The afternoon I spent with the Goons’ Harry Secombe

As a jobbing freelance writer in the autumn of 1995 I was commissioned by Radio 4 to write a feature on “A Weekend Called Fred” – the Goon Show Preservation Society’s Bournemouth Convention. As a Goons aficionado, meeting fans from Australia, New Zealand and the USA, plus the show’s producers and sound-effects men, was an attractive proposition.

However, I was disappointed to discover there would be no actual Goons attending. Peter Sellers was dead. Spike Milliganwas grumpy and unapproachable. Harry Secombe had been knighted and was busy in West End theatre. So, unbeknown to the society, I wrote to one of the originals, Michael Bentine. I was surprised when Bentine phoned me to announce that he was going to California as he was dying of prostate cancer. “I wish you well, but I aim to expire in the sunshine.” He died a year later. It was a long shot, so I wrote an unctuous letter to Sir Harry. A week later, the phone rang.

“Yes… who’s this?” There was a giggle.

“It’s Harry!”

Stupidly, I said: “Harry who?”

Another giggle followed by “How many bloody Harrys do you know man? Secombe! It’s Neddie!” I was bowled over. The legendary Neddie Seagoon was talking to me.

“Blimey,” he said, “just sitting here in my dressing room reading your letter. You’re a miserable bugger, aren’t you?” I told him I was simply pulling out all the emotional stops trying to appeal to his better nature. “Will you come?”

“Oh… all right then, but only for half an hour. I can’t stand those bloody Goon fans – they’re all barking mad, you know. Send me the details, time, venue, and meet me when I get there. You’d better protect me! Don’t tell them I’m coming.”

On the Saturday afternoon, I was instructed to wait for him outside the hotel. Inside, on the stage, the Goons producer Dennis Main Wilson was being interviewed before a rapt audience. Outside, a large silver Mercedes, with the number plate HS1, pulled up. The passenger door was flung open and I was beckoned inside. I guided the chauffeur around to the back of the building. Harry shook my hand and told me I needed to go on a diet. He followed me to the stage door. I entered, blundered on to the stage and interrupted the interview, announcing “Ladies and gentlemen! A special guest: Sir Harry Secombe!” The crowd went wild, Harry strode up to the mike and blew a loud raspberry, and spent the next two hours talking to fans and signing autographs.

Eventually, I found a quiet room, ordered tea and sat with the great Seagoon talking about comedy. It was a wonderful afternoon, and a fine piece of radio in the company of a master clown and true gentleman.

The weekend ended with a batter pudding-hurling contest on the beach.

Source: The afternoon I spent with the Goons’ Harry Secombe | Life and style | The Guardian

Goon fans pay tribute to Spike Milligan’s mayhem 

Spike Milligan
Spike Milligan

The Fear of WagesNapoleon’s PianoDr Jekyll and Mr CrunA Sockful of Custard. Spike Milligan devotees will probably recognise these titles of the Goon Show, the series that changed the face of British comedy in the Fifties.

In fact one of the titles is fake, having been created by a pair of fiftysomething fanboys as a tribute to Milligan on the centenary of his birth.

A Sockful of Custard is written and performed by Chris Larner and Jeremy Stockwell and opens on the Fringe. It has been a labour of love, not least because the two men have had no access to any original Milligan material.

Though the “godfather of alternative comedy” left behind a mountain of scripts, poems, memoirs, plays and a…

Talking Peter Sellers and The Goon Show with John Cleese

John Cleese
“You don’t mind if I call you Edward? …”

Talking with the Monty Python member about Peter Sellers, failure, and why he prefers disrespectful interviewers.

It was absurdist. It didn’t try to be intellectual, yet it at its core it still was. I always had an affinity for the silly, and the humor of The Goon Show was just that. It was also very subversive. Spike and [co-creator Harry Secombe] were in the armed forces during the Second World War, you see, and they had developed a rather disrespectful attitude towards authority and the officers, and that was always coming through in the show — just a disrespect for the pompous old-style English guys and the upper class. And that anti-authority really spoke to us [in Python]. People used to ask us to describe what sort of humor Monty Python was because they didn’t know how to categorize us. We’re just silly. Other people who come across us can give us labels if they want.

You’d be hard-pressed to find someone working in comedy that hasn’t creatively cribbed from Monty Python. The influential British comedy troupe’s trademark surrealism, self-referencing, and artistic anarchy has been coded into the DNA of many modern architects of America’s absurdist comedy Zeitgeist, from Doug Kenney to Amy Sedaris to the minds behind Mr. Show. [ . . . ]

Continue at THE VULTURE: Talking Peter Sellers and The Goon Show with John Cleese

Sounds of a century could help dementia sufferers 

From the roar of Luftwaffe air raids on London to the industrious hush of the British Museum Reading Room, the BBC’s sound effects archive contains a sonic history of the past century.

Access the BBC Sound Archive here

Now 16,000 clips are being released free of charge to the public as part of a project aimed at helping dementia patients to reminisce about the past.

The treasure trove of sounds has been compiled by BBC staff since the 1940s as a resource for radio dramas, documentaries and comedy shows.

Some were specially created by the sound effects department, including a clip of four batter puddings being thrown, which is thought to have appeared in The Goon Show.

Others were recorded during historic, never-to-be-repeated moments. These include a 1940 air raid on [ . . . ]

Continue Reading: Sounds of a century could help dementia sufferers | News | The Times