know, they are films because, because of the, you know, the care that's put into them. But it's not, it's, it's not celluloid. No, that's okay, yeah, well, Michael Hingson  34:16 and I know that, like with vinyl records, there is a lot of work being done to preserve and capture what's on cellular film. And so there's a lot of work that I'm sure that's being done to digitize a lot of the old films. And when you do that, then you can also go back and remaster and hopefully in a positive way, and I'm not sure if that always happens, but in a positive way, enhance them Nick Francis  34:44 completely, completely and, you know, it's, you know, it's interesting talking about, like, you know, people wanting to step back. You know, obviously vinyl is having an absolute as having a moment right now. In fact, I just, I just bought a new stylist for my for my record. Play yesterday. It sounded incredible as a joy. This gave me the sound quality of this new style. It's fantastic. You know, beyond that, you know, running a company, you know, we're in nine offices all over the world. We produce nearly 1000 projects a year. So, you know, it's a company. It's an incredibly complicated company. It's a very fun and exciting company. I love the fact that we make these beautifully creative films. But, you know, it's a bit, I wouldn't say it's like, I don't know, you don't get many MBAs coming out of business school saying, hey, I want to set up a video production company. But, you know, it's been, it's been wonderful, but it's also been stressful. And so, you know, I've, I've always been interested in pottery and ceramics and making stuff with my hands. When I was a kid, I used to make jewelry, and I used to go and sell it in nightclubs, which is kind of weird, but, you know, it paid for my beers. And then whatever works, I say kid. I was 18. I was, I was of age, but of age in the UK anyway. But now, you know, over the last few 18 months or so, I've started make, doing my own ceramics. So, you know, I make vases and and pictures and kind of all sorts of stuff out of clay. And it's just, it's just to be to unplug and just to go and, you know, make things with mud with your hands. It's just the most unbelievably kind of grounding experience. Michael Hingson  36:26 Yeah, I hear you, yeah. One of the things that I like to do is, and I don't get to do it as much as I would like, but I am involved with organizations like the radio enthusiasts of Puget Sound, which, every year, does recreations of old radio shows. And so we get the scripts we we we have several blind people who are involved in we actually go off and recreate some of the old shows, which is really a lot of fun, Nick Francis  36:54 I bet, yeah, yeah, sort of you know that connection to the past is, is, yeah, it's great radio. Radio is amazing. Michael Hingson  37:03 Anyway, what we have to do is to train some of the people who have not had exposure to old radio. We need to train them as to how to really use their voices to convey like the people who performed in radio, whatever they're doing, because too many people don't really necessarily know how to do that well. And it is, it is something that we're going to work on trying to find ways to get people really trained. And one of the ways, of course, is you got to listen to the old show. So one of the things we're getting more and more people to do when we do recreations is to go back and listen to the original show. Well, they say, Well, but, but that's just the way they did it. That's not necessarily the way it should be done. And the response is, no, that's not really true. The way they did it sounded natural, and the way you are doing it doesn't and there's reality that you need to really learn how to to use your voice to convey well, and the only way to do it is to listen to the experts who did it. Nick Francis  38:06 Yeah, well, it's, you know, it's amazing. The, you know, when the BBC was founded, all the news readers and anyone who appeared on on the radio to to present or perform, had to wear like black tie, like a tuxedo, because it was, you know, they're broadcasting to the nation, so they had to, you know, they had to be dressed appropriately, right, which is kind of amazing. And, you know, it's interesting how you know, when you, when you change your dress, when you change the way you're sitting, it does completely change the way that you project yourself, yeah, Michael Hingson  38:43 it makes sense, yeah, well, and I always enjoyed some of the old BBC radio shows, like the Goon Show, and completely some of those are so much fun. Nick Francis  38:54 Oh, great, yeah, I don't think they were wearing tuxedo. It's tuxedos. They would Michael Hingson  38:59 have been embarrassed. Yeah, right, right. Can you imagine Peter Sellers in a in a tux? It just isn't going to happen. Nick Francis  39:06 No, right, right. But yeah, no, it's so powerful. You know, they say radio is better than TV because the pictures are better. Michael Hingson  39:15 I agree. Yeah, sure, yeah. Well, you know, I I don't think this is quite the way he said it, but Fred Allen, the old radio comedian, once said they call television the new medium, because that's as good as it's ever going Nick Francis  39:28 to get. Yeah, right, right, yeah. Michael Hingson  39:32 I think there's truth to it. Whether that's exactly the way he said it or not, there's truth to that, yeah, but there's also a lot of good stuff on TV, so it's okay. Nick Francis  39:41 Well, it's so interesting. Because, you know, when you look at the it's never been more easy to create your own content, yeah, and so, you know, and like, in a way, TV, you know, he's not wrong in that, because it suddenly opened up this, this huge medium for people just to just create. Right? And, you know, and I think, like so many people, create without thinking, and, you know, and certainly in our kind of, in the in the world that we're living in now with AI production, making production so much more accessible, actually taking the time as a human being just to really think about, you know, who are the audience, what are the things that are going to what are going to kind of resonate with them? You know? Actually, I think one of the risks with AI, and not just AI, but just like production being so accessible, is that you can kind of shoot first and kind of think about it afterwards, and, you know, and that's never good. That's always going to be medium. It's medium at best, frankly. Yeah, so yeah, to create really great stuff takes time, you know, yeah, to think about it. Yeah, for sure, yeah. Michael Hingson  40:50 Well, you know, our podcast is called unstoppable mindset. What do you think that unstoppable mindset really means to you as a practical thing and not just a buzzword. Because so many people talk about the kinds of buzzwords I hear all the time are amazing. That's unstoppable, but it's really a lot more than a buzzword. It goes back to what you think, I think. But what do you think? Nick Francis  41:15 I think it's something that is is buried deep inside you. You know, I'd say the simple answer is, is just resilience. You know, it's, it's been rough. I write anyone running a small business or a medium sized business at the minute, you know, there's been some tough times over the last, kind of 1824, months or so. And, you know, I was talking to a friend of mine who she sold out of her business. And she's like, you know, how are things? I was like, you know, it's, it's, it's tough, you know, we're getting through it, you know, we're changing a lot of things, you know, we're like, we're definitely making the business better, but it's hard. And she's like, Listen, you know, when three years before I sold my company, I was at rock bottom. It was, I genuinely thought it was so stressful. I was crushed by it, but I just kept going. And she's just like, just keep going. And the only difference between success and failure is that resilience and just getting up every day and you just keep, keep throwing stuff at the wall, keep trying new things, keep working and trying to be better. I think, you know, it's funny when you look at entrepreneurs, I'm a member of a mentoring group, and I hope I'm not talking out of school here, but you know, there's 15 entrepreneurs, you know, varying sizes of business, doing all sorts, you know, across all sorts of different industries. And if you sat on the wall, if you were fly on the wall, and you sit and look at these people on a kind of week, month to month basis, and they all present on how their businesses are going. You go, this is this being an entrepreneur does not look like a uniformly fun thing, you know, the sort of the stress and just, you know, people crying and stuff, and you're like, gosh, you know, it's so it's, it's, it's hard, and yet, you know, it's people just keep coming back to it. And yet, I think it's because of that struggle that you have to kind of have something in built in you, that you're sort of, you're there to prove something. And I, you know, I've thought a lot about this, and I wonder whether, kind of, the death of my father at such a young age kind of gave me this incredible fire to seek His affirmation, you know. And unfortunately, obviously, the tragedy of that is like, you know, the one person who would never give me affirmation is my dad. And yet, you know, I get up every day, you know, to have early morning calls with the UK or with Singapore or wherever. And you know, you just just keep on, keeping on. And I think that's probably what and knowing I will never quit, you know, like, even from the earliest days of casual, when we were just, like a couple of people, and we were just, you know, kids doing our very best, I always knew the company was going to be a success act. Like, just a core belief that I was like, this is going to work. This is going to be a success. I didn't necessarily know what that success would look like. I just but I did know that, like, whatever it took, we would map, we'd map our way towards that figure it out. We'd figure it out. And I think, you know, there's probably something unstoppable. I don't know, I don't want to sound immodest, but I think there's probably something in that that you're just like, I am just gonna keep keep on, keeping on. Michael Hingson  44:22 Do you think that resilience and unstoppability are things that can be taught, or is it just something that's built into you, and either you have it or you don't? Nick Francis  44:31 I think it's something that probably, it's definitely something that can be learned, for sure, you know. And there are obviously ways that it can there's obviously ways it can be taught. You know, I was, I spent some time in the reserve, like the Army Reserve in the UK, and I just, you know, a lot of that is about teaching you just how much further you can go. I think what it taught me was it was so. So hard. I mean, honestly, some of the stuff we did in our training was, like, you know, it's just raining and raining and raining and, like, because all your kits soaking wet is weighs twice what it did before, and you just, you know, sleeping maybe, you know, an hour or two a night, and, you know, and there wasn't even anyone shooting at us, right? So, you know, like the worst bit wasn't even happening. But like, and like, in a sense, I think, you know, that's what they're trying to do, that, you know, they say, you know, train hard and fight easy. But I remember sort of sitting there, and I was just exhausted, and I just genuinely, I was just thought, you know, what if they tell me to go now, I just, I can't. I literally, I can't, I can't do it. Can't do it. And then they're like, right, lads, put your packs on. Let's go and just put your pack on. Off you go, you know, like, this sort of, the idea of not, like, I was never going to quit, just never, never, ever, you know, and like I'd physically, if I physically, like, literally, my physical being couldn't stand up, you know, I then that was be, that would be, you know, if I was kind of, like literally incapacitated. And I think what that taught me actually, was that, you know, you have what you believe you can do, like you have your sort of, you have your sort of physical envelope, but like that is only a third or a quarter of what you can actually achieve, right, you know. And I think what that, what the that kind of training is about, and you know, you can do it in marathon training. You can do it in all sorts of different, you know, even, frankly, meditate. You know, you train your mind to meditate for, you know, an hour, 90 minutes plus. You know, you're still doing the same. You know, there's a, there's an elasticity within your brain where you can teach yourself that your envelope is so much larger. Yeah. So, yeah, you know, like, is casual going to be a success? Like, I'm good, you know, I'm literally, I won't I won't stop until it is Michael Hingson  46:52 right, and then why stop? Exactly, exactly you continue to progress and move forward. Well, you know, when everything feels uncertain, whether it's the markets or whatever, what do you do or what's your process for finding clarity? Nick Francis  47:10 I think a lot of it is in having structured time away. I say structured. You build it into your calendar, but like, but it's unstructured. So, you know, I take a lot of solace in being physically fit. You know, I think if you're, if you feel physically fit, then you feel mentally far more able to deal with things. I certainly when I'm if I'm unfit and if I've been working too much and I haven't been finding the time to exercise. You know, I feel like the problems we have to face just loom so much larger. So, you know, I, I'll book out. I, you know, I work with a fan. I'm lucky enough to have a fantastic assistant who, you know, we book in my my exercise for each week, and it's almost the first thing that goes in the calendar. I do that because I can't be the business my my I can't be the leader my business requires. And it finally happened. It was a few years ago I kind of, like, the whole thing just got really big on me, and it just, you know, and I'm kind of, like, being crushed by it. And I just thought, you know what? Like, I can't, I can't fit other people's face mask, without my face mask being fit, fitted first. Like, in order to be the business my business, I keep saying that to be the lead in my business requires I have to be physically fit. So I have to look after myself first. And so consequently, like, you know, your exercise shouldn't be something just get squeezed in when you find when you have time, because, you know, if you've got family and you know, other things happening, like, you know, just will be squeezed out. So anyway, that goes in. First, I'll go for a bike ride on a Friday afternoon, you know, I'll often listen to a business book and just kind of process things. And it's amazing how often, you know, I'll just go for a run and, like, these things that have been kind of nagging away in the back of my mind, just suddenly I find clarity in them. So I try to exercise, like, five times a week. I mean, that's obviously more than most people can can manage, but you know that that really helps. And then kind of things, like the ceramics is very useful. And then, you know, I'm lucky. I think it's also just so important just to appreciate the things that you already have. You know, I think one of the most important lessons I learned last year was this idea that, you know, here is the only there. You know, everyone's working towards this kind of, like, big, you know, it's like, oh, you know, when I get to there, then everything's going to be okay, you know. And actually, you know, if you think about like, you know, and what did you want to achieve when you left college? Like, what was the salary band that you want? That you wanted to achieve? Right? A lot of people, you know, by the time you hit 4050, you've blown way through that, right? And yet you're still chasing the receding Summit, yeah, you know. And so actually, like, wherever we're trying to head to, we're already there, because once you get there, there's going to be another there that you're trying to. Head to right? So, so, you know, it's just taking a moment to be like, you know, God, I'm so lucky to have what I have. And, you know, I'm living in, we're living in the good old days, like right now, right? Michael Hingson  50:11 And the reality is that we're doing the same things and having the same discussions, to a large degree, that people did 50, 100 200 years ago. As you pointed out earlier, the fact is that we're, we're just having the same discussions about whether this works, or whether that works, or anything else. But it's all the same, Nick Francis  50:33 right, you know. And you kind of think, oh, you know, if I just, just, like, you know, if we just open up these new offices, or if we can just, you know, I think, like, look, if I, if I'd looked at casual when we started it as it is now, I would have just been like, absolute. My mind would have exploded, right? You know, if you look at what we've achieved, and yet, I kind of, you know, it's quite hard sometimes to look at it and just be like, Oh yeah, but we're only just starting. Like, there's so much more to go. I can see so much further work, that we need so many more things, that we need to do, so many more things that we could do. And actually, you know, they say, you know, I'm lucky enough to have two healthy, wonderful little girls. And you know, I think a lot of bread winners Look at, look at love being provision, and the idea that, you know, you have to be there to provide for them. And actually, the the truest form of love is presence, right? And just being there for them, and like, you know, not being distracted and kind of putting putting things aside, you know, not jumping on your emails or your Slack messages or whatever first thing in the morning, you know. And I, you know, I'm not. I'm guilty, like, I'm not, you know, I'm not one of these people who have this kind of crazy kind of morning routine where, like, you know, I'm incredibly disciplined about that because, you know, and I should be more. But like, you know, this stuff, one of the, one of the things about having a 24 hour business with people working all over the world is there's always things that I need to respond to. There's always kind of interesting things happening. And so just like making sure that I catch myself every so often to be like, I'm just going to be here now and I'm going to be with them, and I'm going to listen to what they're saying, and I'm going to respond appropriately, and, you know, I'm going to play a game with them, or whatever. That's true love. You know? Michael Hingson  52:14 Well, there's a lot of merit to the whole concept of unplugging and taking time and living in the moment. One of the things that we talked about in my book live like a guide dog, that we published last year, and it's all about lessons I've learned about leadership and teamwork and preparedness from eight guide dogs and my wife's service dog. One of the things that I learned along the way is the whole concept of living in the moment when I was in the World Trade Center with my fifth guide dog, Roselle. We got home, and I was going to take her outside to go visit the bathroom, but as soon as I took the harness off, she shot off, grabbed her favorite tug bone and started playing tug of war with my retired guide dog. Asked the veterinarians about him the next day, the people at Guide Dogs for the Blind, and they said, Well, did anything threaten her? And I said, No. And they said, there's your answer. The reality is, dogs live in the moment when it was over. It was over. And yeah, right lesson to learn. Nick Francis  53:15 I mean, amazing, absolutely amazing. You must have taken a lot of strength from that. Michael Hingson  53:20 Oh, I think it was, it was great. It, you know, I can look back at my life and look at so many things that have happened, things that I did. I never thought that I would become a public speaker, but I learned in so many ways the art of speaking and being relaxed at speaking in a in a public setting, that when suddenly I was confronted with the opportunity to do it, it just seemed like the natural thing to do. Nick Francis  53:46 Yeah, it's funny, because I think isn't public speaking the number one fear. It is. It's the most fit. It's the most feared thing for the most people. Michael Hingson  53:57 And the reality is going back to something that we talked about before. The reality is, audiences want you to succeed, unless you're a jerk and you project that, audiences want to hear what you have to say. They want you to be successful. There's really nothing to be afraid of but, but you're right. It is the number one fear, and I've never understood that. I mean, I guess I can intellectually understand it, but internally, I don't. The first time I was asked to speak after the World Trade Center attacks, a pastor called me up and he said, we're going to we're going to have a service outside for all the people who we lost in New Jersey and and that we would like you to come and speak. Take a few minutes. And I said, Sure. And then I asked him, How many people many people were going to be at the service? He said, 6000 that was, that was my first speech. Nick Francis  54:49 Yeah, wow. But it didn't bother me, you know, no, I bet Michael Hingson  54:54 you do the best you can, and you try to improve, and so on. But, but it is true that so many people. Are public speaking, and there's no reason to what Nick Francis  55:03 did that whole experience teach you? Michael Hingson  55:06 Well, one of the things that taught me was, don't worry about the things that you can't control. It also taught me that, in reality, any of us can be confronted with unexpected things at any time, and the question is, how well do we prepare to deal with it? So for me, for example, and it took me years after September 11 to recognize this, but one of the things that that happened when the building was hit, and Neither I, nor anyone on my side of the building really knew what happened. People say all the time, well, you didn't know because you couldn't see it. Well, excuse me, it hit 18 floors above us on the other side of the building. And the last time I checked X ray vision was fictitious, so nobody knew. But did the building shake? Oh, it tipped. Because tall buildings like that are flexible. And if you go to any tall building, in reality, they're made to buffet in wind storms and so on, and in fact, they're made to possibly be struck by an airplane, although no one ever expected that somebody would deliberately take a fully loaded jet aircraft and crash it into a tower, because it wasn't the plane hitting the tower as such that destroyed both of them. It was the exploding jet fuel that destroyed so much more infrastructure caused the buildings to collapse. But in reality, for me, I had done a lot of preparation ahead of time, not even thinking that there would be an emergency, but thinking about I need to really know all I can about the building, because I've got to be the leader of my office, and I should know all of that. I should know what to do in an emergency. I should know how to take people to lunch and where to go and all that. And by learning all of that, as I learned many and discovered many years later, it created a mindset that kicked in when the World Trade Center was struck, and in fact, we didn't know until after both towers had collapsed, and I called my wife. We I talked with her just before we evacuated, and the media hadn't even gotten the story yet, but I never got a chance to talk with her until after both buildings had collapsed, and then I was able to get through and she's the first one that told us how the two buildings had been hit by hijacked aircraft. But the mindset had kicked in that said, You know what to do, do it and that. And again, I didn't really think about that until much later, but that's something that is a lesson we all could learn. We shouldn't rely on just watching signs to know what to do, no to go in an emergency. We should really know it, because the knowledge, rather than just having information, the true intellectual knowledge that we internalize, makes such a big difference. Nick Francis  57:46 Do you think it was the fact that you were blind that made you so much more keen to know the way out that kind of that really helped you to understand that at the time? Michael Hingson  57:56 Well, what I think is being blind and growing up in an environment where so many things could be unexpected, for me, it was important to know so, for example, when I would go somewhere to meet a customer, I would spend time, ahead of time, learning how to get around, learning how to get to where they were and and learning what what the process was, because we didn't have Google Maps and we didn't have all the intellectual and and technological things that we have today. Well intellectual we did with the technology we didn't have. So today it's easier, but still, I want to know what to do. I want to really have the answers, and then I can can more easily and more effectively deal with what I need to deal with and react. So I'm sure that blindness played a part in all of that, because if I hadn't learned how to do the things that I did and know the things that I knew, then it would have been a totally different ball game, and so sure, I'm sure, I'm certain that blindness had something to do with it, but I also know that, that the fact is, what I learned is the same kinds of things that everyone should learn, and we shouldn't rely on just the signs, because what if the building were full of smoke, then what would you do? Right? And I've had examples of that since I was at a safety council meeting once where there was somebody from an electric company in Missouri who said, you know, we've wondered for years, what do we do if there's a fire in the generator room, in the basement, In the generator room, how do people get out? And he and I actually worked on it, and they developed a way where people could have a path that they could follow with their feet to get them out. But the but the reality is that what people first need to learn is eyesight is not the only game in town. Yeah, right. Mean, it's so important to really learn that, but people, people don't, and we take too many things for granted, which is, which is really so unfortunate, because we really should do a li

Tyler welcomes comedy writer David Quantick to celebrate the 1965 film One Way Pendulum starring Goon Show alumnus Eric Sykes. Adapted by NF Simpson from his own 1959 Royal Court play and directed by Peter Yates (fresh off Summer Holiday, soon to make Bullitt), Eric plays suburban dad Arthur Groomkirby, who is quietly building a full-scale Old Bailey in his living room while his son Kirby (Jonathan Miller) teaches speak-your-weight machines to sing the Hallelujah Chorus in the attic. Meanwhile, daughter Sylvia (Julia Foster) obsesses over her arms and Aunt Mildred (Mona Washbourne) witters endlessly about transport. Rounding out the madness are Peggy Mount as the food-dispatching charlady and George Cole, Graham Crowden & Douglas Wilmer in a superb hallucinatory courtroom sequence.The comparisons to the Goon Show are obvious. David – who met Simpson – explains how his very British absurdism (Lewis Carroll meets Kafka with actual laughs) cloaks the bizarre inside the banal which none of his characters question. The humour is in the mismatch between the bland domestic surroundings and the offbeat conversations therein.

Harry Secombe could have had reasonable grounds for claiming to be the hardest working man in showbusiness in January 1958: panto (Puss In Boots), TV (Sunday Night At The London Palladium), the Goons, a movie (Davy) and goodness knows what else. Likewise, his colleague Peter Sellers was feeling the pressure of work and his doctor advised a rest on what would have been a scheduled Goon Show recording day. As a result – and much to the chagrin of Spike Milligan – on Sunday 19th January two Goon Shows were recorded, including the one we're discussing this week, freeing up the following Sunday for Sellers to spend some time with his cameras. The Curse of Frankenstein, as the title suggests, concerns a dying Laird intending to leave his entire fortune to the first Scotsman to play the bagpipes at the South Pole. Joining Tyler this week is returning guest Chas Early and as well as breaking down the episode they chat Morecambe & Wise, Aussie politicians, a waxwork Welshman, the Quarrymen and Spike the balladeer!

Introduced as ‘The Lost Colony', this is another episode of The Goon Show which sees Neddie Seagoon being duped by Grytpype-Thynne and Moriarty. In this case, they convince him that he is a Native American who rightfully owns New York – his ancestors having sold the land to Dutch settlers in the 1620s for a piece of brown string, eleven pence in notes, a Mickey Mouse watch, remains of a small boiled chicken and a life-sized statue of Sabrina. Seagoon paddles to America in a zinc bath tub and through a dubious transaction secures a Native American birth certificate. He tries to sue the US government, claiming New York belongs to him, but ends up in jail. Once free and bent on revenge he attempts to blow the city sky-high – but at what cost? Joining Tyler this week is writer & producer Tom Salinsky, whose new podcast – All British Comedy Explained – is an exercise in introducing British comedy to his American friend, comedian Abigoliah Schamaun. Abigoliah has lived in the UK for many years but her knowledge of British comedy history is limited so Tom is trying to put that right. At the time of recording they have covered Monty Python's Flying Circus, The Young Ones and Not Only But Also – all three of them game-changers – and coming up they will be examining The Goon Show, so Tyler figured it was a neat idea to get Tom onto discuss an episode which rarely gets talked about. The Sale Of Manhattan was broadcast almost exactly seventy years ago and while it contains some questionable stereotypes there is plenty to enjoy and it was a great opportunity to gain Tom's perspective on the series. All British Comedy Explained can be found HERE: https://shows.acast.com/all-british-comedy-explained

Goon Show 56-04-03 610 The Pevensey Bay Disaster

"My dear sir, without doubt you have done for the art of singing what Columbus did for the steam engine."Grytpype-Thynne and Moriarty plan to escape dire poverty by taking out a £10,000 life insurance policy on Neddie Seagoon. They tell him he can collect the money the moment he's deceased, and give him an instruction book. After a number of stupid attempts to bring this about - which puts him into contact with Willium, Bluebottle, Eccles and Bloodnok - Seagoon finally discovers the meaning of the word 'deceased' and goes into hiding at the Albert Memorial. The drama climaxes in a shootout with him in between Bloodnok's regiment and a loaded record. Yet another Goon Show concerned with the vagaries of insurance policies, this episode was likely penned largely by Larry Stephens and if so it shows. It's not a bad episode at all but if anything the script lacks a certain something - a bit of inimitable Milligan magic perhaps. Returning guest Andy Bell and Tyler discuss the 'filth' which runs through the show and also: The Indigestion Waltz; Kenneth Griffith; the Radio Times; Royal Command Performances; producer Roy Speer and baseless allegations; Jayne Mansfield-type walking; the Tiddleywinks Tournament; George Martin and ITV's packed schedule!

This is the earliest Goon Show we've covered on the podcast so far - the second show of Series 4 and while not fully matured to the level of quality we've come to expect it is still a solid and amusing edition with both cast and audience on fine form. It begins with a short sketch about Handsome Harry trying to save an heiress from drowning in order to glom a large reward but the story proper begins following Max's number. London is gripped by terror as a madman is at large threatening to blow up notable landmarks. Seagoon is tasked with tracking him down and enlists help from the likes of Bloodnok, Eccles and Henry Crun - a bomb diviner. Bluebottle is easily confused by pins and we also meet William Gladstone... or is it Churchill? Roger Stevenson joins Tyler and along the way they discuss Eva Bartok, Anna Neagle, Edwardian Dynamite genre fiction, Mrs Dale's Diary, the Robin Hood radio panto, James Finlayson, Ray's A Laugh, Hermione Gingold, Marilyn Monroe... and there's a couple of rounds of "Is It Spike Or is It Peter?" for good measure. They also look at the lead up to Series 4 and the mysterious 'Fred Flange'.

Goon Pod listeners were asked to send in their questions and comments about the show, the Goons or comedy in general and they didn't disappoint! Adam Leslie (Award-Winning Novelist) joined Tyler to work through the list of listener folderol and there was so much that they only managed to get through half of it! So - in a packed show you will hear us covering a wide range of topics and among many other things we discussed: PuckoonThe different Goon Show theme tunesAlexei Sayle's StuffAndrew TimothyThe best Spike film?Great Scott It's Maynard!Young Barry CryerThe Bride of FrankensteinShows for newbies?The Ray Ellington Quartet lineups Hancock vs SteptoeLater Bentine collaborations ... and much much more!

Rejecting Monty Python: This week, we bring you this episode from our friends at We Regret to Inform You: The Rejection Podcast.Lo! Upon the first breath of Monty Python's Flying Circus o'er the enchanted waves of BBC One, scribes within the castle walls did trade many a curious whisper and scroll, to wit:“This episode contained two really awful sketches.”“The treatment of the national anthem is not amusing.” “Parts of this…are disgusting.”And, “The death sequence was in appalling taste.”Prithee, join us.Listen to PART IIMajor sources for this episode include:TV Series: “Monty Python: Almost the Truth (Lawyer's Cut)” BBC: “Monty Python at 50”The Guardian: “Monty is 30”The Sunday Post: “The Story of Monty Python” BBC: “‘It was a magical chemical balance': How Monty Python and the Holy Grail became a comedy legend”Smithsonian Magazine: “And Now For Something Completely Different”Screen Online: “The Roots of Monty Python”Vulture: “John Cleese on The Goon Show, His Earliest Comedy Influence”Writer & Host: Sidney Hirst-O'ReillyExecutive Producer & Co-Host: Terry O'ReillyResearcher & Series Producer: Allison PinchesDirector: Callie O'ReillySupervising Producer: Debbie O'ReillyEngineer: Geoff DevineTheme music: Casey Pick, Jeremiah Pick & James AtinTunes: APM Music*This program and all relevant content is for educational purposes only and to the best of our knowledge is being used under Fair Dealing/Fair Use Act guidelines and within Canadian and United States standards of fair dealing/fair use* Hosted on Acast. See acast.com/privacy for more information.

Mit einem Trick schafft Sellers (geb. am 8.9.1925) es ins Radio, als Pink-Panther-Inspektor Clouseau nach Hollywood. Er ist ein Meister der Imitation, dem der Ruhm zusetzt. Von Axel Naumer.

fWotD Episode 3048: Peter Sellers Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Monday, 8 September 2025, is Peter Sellers.Peter Sellers (born Richard Henry Sellers; 8 September 1925 – 24 July 1980) was an English actor and comedian. He first came to prominence performing in the BBC Radio comedy series The Goon Show. Sellers featured on a number of hit comic songs, and became known to a worldwide audience through his many film roles, among them Chief Inspector Clouseau in The Pink Panther series.Sellers made his stage debut at the Kings Theatre, Southsea, when he was two weeks old. He began accompanying his parents in a touring variety act. He worked as a drummer and toured around England as a member of the Entertainments National Service Association (ENSA). He developed his mimicry and improvisational skills during a spell in Ralph Reader's wartime Gang Show entertainment troupe. After the war, Sellers made his radio debut in ShowTime, and eventually became a regular performer on various BBC Radio shows. During the early 1950s, Sellers, along with Spike Milligan, Harry Secombe, and Michael Bentine, took part in the successful radio series The Goon Show, which ended in 1960.Sellers began his film career during the 1950s. Although the bulk of his work was comedic, often parodying characters of authority such as military officers or policemen, he also performed in other film genres and roles. Films demonstrating his artistic range include I'm All Right Jack (1959), Stanley Kubrick's Lolita (1962) and Dr. Strangelove (1964), What's New Pussycat? (1965), Casino Royale (1967), The Party (1968), Being There (1979) and five films of the Pink Panther series (1963–1978). Sellers's versatility enabled him to portray a wide range of comic characters using different accents and guises, and he would often assume multiple roles within the same film, frequently with contrasting temperaments and styles. Satire and black humour were major features of many of his films, as they had been in his radio and record performances, and they had a strong influence on a number of later comedians. Sellers was nominated three times for an Academy Award, twice for the Academy Award for Best Actor, for his performances in Dr. Strangelove and Being There, and once for the Academy Award for Best Live Action Short Film for The Running Jumping & Standing Still Film (1959). He won the BAFTA Award for Best Actor in a Leading Role for his role in I'm All Right Jack and was nominated an additional three times for the satire Only Two Can Play, for Doctor Strangelove and The Pink Panther, and for Being There. In 1980 he won the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy for his role in Being There, having previously been nominated three times in the same category. Turner Classic Movies calls Sellers "one of the most accomplished comic actors of the late 20th century".In his personal life, Sellers struggled with depression and insecurities. An enigmatic figure, he often claimed to have no identity outside the roles that he played. His behaviour was often erratic and compulsive, and he frequently clashed with his directors and co-stars, especially in the mid-1970s, when his physical and mental health, together with his alcohol and drug problems, were at their worst. Sellers was married four times and had three children from his first two marriages. He died from a heart attack, aged 54, in 1980. English filmmakers the Boulting brothers described Sellers as "the greatest comic genius this country has produced since Charles Chaplin".This recording reflects the Wikipedia text as of 00:04 UTC on Monday, 8 September 2025.For the full current version of the article, see Peter Sellers on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Nicole.

The Life & Death of Peter Sellers caused something of a stir upon original publication in 1994. Rather than being a dispassionate account of the actor's life and work it leaned in quite heavily on his failings as a man and the author himself wasn't afraid to offer his personal views. That author, Roger Lewis, joins Tyler this week as the book is out in a brand new edition to coincide with Sellers' centenary this year. Roger has written a new afterword: The Centennial Sellers and Steve Coogan supplied a foreword. They discussed Sellers' strengths and weaknesses, his films, the Goon Show, people he worked with and fell in and out with and tried to nail down what it was about his self-destructive melancholy private personality that so absorbed Roger early on in the writing of the book. Alexander Walker comes in for a bit of a kicking too! There's also quite a bit about the film of the book and speculations about what Sellers might have done had he lived beyond 1980. Added to this, Roger talks about his previous book on Charles Hawtrey which is being reissued next year and the book he is currently engaged upon: Victoria Wood, and the women in comedy who influenced and shaped her unique talent.

This Saturday Matinee is brimming with classic British comedy and golden age orchestral charm. We begin with "The Goon Show" in "Emperor of the Universe", as Spike Milligan, Peter Sellers, and Harry Secombe take us on a delightfully absurd hunt for 25 million missing Englishmen. Then it's time for our first musical interlude, with Jack Hilton and his Orchestra playing the Cole Porter gem "You're the Top". Next, enjoy "Hancock's Half Hour" in "Hancock's Car", where Tony Hancock, Sid James, and Bill Kerr deliver a hilarious tale of motoring misadventures. The laughs keep rolling with "Beyond Our Ken" in "This Happy Breed", starring Kenneth Horne, Kenneth Williams, Hugh Paddick, Betty Marsden, and Bill Pertwee. We round off the afternoon with the romantic "Lovelight in the Starlight" from the Emery Deutsch Orchestra. Sit back and enjoy a perfect mix of laughter, music, and nostalgia from radio's golden years here on Vintage Classic Radio.

INTERVIEW: Harry Almey discusses new Goon Show adaptation playing @Allen Hall Theatre by Fi Carr on Radio One 91FM Dunedin

"What's become of that crispy bacon we had before the war?"Yes, this is that episode. 'Fireball' doesn't perhaps get the love it deserves, as it contains a fairly strong plot (by Goon Show terms). Henry Crun believes the sun is on fire, ergo the world is coming to an end and soon his fellow villagers are drawn into the drama. Seagoon is dispatched to see the Queen, a dissenting lad climbs a 200-ft ladder with a bit of bread on the end of a toasting fork and a rocket is constructed out of wood, brown paper and string, the idea being that it will transport the villagers up to the sun with buckets of water to put it out. Still with me? Joining us this week is Jeff Walker, host of Podcasto Catflappo - a podcast all about Filthy, Rich & Catflap.

This week Goon Pod welcomes Gavin Sutherland, conductor, musician, composer, arranger and general music nut with a passion for both the high-brow and the not-so-high-brow. As well as all that he's involved in podcasts such as The Peggy Mount Calamity Hour and has just released an album of old TV tunes, idents and ephemera: 'The Next Programme Follows Shortly'.Gavin has long been a fan of the Goons and thanks to his job and connections has met a number of former musicians who have played on the Goon Show, as well as, most notably, Angela Morley. Gavin talks about Angela fondly and describes how she was much in demand for her musical arrangements. He and Tyler talk about some music heard in the Goon Show over the course of the series, some of it highly memorable, while some of it merely a useful example of dependable linking music. It's a hugely enjoyable conversation which will appeal to comedy and music fans alike!

In May 1991 At Last The Go On Show was broadcast on BBC Radio 2, designed to celebrate the Goon Show's 40th anniversary. It was a stunning documentary that still sounds fresh and relevant today and two of the three men behind it - Dirk Maggs and Ted Kendall - joined Tyler and Graeme Lindsay Foot to discuss how it all came about and the challenges they faced. Ted (who it turns out wanted to be a racing driving before getting into audio engineering) talks about bringing together the clips and sequences which proliferate throughout and the techniques employed to improve their quality. Dirk recalls interviewing Spike Milligan, Harry Secombe and Michael Bentine and the marathon session putting everything together. Graeme looks back at it from the fan's perspective and recalls GSPS get-togethers from years gone by. They also talk about the series of restored shows that aired the following year and the necessary cuts needed in a wide-ranging and thoroughly enjoyable conversation.

John Antrobus is 92 years old and still going strong! He is the last living link with the Goon Show inasmuch as he co-wrote (with Spike Milligan) two shows from the eighth series and would later go on to collaborate with Milligan on a regular basis - mostly notably on The Bed Sitting Room.Fifteen years Milligan's junior, young fresh-faced Antrobus joined Associated London Scripts soon after its formation and worked with all the older hands - including Johnny Speight, Galton & Simpson and Eric Sykes. It was an education!A fine comedy writer and playwright, John is long overdue a proper appreciation and joining Tyler this week to bend the knee is Mike Haskins. Mike recalls interviewing Antrobus for some Radio 4 documentaries and examines his career with particular emphasis on his relationship with Spike.

Over a long and rightly celebrated career Ray Galton and Alan Simpson were careful to file away, log and generally archive much of their written output, correspondence, contracts and other ephemera. Now York University's Borthwick Institute for Archives is attempting to secure the collection for the nation and the Institute's Gary Brannan joins Tyler to talk about the G&S archive and the fund-raising campaign - appropriately titled 'Innit Marvellous'.More information here: https://yustart.hubbub.net/p/galtonandsimpson/Among the tantalising discoveries in the Galton & Simpson archive are several short sketches featuring Goon Show characters which were specifically written for Peter Sellers to perform on a long-forgotten radio variety show in late 1954 - literally days before the first episode of Hancock's Half Hour was broadcast. One of these scripts was brought back to life and performed at the York Festival of Ideas recently by actor and voice-over artist Richard Usher, who is also acting Chair of the Goon Show Preservation Society.Richard joins Tyler and Gary to talk about these scripts and the conversation ranges from Galton & Simpson's career to the importance of archive preservation. Richard talks about how he believes the GSPS can evolve to remain relevant and Gary discusses other collections the Institute currently holds.

Sarah's penultimate pick for her month of hosting duties is the 2011 sports comedy Goon.  Not to be confused with The Goonies. Or indeed the Goon Show.

There is absolutely no connection between the Goons and the Simpsons so what on earth is this special bonus episode all about? Well, my very good friends Ian and Michael over at the Lord Of Adders Black podcast - celebrating all things Blackadder - joined me to share our love for The Simpsons and talk through our favourite episodes! (Their podcast is really good - find it here: https://shows.acast.com/lord-of-adders-black )Great comedy is great comedy and while it's fair to say that few people could describe most post-2000 Simpsons content as 'great comedy' the stuff that came before remains sublime. I'm not sure what a Venn diagram of Goon Show fans and Simpsons fans would look like but hopefully it's more or less a circle. So indulge me for this special bonus episode with Michael & Ian where I get a rare chance to gush about comedy from the 1990s!

How young Ned Seagoon journeys by steam packet to the Americas to find the Lost Gold Mine and how, after being foully tricked by several desperadoes, he eventually triumphs. The action takes place aboard the S.S. Filthmuck, in a New Orleans dustbin, near the desert town of San Fairee Ann, and in a dried-up gulch near Hammersmith.Sandwiched between The Whistling Spy Enigma and The Dreaded Batter Pudding Hurler of Bexhill-On-Sea, this episode of The Goon Show is an often overlooked gem from early on in Series 5. It's a cracking yarn, invoking Treasure of the Sierra Madre-type themes as Neddie tries to retrieve the map of a gold mine he lost to Grytpype-Thynne and Moriarty. Much double-crossing and map-tearing abounds, and we even get the opportunity to discuss 1830s pornography!Returning guest Paul Abbott is co-host of The Big Beatles & Sixties Sort Out and the podcast can be found HERE: https://linktr.ee/bigsort

British comedy is an inspiration!  Everything from films produced by the Ealing Company, Spike Milligan and The Goon Show, Monty Python, Keeping Up Appearances, you name it!  I love the laughs, and decided to try writing a British comedy script.  I hope you forgive the accents and enjoy it! Learn more about your ad choices. Visit megaphone.fm/adchoices

Issued on BBC LP in 1979, The Rent Collectors is still often overlooked which is a bit unfair. Although given of a slight plot - not unusual for a Goon Show! - it has some marvellous set pieces and gags and an interesting guest performer in the shape of actor Bernard Miles. It also heralded the first official appearance of Little Jim whose catchphrase has delighted audiences ever since (it says here). We talk about Miles' appearance (which was very much last-minute), Sellers' ATV Saturday night specials scripted by Eric Sykes in which he portrayed the likes of Bloodnok & Willium, and we touch on Aldous Huxley, Marilyn Monroe and General Gordon (what a party THAT was!)This week's guest is performer and podcaster Ciarán Moffatt who posits that the episode is possibly two unfinished shows bolted together. Later the discussion turns to talk of inflatable dolls and manatees... something for everyone folks!

This week we fire up a Wurlitzer and crack open an oyster as we celebrate one of the aspects of the Goon Show that made it so unique: the sound effects. Joining Tyler to talk about some of our favourites are Chris Smith and Graeme Lindsay-Foot and the idea for the show first occurred to Chris when he heard a news item on the radio several years ago. According to Chris: "They covered the recent creation of a "sounds archive", dedicated to preserving sounds previously very familiar butwhich are fast fading in popular memory, such as a steam train or bakelite telephone dialling tone (or its ring for that matter), or cine camera or film projector. The point being that the "lifespan" of familiar sounds is becoming shorter as technology and equipment changes - leading tothose sounds literally fading away from popular memory."Taking this as a starting point, they consider what effects in the Goon Show would totally baffle younger listeners today, before running through some of the greatest (and some fairly obscure) FX and GRAMS inclusions throughout the show's run, including many listeners' favourites such as Tom the piano-playing penguin, someone knocking on the door with a duck and the otherworldly Radiophonic Workshop effects used in 'The Scarlet Capsule'. There's also a salute to those unsung lads who made the magic happen!

We talk about the life and work of the troubled, eclectic, absurdist British author and Goon Show comedian Spike Milligan. Get the After Dark episode and more at patreon.com/artofdarkpod or substack.com/@artofdarkpod. x.com/artofdarkpod x.com/abbielucas x.com/kautzmania […]

In this exciting episode of Reading with Your Kids, host Jed Doherty takes listeners on a delightful journey through the magical realm of children's literature, featuring two incredible authors who are reimagining storytelling for young readers. First up is Brett Bean, creator of the innovative hybrid chapter book "Muck and Honey: Tree House Trouble." Bean shares his unique approach to bridging the gap between picture books and traditional chapter books, perfectly designed for children aged 6-9. Drawing inspiration from his own children, Bean crafts a story that celebrates creativity, problem-solving, and the importance of embracing failure as a learning opportunity. The conversation explores the challenges of modern parenting, particularly the overwhelming screen time children experience today. Bean offers insights into encouraging creativity and meaningful interactions with kids, emphasizing the power of simple, engaging activities that spark imagination. Next, the episode welcomes Neil Sharpson, author of the hilarious picture book "Don't Trust Fish." Born from a pandemic-era birthday party, Sharpson's book showcases how quick wit and creativity can transform unexpected moments into delightful storytelling. With influences ranging from Monty Python to The Goon Show, Sharpson brings a unique comedic touch that appeals to both children and parents. Both authors highlight the critical role of children's literature in developing imagination, resilience, and a love of reading. They discuss the importance of creating books that not only entertain but also provide valuable life lessons and spark meaningful conversations between parents and children. Whether you're a parent looking to inspire your child's love of reading, an educator seeking engaging book recommendations, or simply someone who appreciates creative storytelling, this episode offers something for everyone. It's a heartwarming reminder of the magic that happens when creativity, humor, and storytelling come together. Tune in and discover how these amazing authors are changing the landscape of children's literature, one page at a time! Click here to visit our website – www.ReadingWithYourKids.com Follow Us On Social Media Facebook - https://www.facebook.com/readingwithyourkids Instagram - https://www.instagram.com/readingwithyourkids/ X - https://x.com/jedliemagic LinkedIn - https://www.linkedin.com/company/reading-with-your-kids-podcast/ Please consider leaving a review of this episode and the podcast on whatever app you are listening on, it really helps!

Right here, squaring off, from opposite sides of the Atlantic, we present: Dueling tag-teams of zaniness — wearing fanciful disguises, winking at traditional forms, and tweeting in a birdlike falsetto… Good stuff!BEDAZZLEDThe Faustian satire Bedazzled, created by genius comedian Peter Cook (who plays the Devil trying to bargain for souls), makes good use of the talents of his Chaplin-esque comedy partner, Dudley Moore (who you might remember from the hit films Ten and Arthur), who plays the shlumpy Wimpy Burger cook, Stanley, willing to bargain away his mortal soul for love. The team first worked together in the early 60s smash stage revue BEYOND THE FRINGE, then coalesced on the BBC as Pete and Dud, (and, later, even more darlingly in the scatalogical bootleg recordings of Derek and Clive). In 1966, with Bedazzled they were on the rise commercially, and Moore, an Oxford trained classical and jazz pianist, wrote all the music for the film.  In this cut, entitled Leaping Nuns chorus, the sisters of the Order of Saint Beryl (including Stanley in full habit) show their devotion to the Saint by jumping on trampolines. JAN AND DEAN MEET BATMANAlso in ‘66, laboring secretly on a similar track, energized by the same Goon Show type inspiration, Jan Berry and Dean Torrance were working to expand, (but not abandon) their surf sound by adding a storyline and special effects, and creating some nutty theater of the mind. Who knows where this might have led, if Jan's tragic car collision a few week's after the record's release, (resulting in his massive head injuries), hadn't sidelined the team's ambitions? Perhaps a blockbuster TV series…?There was always a comic element to the Jan and Dean performance style. (Check out the classic Rock concert film Tami Show, which they hosted). They may have looked like copper toned surf hunks, but maybe there was some Abbott and Costello lurking beneath the Golden Boy surface. 

Erster Staatsbesuch 2025 von Sounds!-Botschafter Hanspeter «Düsi» Künzler! Im Aktenkoffer hat er die musikalischen Highlights der letzten Monate: Warum der «Lieblings-Ausserkanton» Australien grad wieder punktet, Kollektive in London regieren und Krautrock ein weiteres Revival feiert? Press Play. +++ PLAYLIST +++ 22:58 - SINI NEUE LIEDER von STAHLBERGER 22:55 - ALL MY FREAKS von DIVORCE 22:52 - SONG TO WOODY von BOB DYLAN 22:50 - 16 TONS von NINA HAGEN 22:45 - DIE UFOS SIND DA von NINA HAGEN 22:42 - UNBESCHREIBLICH WEIBLICH von NINA HAGEN 22:34 - AFRICAN REGGAE von NINA HAGEN 22:31 - DU HAST DEN FARBFILM VERGESSEN von NINA HAGEN 22:25 - TV-GLOTZER von NINA HAGEN 22:21 - NINA HAGEN von ISOLATION BERLIN 22:17 - OCEAN ROAR von HAMILTON LEITHAUSER 22:13 - KNOCKIN' HEART von HAMILTON LEITHAUSER 22:09 - VIRGINIA BEACH von HAMILTON LEITHAUSER & KEVIN MORBY 21:57 - PROMISED LAND von MELIN MELYN 21:52 - TANGLED von ADRIAN CROWLEY 21:48 - AMYLASE von CAJUN DANCE PARTY 21:46 - PENNSYLVANIA von DANIEL BLUMBERG 21:39 - ONE STEP AHEAD von SPLIT ENZ 21:35 - TAKE ME TO YOUR INFINITE GARDEN von MESS ESQUE 21:28 - KEEP ME COMPANY von THE MELODRONES 21:24 - GOON SHOW von TROPICAL FUCK STORM 21:17 - X SAYS von INDEX FOR WORKING MUSIK 21:15 - ACID EAGLES von PRIMITIVE IGNORANT 21:08 - CRO-MAGNON MAN von SQUID 21:04 - ZERO SUN von LITTLE BARRIE/MALCOLM CATTO 20:56 - HALF LIGHT von BLIND YEO 20:50 - AI, ABSOLUTELY! von PAINTING 20:47 - KEEP THE SHARKS FROM YOUR HEART von RIP RIG AND PANIC 20:37 - PAY THE RENT von SNAPPED ANKLES 20:33 - ALL IN THE GAME von MOREISH IDOLS 20:26 - BARABAJAGAL von DONOVAN 20:23 - INVINCIBILITY von ALABASTER DEPLUME 20:17 - HAPPY BIRTHDAY von BLACK COUNTRY, NEW ROAD 20:12 - KING CNUT von MANDRAKE HANDSHAKE 20:04 - HOW LONG IS NOW von PALE BLUE EYES

“For a shortened version of this programme, please read A Christmas Carol by Charles Dickens, and you won't find much resemblance.”   On 24th December 1959 the tenth and final series of The Goon Show got off to a thoroughly festive start with a show VERY loosely based on the classic Dickens story, in which Scrooge (played by Henry Crun) entrusts Eccles with a Christmas pudding full of gold threepenny bits. This attracts the attention of Grytpype-Thynne and Moriarty and all manner of chaos ensues.   This really was the last hurrah for the Goon Show as Series 10 only ran for six editions – Sellers was already a film star, Secombe was in huge demand as a singer and performer and Milligan (beset with personal dramas) had grown tired of doing it. It was an excuse for Sunday larks but as 1960 arrived they were all ready to move on.   Leading up to the start of the series the BBC publicity department announced: “Christmas is expected to get off to a disastrous start in the Home Service on Christmas Eve. For at exactly 7:30pm announcer Wallace Greenslade will announce over the ether “This is the Goon Show” and for the next thirty minutes Spike Milligan, Peter Sellers and Harry Secombe will start a hilarious riot throughout millions of listeners' homes.”   The show lacked any structure or discipline and yet contains some of the funniest material the Goons ever broadcast, chiefly centred around Scrooge, Eccles and Ned Scratchit. Willium is appearing as Sewerman Sam and Max Geldray defiles the acting craft with a brief role as a Welsh spouse. It wraps up on a musical note for want of a neater ending.   Joining Tyler is Andy Bell whose Welsh-language podcast is Rhaglen Cymru - Andy can be contacted at rhaglencymru@hotmail.com.

In rabbitHOLE's eighth episode, the BIT CREW heads down some interesting holes, including: Charlie Chaplin Fabric Power Rankings Mascot Abuse The Great Muppet Caper Luke starts us off with a twisty tale beginning with the 1089 albums you must listen to before you die, (Anyone else a fan of Ogden Nuts Gone Flake? What about Stanley Unwin? Nope? Maybe?) a visit to the GOON SHOW, and then some forgotten facts about the Little Tramp. We also learned that Jason may or may not have a fabric fetish. Multiple cast members suffered physical abuse from mean kids when wearing mascot costumes. Flannery attempts to get ANIMAL (the Muppet) the recognition he deserves. Brent reveals his favorite movie is indeed the Great Muppet Caper and proceeds to BIT-splain Dr. Teeth and the Mayhem. It's a wild ride - we're glad you're on it with us. APOLOGIES:  Sweeden (once again), non-angry poets, Burlap to Cashmere (a real band), Banana Republic (sponsor us?), the colors purple and bone, Hanes, cotton, suede, WhiteCastle, Poutine, Canada, beat poets, the Easter Bunny, cheese sandwiches, and whoever should have been on this list but was inadvertently omitted.                         As always, rabbitHOLE is unscripted and inspired by the CREW's real-life rabbit hole adventures. If you enjoy rabbitHOLE, follow, rate, and share it with your friends! DIRECTOR/CREATOR:  Billy Merritt CAST:  Konrad Andrew Terry Armstrong Sabrina Kim Banes Amber Bellsdale Luke Bovard Hill Kane Brent Kohler Don Slovin Jason Spiro Lisa Steckman Thea Marie Thorkildsen Flannery Wilson "rabbitHOLE" Improv is part of The BIT Comedy Network. Production Assistance, Audio Production & Graphics/Art by Hill Kane of Raising Kane Media + Marketing. MUSIC: "Shark Bait" performed by Little Kahunas | Produced by Peter Miller ©  Hosting Platform: Libsyn.com "The BIT" and "The BIT Comedy Network" are Trademarks owned by Billy Merritt © 2024 Billy Merritt - All Rights Reserved Inquiries + Notices + Requests: TheBitComedyNetwork@gmail.com

Who were the key figures in getting the Goon Show to radio? Which people were pivotal to the Goons' success? Join Tyler and Roger Stevenson as they rank those within the Goon Show's orbit in order of importance and show their working. Roger took the brief seriously and put a lot of thought and care into his choices; Tyler slightly misunderstood the brief and went more down that 'Who was the Fifth Goon?' route. What resulted was an interesting mix of names, and increasingly desperate attempts by Tyler to justify his ranking system. Among the names bandied about are such worthies as Dennis Main Wilson, Valentine Dyall, Jimmy Grafton, Larry Stephens, Dick Emery and John Snagge.

"In the little Essex hamlet of Great Bardfield, a tiger with influenza is mounting guard over a mysterious white box. What is the secret of the box of Bardfield—does it contain the dreaded International Christmas Pudding or is it really full of priceless Essex snow?" So ran the Radio Times listing that week for the show we are discussing, which has nothing whatsoever to do with the International Christmas Pudding but has everything to do with selling snow to Sudan. It's Tyler's favourite Goon Show of all, the third he ever heard and one which had been 'trailed' to him in a way by his father as he was growing up. His dad would occasionally mention the plotline of The White Box of Great Bardfield without naming it specifically; he merely considered it a quite genius idea for a comedy plot. Joining Tyler to try and unpick it all is returning guest Molly McDade who thinks it's a show you should never expose to a newbie and was looking forward to seeing Coogan in Strangelove - which, by the time this goes out she will have done!

Without these guys, there may well not have been Monty Python or Firesign Theatre yet to much of the world they are just a distant (and very funny) memory. Who are these titans? It's the Goon Show which tickled British comedy fans during the 1950s with comedy that was smart, surreal, and sometimes just plain silly. The core Goons -- Peter Sellers, Spike Milligan, and Harry Secombe worked off scripts penned by Milligan, playing a variety of off the wall characters. The voice work was superb and the structure of the shows is best described as avant-garde and four dimensional. Secombe and Milligan went on to successful entertainment careers and Sellers became an international movie star. But it all started with some guys who wouldn't play by traditional comedy rules -- and aren't we glad they wouldn't. As always find extra clips below and thanks for sharing our shows. Want more Goons? If you have time, crack open your favorite beverage and enjoy a complete Goon Show, this one from 1955.https://youtu.be/VuVFFNvyUT8?si=Rci_cSflpvqo7lrI Harry Secombe and Peter Sellers provided some of the favorite character voices for the Goons and this clip from 1954 shows their chemistry. https://youtu.be/clX7FInbQ58?si=xPNBPwV5ZZkyyTh6 While the Goon Show ended it run in 1960, the Goons did reunite for one final blowout for the BBC's 50th anniversary in 1972. It delighted their fans and probably mystified everyone else -- perfection!https://youtu.be/XF745ywyvVY?si=8JxivMO8DSBOielA

"There once was a beautiful moon, "It was up in the sky, chum, "When he said “What's the time?” "They replied ‘What?' "And the horse departed leaving spon." With poetry like that it's no wonder we lost the Empire. And it stands out as one of the most memorable bits of a Goon Show episode which is rather unfairly overlooked: The Moon Show from January 1957. Neddie is a tramp poet, who buys a poetic licence from those chiselling spivs Grytpype Thynne & Moriarty and through further trickery believes himself to be the rightful owner of the moon. Then he realises that the moon is a forgery and pursues the villains across Europe. Joining Tyler this week is Ian Winick, co-host of the Lord Of Adders Black podcast: https://shows.acast.com/lord-of-adders-black

Sometimes all Eli and Paul need is a bit of Moog music to quell their troubled souls. What they present this week ranges from the misguided to the truly odd. On Silverman's Platters they'll investigate the strange Flamenco Moog, a track inspired by the sport of Ping Pong and a piece of music from a long forgotten, and oddly sci-fi flavoured, 1970s musical! Let's hope the Cheap Chaps get through all these tracks quickly as Track-Bot is apparently about to reboot! Thanks to a kind listener, CheapShow has another PO Box sourced Price of Shite to investigate. As they try to guess the correct pounds and pence, they'll discover a bit about the confectioners Bassetts, try to figure out the maths of 3D Tic-Tac-Toe and give their worthless opinions on the legendary Goon Show radio show. All this and much, much less! See pics/videos for this episode on our website: https://www.thecheapshow.co.uk/ep-385-fallow-moments And if you like us, why not support us: www.patreon.com/cheapshow If you want to get involved, email us at thecheapshow@gmail.com And if you want to, follow us on Twitter/X @thecheapshowpod or @paulgannonshow & @elisnoid www.thecheapshow.co.uk Now on Threads: @cheapshowpod Like, Review, Share, Comment... LOVE US! MERCH Official CheapShow Merch Shop: www.redbubble.com/people/cheapshow/shop www.cheapmag.shop Thanks also to @vorratony for the wonderful, exclusive art: www.tinyurl.com/rbcheapshow Send Us Stuff: CheapShow PO BOX 1309 Harrow HA1 9QJ