The BBC TV logo, The Goon Show and The
Telegoons are copyright © BBC Worldwide Ltd.
The publicity photos of the Goons and the Telegoons puppets are copyright © BBC Worldwide Ltd.
The Telegoons still frames shown on this site are copyright © BBC Worldwide Ltd.
This site has no official connection with the BBC or its affiliates.
The various books and films referenced on this site are copyrighted by their respective authors (see Bibliography).
The Goon Show script excerpts are copyright © Spike Milligan.
The Telegoons signature tune is copyright © Edward White
The Telegoons signature tune performance excerpts are copyright (P) The Big Ben Banjo Band, and also Ted Heath & His Music.
The photograph of Roger Wilmut is copyright © Roger Wilmut, used with permission.
Hunt Emerson's drawings are copyright © Hunt Emerson, used with permission.
Roger Landridge's drawings are copyright © Roger Landridge, used with permission.
The photograph of Bill Titcombe is copyright © Olly Day, used with permission.
The photograph of Dick Millington is copyright © Olly Day, used with permission.
Violet Philpott's photographs are copyright © Violet Philpott, used with permission.
Richard (John Dudley) Wheeler's photographs are copyright © Richard Wheeler, used with permission.
Several photographs of The Telegoons glove puppets are copyright © Museum of Childhood, Edinburgh, used with permission.
The Lake java applet is copyright © David Griffiths, used under license.
Thanks to Steve Caskey for his "World Winde Webule" inspiration.
A special thank you to Robbie James for making available the rare Telegoons photograph of Seagoon & Moriarty in a scene from Napoleon's Piano; to John Heyes of the Museum of Childhood, Edinburgh, for providing photographs of the Eccles and Bluebottle Telegoons glove puppets; to Richard Stevens for making available photographs of the Eccles doll shown in the Merchandise page.
An extra special thank you goes to Maxine Ventham of the Peter Sellers Appreciation Society (former secretary of the GSPS), whose work, often behind-the-scenes, has been much appreciated, and always helpful.
A special thank you goes to Nigel Knapton whose knowledge of Companies House and the "Young Dynasty" was very helpful. Thanks also to Nigel for sending a copy of the Radio Times for November 21, which greatly improved the FAQ section.
I am especially grateful to Robert Whelan, who introduced me to Telegoons puppeteers, Violet Philpott. Robert's interest in puppetry extends way back to a 1960 family holiday spent at Bognor Regis on the south coast of England, where he got to know Violet during the summer season puppet shows she was presenting there.
I also wish to express my gratitude to puppeteer Violet Philpott, who was there when The Telegoons happened, and who has patiently answered my many questions about the production side of things. Violet's memory of events that took place in a certain film studio on the bank of the Grand Union Canal way back in 1963, has been a resource of immeasurable value to this project. I have to admit that since getting to know Violet, I've added my name, alongside Robert Whelan's, to the list of her most ardent fans.
I wish to extend a special thank you to Mike Fox for taking time out of his very busy schedule, to revisit The Telegoons. Our fruitful discussions, both via e-mail, and "on location" beside the Grand Union Canal, have vastly expanded my knowledge of The Telegoons, especially to do with the film production side of things.
A big heaping helping of appreciation goes to Richard (John Dudley) Wheeler for his many helpful, dare I say it, downright enthusiastic communications. Richard's input to this project, has been far-reaching, ranging from the role of Ron Field's automatic lip-synch system, to the historical significance of an impressionist who stood in for Peter Sellers for the early production episodes. His memory of events that surrounded The Telegoons production thirty-eight years ago, is as clear as last week, a feat that I feel must surely be much more than stage magic.
I am especially grateful to Ann Perrin, who went well out of her way to fill in and clarify the history of The Telegoons, especially during the early and pre-production phases of the project. A big thank you must also be given to Ann's mother, Joan Field, whose memory of events long past provided vital corroboration to Ann's memories. Although Ann went on, after the pilot film, to work as a puppeteer on the television series, and has her name listed in the film credits, no such credit appears for Ann's father Ron Field, whose role in the creation of the puppets was fundamental. This website has attempted to rectify these omissions. One way or another, the contributions that Ann's family made to The Telegoons series were quite important, for which proper recognition is long overdue.
An especially big thank you goes to Mrs Royle, who kindly drove me to the former Nellie McQueens, and patiently answered all of my questions about the Young family.
Thanks also to Irving Childs for recounting some of his knowledge about the Youngs.
A special appreciation also goes to Chris Smith and Steve Arnold of the GSPS for invaluable discussions and other things. On one occasion I collaborated with Chris in a search for the Telegoon puppets in Twickenham. While I directed the hunt from my computer in Iowa, USA, Chris hit the streets and pubs (twice), unfortunately to no avail except for loss of shoe leather (Read all about it in GSPS NL's #99, and #100).
A special big thankyou to Bill Nunn, whose timely help greatly expanded the site's coverage of Bill Titcombe's artwork. Bill Nunn also helped put me in touch with Bill Titcombe.
I wish to thank Bill and Audrey Titcombe for their generous hospitality. Bill's knowledge of The Telegoons, especially in their cartoon format is second to none, and for which I am a very eager student. Based on Dick Millington's scripts, Bill Titcombe's Telegoons cartoon strips helped introduce the Goons to a whole new generation too young to have heard them on the radio. For these newbies, The Telegoons were the Goons, forever defining the look and feel of the radio show characters for those of us born in the late 1940s or early 1950s.
This site is intended solely as a research tool and archive, for non-commercial, non-profit educational purposes only. All non-original images, sound files, logos, or animations used on this site are, therefore, covered under the Fair Use provisions of United States Copyright Law and the international Berne Convention. Source references and links back to original owner pages have been included where appropriate. Certain of the images used on this site support the site's rôle as a bookseller under the umbrella of Amazon.com Int'l Sales, Inc. The appearance of any images, logos, or other materials on this site does not confer any license or right for their reuse by any third-party. It is hoped that this site will encourage the commercial sale of Goon Show-related books, recordings, videos, etc., and help further the goal of the Goon Show Preservation Society (GSPS) to preserve and promote the heritage we all share in The Goon Show and The Telegoons.
If any non-original materials used on this site are incorrectly attributed, please e-mail firstname.lastname@example.org.
I wish to acknowledge an extra special debt of gratitude to Janet Roxburgh and Monica Roxburgh, two Goon fans without whose help this site would have taken much longer to put together. Their suggestions and constructive criticisms were essential to its success.
All unattributed text is copyright © Alastair Roxburgh