I can't remember if I've Posted this Before...

...its an article from the Guardian from last summer...enjoy!

Boys from the Boosh
With their Lurex-clad, psychedelic silliness and anarchic punk humour, the Mighty Boosh have been catapulted from the Edinburgh Fringe to the BBC. Amy Raphael catches up with them to talk sudden fame, instant families and stupid haircuts

Noel Fielding is sitting in a dark corner in a bright-red Joan Jett jump suit, staring absently at his odd socks. His feet are killing him. He only has a short break between takes but the knee-high, stack-heeled boots, made by the same designer who once worked for Marc Bolan, had to come off. 'God, I feel as though I'm in Sweet today,' he says, rubbing his toes and swishing his shoulder-length bottle-black hair. He may be in costume just now, but Fielding is nothing if not glam rock. He is, he later says, fascinated by his own image and what he can do with it. He is one of those people who openly admits that he always thought he'd be famous.

And maybe his time has come. It's 10 long years since south Londoner Fielding, now 34, and Leeds-born Julian Barratt, now 39, became friends after appearing on the same comedy bill at a pub in north London. Fielding had studied Fine Art at Croydon Art College while Barratt had dropped out of an American studies course at Reading University; both had fathers who loved Frank Zappa and Captain Beefheart, and who encouraged their sons to avoid getting proper jobs.

When they first met, Barratt asked Fielding if he had his hair on backwards (hair being a bit of a theme - the duo takes its name from Fielding's brother Michael, who as a child had really big hair which a friend called 'the mighty bush'). Barratt was also intrigued by the large gaggle of girls who went everywhere with Fielding. Both wanted to get their material heard; neither had found anyone to work with who remotely understood what was going on in their head. It was a huge relief when they chanced upon one another and decided to be the new Goodies.

Which, of course, they're not. What they take from the classic Seventies series is more the spirit of psychedelic, silly and surreal comedy. It's part of a lineage that includes The Goon Show, Tony Hancock, Monty Python, Vic and Bob. If Fielding is to be believed, the new friends went back to Barratt's place that first night and while the host played around on his Akai sampler, the guest made an eye patch out of a ping-pong ball. A decade on, the Mighty Boosh are on the verge of breaking free of their cult status and edging into the mainstream, but their approach to comedy hasn't really changed. Stage shows feature monsters made out of Jiffy bags; in the new series, Fielding briefly sports a Polo as a monocle. Theirs is a homemade, DIY, punk humour that knows few boundaries.

But while they can be ridiculously funny, Barratt and Fielding can also be tricky. Interviewing them in Edinburgh in 1999, I felt slightly awkward as, hungover, they talked the alienating language of a comedy double act unwilling to fully engage with an 'outsider'. On this cool, damp August morning they are filming the third series of The Mighty Boosh for the BBC in a vast warehouse on a disused MOD site in Surrey. Fielding is in high spirits; he keeps reappearing between scenes and chatting away about Suzi Quatro's new autobiography ('She's very sexy') or a recent all-night party where he met a cat called Steve. Barratt turns up at one point in checked shirt, cords and wellies, nursing a polystyrene cup of steaming tea. He vaguely nods but says nothing. He looks frazzled; his partner Julia Davis (star of Nighty Night) gave birth to twins Arthur and Walter just four weeks ago.

As Barratt wanders off into the shadows, Fielding does another take of a scene with an unbalanced tramp. After one series set in a zoo and a second in a flat in Dalston, the third has moved to a shop. This time, the insecure, anxious Howard Moon (Barratt) and the self-assured, narcissistic Vince Noir (Fielding) work in a second-hand shop owned by their shaman friend Naboo (played by Michael Fielding). If this sounds like a move towards traditional sitcom territory, it's not: Fielding may call it a 'psychedelic Open All Hours' but director Paul King, who has worked with the Boosh since the early days, insists it's more of a homage to Tim Burton, Dennis Potter and the film Delicatessen

Taking a lunch break in his dressing room, Fielding sits cross-legged on a cheap sofa. He tucks into red jelly and ice cream and talks about how frustrated he and Barratt (who is next door, too busy creating music for the show to talk just now) are by the various labels assigned to their comedy. 'Most of all, we hate being called surreal,' he says. But despite his protestations, it's hard not to think of the Mighty Boosh as surreal: after all, they are undeniably bizarre and much of their comedy flows freely from their unconscious. Yet Fielding insists it's more fitting to refer to the influence of children's books: particularly Maurice Sendak's Where the Wild Things Are and Raggety, the spiky, scary forest creature made out of sticks who encounters Rupert Bear.

Fielding plays with his Lego necklace, pulling bits off and popping them back on again. 'I think our show is magical and fantastical. We tell very intricate, weird stories. Vince Noir is quite modern, a bit of an indie kid; Howard Moon is a bit Fifties and eccentric. We tap into youth culture - the Horrors make a guest appearance in this series - and we rely heavily on Julian's music and my animation.' He pauses and grins. 'It's such a weird shambles of stuff.'

So weird, in fact, that it almost didn't make it to television. Around 2000, Barratt and Fielding disappeared into development hell. They had done a sketch show for Radio 4, but no one was sure how to translate their act on to TV. That's until Steve Coogan, who had seen them in Edinburgh in 1999 when they were performing as Arctic Boosh, moved things along. His production company, Baby Cow, put £40,000 into a pilot and Coogan himself sold the concept to the BBC simply by saying: 'If we were young, we'd want to be them.'

The first series of The Mighty Boosh went out on BBC3 in 2004 and eventually transferred to BBC2. It was pretty much a word-of-mouth phenomenon: the Boosh had hip young fans and more than their fair share of groupies. Last winter, even Fielding and Barratt were surprised when they took their show on an extensive tour of Britain. 'It was like the Rocky Horror Show,' says Noel. 'Everyone was dressed up and there was so much screaming! We did five nights at Brixton Academy and we could probably have done more. It used to be really cool people that liked our show - freaks and artists. Now the people that bug me every day are cab drivers and chavs. We're no longer on the periphery. I wouldn't mind being really popular...'

I ask Coogan how he feels about his proteges finding mainstream success: 'When Henry [Normal, co-owner of Baby Cow and executive producer of The Mighty Boosh] and I approached the BBC about the Boosh, they were quite sceptical at first. There was a feeling that their comedy was too esoteric. But we felt there was a playfulness in their fantasies that transcended the sometimes oblique references. Monty Python often operated on two levels - sophisticated and silly - and the Boosh carries on that tradition.'

Part of their strength, Coogan feels, is their very distinct relationship. 'In some ways it is pure music hall. They have a sweet innocence coupled with a kind of rock-star cool. It's escapist and surreal, an appropriate antidote to the trend for super-naturalistic comedy we've seen recently, including some of my stuff. What Julian and Noel are doing doesn't seem at all derivative. It isn't the kind of comedy you arrive at through audience research, which is the best thing about it. They do it absolutely on their terms.'

Back on set, Julian Barratt appears in blue shorts, grey T-shirt, black flip-flops. He looks terrifying: from the shoulders up he has morphed into a fox. With the help of yellow contact lenses, a false beard, nose and teeth, he has taken on the demeanour of a feral animal. Fielding spots him and giggles. 'Look at you! Crack Fox has come for me!' But Crack Fox, it seems, is not needed just now: the scene he is to film with Vince Noir is delayed as adjustments are made to the set.

It is time to leave. Outside the hangar, as a weak sun pushes through the clouds, Fielding sits around with his long-term girlfriend Dee. Barratt sits slumped on the ground, leaning against a car. False teeth in hand, he looks less wild animal, more exhausted new father. 'Oh God,' he says, trying to summon up some energy. 'We didn't get the chance to talk... sorry.'

I meet Barratt and Fielding again last month on London's South Bank. It's warm and all the cafes are packed. They eventually settle on a balcony overlooking the Thames. We sit on very high stools at a small table, which forces an unwanted intimacy. Initially it's not unlike the interview situation in Edinburgh all those years ago, but this time they quickly apologise for being exhausted after seven gruelling weeks spent bringing series three to life.

Fielding, in black skintight trousers with white spots, glam punk T-shirt, silver snake necklace, silver pointy boots, a trashy PVC coat with furry collar and outsized black sunglasses, is still recovering from a bout of flu. He yawns, twists and turns on his seat. Barratt, wearing black shorts, Birkenstocks, a stripy red and blue T-shirt and an open checked shirt, is slightly perkier but clearly exhausted by filming and fatherhood.

I ask how the rest of filming went. Fielding pulls a face: 'It was atrocious.' Barratt smiles benevolently at his partner: 'It was good but it was hard, the hardest yet. Although it was the third series, there was no more money. We seem to have stretched goodwill from the crew to breaking point.' Fielding hugs his battered doctor's bag to his chest: 'Until you get ratings, the BBC doesn't understand. They came to see us live last winter, saw everyone screaming and said: "It's like the Beatles. It's amazing! You're getting less money!" The fact is, we will never be as big as Little Britain. Having said all this, the BBC never interferes, which is something.'

Fielding suddenly leaps off his stool. 'I've just seen a man in a Boosh T-shirt!' As he hangs over the balcony, gesturing frantically, Barratt shakes his head. 'I'm quite happy sitting here. Obviously Fielding likes to attract even more attention to himself...'

If you'd never seen them perform together, you'd be forgiven for thinking that these two are an unlikely double act. Yet virtually every comedy duo in history has been the odd couple off stage, and the Mighty Boosh is no exception.

Fielding likes to be noticed - hence what he refers to as 'the stupid haircut' - and embraces celebrity. 'I go to lots of gigs, hang out with bands, party hard. I don't think it's possible to have a better time than I've had this year. It's like my birthday every night. I DJ with seven girls, I hang around the Hawley Arms [in Camden] with Amy Winehouse, Russell Brand and Donny Tourette.' Another celebrity friend is Courtney Love. 'I went to her house at New Year and then we went to the Paramount party. I've never seen paparazzi like it. There must have been 500 photographers. It was quite a buzz, because we're never going to have that.'

And Barratt looks positively relieved. He is far more private: when I comment on his new haircut, he says bashfully: 'My girlfriend did it last night.' When asked about his new young family, he says: 'It's a whole new thing for me. Something changes inside...' He starts squirming. 'I don't know if I want to talk about it publicly. My relationship with the press is different now; it's not just me any more.' He won't even talk about where or when he met Julia Davis; he is keener to discuss his relationship with Fielding.

He traces two circles on the table with his index finger. 'There's a kind of imaginary Venn diagram of our interests: we have a very shared middle ground that's a lot to do with comedy and music and visual language. Noel then does his own thing, hanging out with the latest band. I'm always initially very cynical: who are these people, they look ridiculous.' Fielding smiles and Barratt continues. 'Usually I end up getting on with them quite well.'

Part of what works for Barratt and Fielding is their open relationship. Both regularly do their own thing, whether it be stand-up, art (Fielding), jazz (Barratt), acting in Nathan Barley (both) or The IT Crowd (Fielding). They like to invite friends, family and pop stars to appear in The Mighty Boosh (this series sees cameos from The IT Crowd's Richard Ayoade, Gary Numan, Fielding's girlfriend, both sets of parents). The more ad hoc it all seems, the better - although on occasion it can seem overly self-referential. When I visit director Paul King in the editing suite some time later, he says that the show 'needs to look homemade' and is delighted that there isn't a single proper actor in the whole show. 'It's vital that Noel and Julian appear to be pissing around, having a laugh.'

The Mighty Boosh is very good at removing the barrier between the artist and the audience: many of its fans watch thinking: 'I could do that.' Yet with a little pushing, the couple admit they work bloody hard. 'I look as though I'm partying all the time, but actually we've worked virtually every day for 10 years,' says Fielding. 'It's a cycle,' adds Barratt. 'Slog, focus, panic. You work hard as hell and suddenly it gets you down. It all appears very trivial and you start thinking that perhaps you should be helping people instead, being less egocentric.' Fielding nods enthusiastically: 'By running a butterfly sanctuary in Peru.'

Given that they almost always do interviews together, I ask if I can talk to them separately. I suggest a Mr & Mr interview where they are tested - informally, of course - on their relationship. I'm surprised by their relative enthusiasm. Barratt offers to go first; Fielding slopes off to make a phone call. Within moments, there's a startling transformation. Barratt perks up. He relaxes, his shoulders drop. He even makes proper eye contact for the first time.

Julian, tell me five things about yourself, four of them true. I love jazz. I would have been a musician had I not got into comedy. My dad is a fisherman. I used to draw penises on my history books at school. I've never been scuba diving.

Tell me five things about Noel, four of them true. Noel is a girl. He can't drive. He is an extremely good football player. His nose has been broken. He didn't drink once for three years.

Who's the funniest? Noel. Although I think he finds me quite funny. He likes to make people laugh; I do too, but I'm also quite happy to make people uncomfortable. I've done interviews in the past where apparently I didn't give the journalist any eye contact. I'm a bit shy, yes. I've thought about refusing to do any press at all. All those questions you were asking us earlier... I felt slightly thwarted and crushed by this weight of having to be funny because I'm a comedian. Fielding does it much better; he rises to it.

Who's the weirdest? [Laughs; pauses] We've both got pretty idiosyncratic taste. Noel's gift is his ability to see his weirdness in the guise of a small child telling an adult a story. His weirdness has a friendly face.

Who's the sexiest? Fielding.

Who's the most rock'n'roll? Um... er... I suppose Fielding is flying that flag at the moment. I don't know that I've ever really been rock'n'roll. I like the countryside. I like chopping wood. I'd like to be a carpenter...

Who is the most boring? I've got a lot of friends with whom I discuss jazz.

Who's the most neurotic? Me. I can have a sleepless night worrying about a joke.

If you fight, does one or both of you sulk? We both sulk. We can get fired up quickly. Noel tends to say what's on his mind; his subconscious is very close to the surface, which is part of his gift as a comedian. I bottle everything up and then explode. Most comedians are borderline psychotic. It's what makes their work interesting.

Fielding approaches, looking hopeful. He is, it appears, anxious not to be left out. Barratt lies down in the shade, talking on the phone. Fielding takes a photo of him on his own mobile: 'Huckleberry Finn'. He whizzes through the questions then asks if he can do them again; he wants his answers to be as good as Barratt's. He also, interestingly, performs better alone. Even the yawning stops.

Noel, tell me five things about yourself, four of them true. Jesus! I'm Jesus. I like clothes. I'm tired. I'm trying to reintroduce a sense of magic, of the fantastic into society. I have an affinity with animals.

Tell me five things about Julian, four of them true. Julian wants to make a film. He's a father. He's often funny but doesn't know why. He's obsessed with logic, which he often uses to portray absurdity. He's made of coins.

Who's the funniest? Him. Physically and on a basic level, he's funnier.

Who's weirdest? I have the weirdest ideas. I dress more strangely. My stand-up is more ridiculous and silly; it has no foundation in reality whatsoever. Julian can seem quite offish when you first meet him. People find him offensive, rude, short-tempered, impatient. But he's not really. It's just his natural state; he's quite preoccupied and twitchy.

Who's the sexiest? [Laughs] Julian. I hope I'm sexy, too... Sometimes I look in the mirror and see a woman. My nose has never been broken, but it's a fucking weird shape.

Who's the most rock'n'roll? Me. My mum and dad had crazy parties throughout the Seventies. They listened to a lot of Jimi Hendrix, Mick Jagger, Led Zeppelin. There was a lot of drink and drugs around. So I'm more rock'n'roll by nature. I go out and don't come back for days.

Who's the most boring? [Laughs] Julian. My great fear in life is of being boring. He's like a teacher; he reads dry books, smokes a pipe and wears corduroy.

Who's the most neurotic? He's the most neurotic person I've met apart from my girlfriend.

If you fight, does one or both of you sulk? We very rarely fight and neither of us sulks. Never. Did he say we both do? [Looks genuinely horrified.] This is fucking brilliant.

Barratt returns to the table, smoking a cigarette he talked a tourist into giving him. To distract from the lack of agreement on sulking, I ask if it seems like a long time since they first met. 'I suppose we've changed quite a lot in 10 years,' offers Fielding. 'I was quite cocky back then; I thought I was supersonic.' He pauses. 'I couldn't tell you what life was like before Julian. He made me. Out of scraps.' Barratt joins in: 'In Pakistan.' Fielding starts giggling. 'Why is that so funny? I love that word: Pakistan. So when you made me in Pakistan, what was going through your mind?' Barratt smiles. 'Cheap labour. I thought we could get 10-year-olds in factories to write our jokes.'

Perhaps the last word should come from Steve Coogan, who saw something in these two comedy punks when few others could. 'The Mighty Boosh is a party you are invited to where Julian and Noel choose the music and dress code, and you end up having a better time than you thought possible. It's proof you can be sexy and funny. I try to soak up as much reflected glory as possible.'

Mighty Boosh Aftershow -- Brighton

I NEED TO GO TO THIS!!! They have all 5 of the aftershows before it up already, so the Brighton one should be next! According to Robots in Disguise's MySpace page and robotsindisguise.co.uk, they'll be playing at it! Even more reason to go! Its at the Ocean Rooms in Brighton.

Speaking of RiD, how cool of a picture is this?:

Because I Can Only Stay Away from Blogging About the Boosh for So Long...

Here is an interview! :

Mighty Boosh: Mightier by the minute

As they embark on a tour taking in the O2 Arena, the surrealist Mighty Boosh comic duo tell James Rampton how it feels to graduate from cult to big time..

Friday, 12 September 2008

I first encountered The Mighty Boosh, the highly original, surreal comedy double act of Julian Barratt and Noel Fielding, a decade ago, upstairs at a run-down pub in north London. They were plying their unique style of defiantly oddball yet still strangely lovable humour to the proverbial two Surrealists and a Dadaist dog. If memory serves, it was some inspired lunacy about two postmen – one sent to the Arctic, where he fell for a yeti, the other to Spain, where he encountered a spiritual guide with catfish tendrils, Polo mints for eyes, and a severe case of Tourette's syndrome. No, me neither.

The show was clearly as mad as a box of frogs. But even then, you could see there was something special about the Boosh. They just took such delight in being wilfully daft, and it was utterly contagious. It was an unmitigated pleasure to spend time in the "Boosh-iverse".

Soon after, their captivating, ground-breaking humour began to gain a cult following, underlined by graffiti artists on the walls of the men's toilets at the pub. One fan had scrawled, "The Mighty Boosh – Ha!", to which another had responded: "Do you mean 'Ha!' as in 'is it funny?', or 'Ha!' as in 'I've discovered a way of reflecting light under the sea'?". I can't think of another comedy act that could prompt such glorious – and unhinged – graffiti.

Since then, the Boosh's peerless brand of daftness has attracted aficionados who border on the fanatical. They have tapped into a generation of broadband-savvy hipsters, and now you can hardly move on the net for Boosh fansites glorying in such names as "Modwolves". Meanwhile, student-union bars up and down the land echo to the sound of chemistry undergraduates parroting scenes from the show. In addition, the comedians have recently picked up NME, Chortle and Loaded awards, and in March, BBC3 cleared its schedules for a Mighty Boosh Night.

And yet it was only earlier this summer that the pair realised that they had broken through from cult to mainstream. Bizarrely, it came when the US President was visiting Northern Ireland in June. Fielding takes up the story. "Some Northern Irish kids gave George W Bush a plant and they'd written 'The Mighty Bush' on it. Bush was holding up this plant and all the kids behind him were laughing because he didn't know what it meant. That picture was on the front page of your newspaper, and I just thought, 'Wow, we must have made it!'."

But it's not just American presidents who have been caught up in the rocketing popularity of the pair. All manner of stars, from Harry Enfield to Steve Coogan, have been queuing up to profess their adoration of the impossibly trendy comedy duo. The double act had a taste of their peers' esteem at the Mighty Boosh Festival, a poptastic "happening" that they organised at the Hop Farm in Kent in the summer. They promoted it as an excuse to "get dressed up for a day in the country", and tens of thousands of fans responded by turning up clad as their favourite characters from the show. The Boosh were most impressed by those who had made the effort to come as the character Tony Harrison, described by Fielding as "a pink testicle with eight tentacles".

For the Festival, Barratt and Fielding had assembled an eclectic line-up, featuring everyone from Gary Numan to The Charlatans – they reportedly had to turn down Bono because he had asked to take part too late. People on the street have been equally positive about the Boosh. Fielding, in particular, gets mobbed wherever he goes. "It's been amazing," says the exuberant Fielding. "It used to be just cool kids, but now it's cab drivers and chavs, which is great because it means we're appealing to more people."

Their popularity is understandable when you encounter them face to face. When we meet up at a hip north London photographic studio, they radiate charisma like a force field in an old episode of Star Trek. Barratt, who studied at Reading University, is quiet and reserved – legend has it that he once sat through a press interview with his iPod on. Unlike Fielding, an enthusiastic guest captain on Never Mind the Buzzcocks, Barratt eschews TV panel shows, saying he would he rather stay at home with a good book. He may not be as extrovert as his partner, but Barratt nevertheless possesses an enviable dry wit, is a deep thinker about comedy, and utterly crucial to the success of the act. The Boosh is fuelled by the friction between the lugubrious Barratt and the effervescent Fielding. Without Barratt, there would be no Mighty Boosh.

Fielding, by contrast, is one of nature's exhibitionists. A graduate of Croydon College of Art, he appears to view the world through an absurdist prism. Today he is "dressed down" in big sunglasses with green rims, a line of kohl under each eye, faded black skinny jeans, a T-shirt bearing the legend "Oui!", and a silver-skull pendant. He has brought along a huge bag overflowing with costumes. It is for a photo shoot, but you get the impression that the flamboyant comedian probably never leaves home without it. He gleefully unpacks it. "Here's an outrageous wrestler's costume that makes me look like David Lee Roth. And this is a glittery silver jumpsuit with a pair of white platform boots – I never go anywhere without them!"

Barratt isn't here yet, so with a mischievous glint in his eye, Fielding flourishes a truly naff army hat. "I've brought this along for Julian. He doesn't know it yet, but I'm secretly styling him. Otherwise, he'd turn up in stuff they wouldn't take at Oxfam." This sort of mickey-taking is testament to the bond between Barratt and Fielding – it would only be tolerated in the closest of relationships. The duo enjoy a rare chemistry on stage. Like Reeves and Mortimer or The Two Ronnies, the pair are considerably more than the sum of their constituent parts. They push each other to new heights and, at their best, spark off each other. Barratt confirms as much. "It's like Laurel and Hardy. You can't subvert the basic relationship. My character thinks he knows it all and it always goes wrong for him, while Noel's is more naive but usually ends up on top. You can't change that mythic double-act status. The funny thing is, the more we adhere to those basic rules, the more we can muck around with nonsense and weave in absurd dialogue."

Fielding adds that, "the core of the partnership is 'can't live with you, can't live without you'. The animation and stunts we do are great, but the best bits are always Julian and I just standing around chatting. I don't know why we waste time flying around visiting men made of cheese. The strongest stuff is always the bickering!

"People say to us, 'Oh, it must be great because you can write anything', but in fact, we can't. It has to be very specific to Julian and me. My brother Michael, who plays Naboo, and Dave Brown, who is Bollo, have been around the Boosh for years, and suggest lines for us, V C but they're never quite right. Comedically, Julian and I are totally in tune. I can not speak to Julian for a month, but the moment we walk on stage together, it's there."

This week, the pair are embarking on a major live tour, which stretches into next year and takes in one of the largest comedy gigs this country has ever seen, at the O2 Arena in London on 17 December. The show will feature the two central Boosh characters, Vince Noir (Fielding) – a hep cat who looks cool even when dressed from head to toe in sparkly silver – and Howard Moon (Barratt) – a geeky jazz buff with a weakness for fawn polo necks. They are figures so weird and wonderful, they can, quite unprompted, break into a song hymning the joys of the bouncy castle – and no one will bat an eyelid.

The live show will give Barratt and Fielding ample opportunity to indulge their love of rummaging through the dressing-up box. Vince and Howard will be getting into all sorts of nonsensical scrapes with the gallery of freak-show characters – including the aforementioned Tony Harrison, Bollo the talking ape, the mysterious shaman Naboo, the menacing Hitcher, the dim-witted Moon, the Crack Fox and the Mod Wolf – that viewers have come to know and love during the course of three series on BBC2 and BBC3. Barratt says he hopes audiences will relish "entering the crazy world of Boosh". I'm sure their legions of fans will need no second invitation.

The duo summarise the show in "Boosh-speak": "see Naboo the Enigma and his cape of wonder. Look on in wonder at Bollo, the ape that dreamt he was a man. Discover what mysteries lurk in the Hitcher's hat. Marvel at the Moon as he soothes with his idiot wisdom. Expect punks and yetis and monsters with elbow patches, in a psychedelic meteorite of music and mayhem." Get the idea?

But just what is it about the Boosh's deranged humour that chimes with audiences, above all youngsters? Barratt reckons that, "people can see that we are part of a tradition of absurd comedy, stretching from Spike Milligan and Peter Cook through to Monty Python and Vic Reeves. We're not like Ricky Gervais's hyper-real cringe comedy. We're at the other end of the scale, but there's room for the sillier stuff, too."

Fans also appear to like the fact that the Boosh's unpredictable genre of comedy takes them by surprise. Rather like the surreal paintings of Magritte, the comics revel in juxtaposing incongruous elements. "With us, you'll be waiting for Jean Cocteau, and suddenly you'll get Benny Hill," says Fielding, a 35-year-old Londoner. "We hope our show is a fusion of Frank Spencer and Max Ernst, or Ronnie Barker and Salvador Dali. It's about things that shouldn't go together. We like the idea of a man with catfish tendrils and Polo-mint eyes who shouts at people for no reason."

Some people simply don't get the bizarreness of the Boosh, but that doesn't concern them. The point is that there is no point. "The idea is that people will think, 'What is going on?'," explains Barratt, who is 40 and hails from Leeds. "It's good to give people a jolt. If they're expecting one thing, it's important to give them something else. If you do something startling, audiences might at first freak out, but then they start to think, 'This is not going to be conventional, I'm going to enjoy this'."

Fielding acknowledges that with material as deliberately idiosyncratic as the Boosh's, "there will always be a danger of cliquishness. Our stuff divides people down the middle. Cab drivers sometimes say to me, 'My wife loves it, but I don't get it'. But why tell someone you don't like their stuff? I don't say to cabbies, 'My girlfriend enjoyed that journey, but I thought it was rubbish'.

"At one gig early on, four people walked out muttering, 'This is the worst thing I've ever seen', but at the end we got a standing ovation. Some people think, 'It's a Dadaist trick – I'm not accepting it'. But we're not out to be provocative, angry young men saying, 'You don't understand it – good, we won'. We want to do something that is weird, but that people can still buy into. Otherwise, you're left doing an embarrassing, wanky performance-art piece."

But, the duo argue, critics should calm down. "In the end," Fielding carries on, "the show isn't supposed to be taken seriously. It's just two blokes messing around in stupid hats. People can get sucked into our world and think, 'Great, we're going to the zoo or the Arctic'. Somebody said it was like a cheap-drugs trip: you don't know what happened for an hour, but you quite enjoyed yourself."

The other criticism that is levelled at the Boosh is that surrealism is easy as there is no need to make sense. Fielding, though, contends that what they do is far more difficult than it looks. "Because our style is loose, people think we can just toss it off in a couple of afternoons. But we actually work on it for ages. I remember Terry Gilliam saying that people thought Michael Palin and John Cleese just strolled on and did it, but they had to work hard at being silly."

The duo, who picked up the Perrier Best Newcomer Award in 1998, are publishing their first book, The Mighty Book of Boosh, in October, and next year they are planning a movie. After the festival, the Boosh are branching out further into music, with an album next year. Barratt is a highly gifted musician, who composes all the Boosh songs. He was in Groove Solution during the early Nineties, and played guitar on Little Chief's last tour of Europe. Music will constitute "30 to 40 per cent" of the live show. The pair have even suggested writing an "acid rock gothic musical" with Alice Cooper – a proposal about which Cooper, an avowed Boosh-ophile, seems very enthusiastic.

"We've got all these songs we like from the festival," Fielding says. "So we might weave them into a pompous rock opera like Tommy or War of the Worlds. We'll smash up the traditional form – and put in a few jokes, of course. We're thinking about making the Moon the narrator, but the Moon's an idiot, so that might be a problem!"

Like Doctor Who, the duo have to keep regenerating themselves to stay fresh. Barratt muses: "This business is ephemeral, and you have to maintain a healthy cynicism about it. There's a 'flavour of the month' aspect to it, so you have to keep moving on and mutating."

But whatever the Boosh do next, you can be sure that it will live up to the old Monty Python dictum: And now for something completely different. According to Barratt, "When we started out 10 years ago, we didn't want to be like lots of other comedians, so what we're doing is a reaction. We're not crazy revolutionaries; we're just reacting against that general approach of, 'Hey, have you ever noticed...?'. Most stand-up is incredibly boring. It's time for people to do something else".

Fielding chips in that "in comedy clubs, it's all thirtysomething men talking about getting pissed. People want to hear about different things. There is more than one way to skin a cat. You owe it to people to give them something different from blokes in suits going on about their girlfriends.

"Our show is subversive, but it's a quiet kind of rebellion. We're coming at people with silly hats and costumes. We're a clown army."

And with that, the Mighty Boosh are off. They have an urgent appointment with a glittery silver jumpsuit and a naff army hat.

The Mighty Boosh are at the Festival Theatre, Edinburgh (0131-529 6000), tonight; their tour continues to 17 January (www.themightyboosh.com)

Robots in Disguise Interview, including talking about how much they loved BooshFest!:



AND....HAPPY COUPLES!

Here's a new pic of the Boosh Boys w/their significant others:



From L to R: Noel Fielding, gf/Robot Dee Plume, Julia Davis(comedian), and boyfriend Julian Barratt!

How Gorgeous Are the Boosh Boys in This!?!?

The Mighty Boosh -- My Life in Music

Booshy Awesomeness

From The Sun:

COMEDY lords JAMES CORDEN and MATHEW HORNE’s bid for big screen triumph is facing stiff competition from the team behind The Mighty Boosh.
While the Gavin And Stacey duo put the finishing touches to their Lesbian Vampire Killers project, the Boosh gang have just started shooting their debut film, Bunny And The Bull.

It is about two gambling addicts on a road trip and is directed by PAUL KING, who was behind all three Boosh series.

Newcomers EDWARD HOGG and SIMON FARNABY will take the starring roles, but JULIAN BARRATT and NOEL FIELDING feature too. Noel has just shot his cameo as a drunk, Spanish bull-fighter.

The IT Crowd star RICHARD AYOADE also appears.

It’s due next year and is likely to land in the summer time, shortly after Lesbian Vampire Killers.

The feature is being made with cutting-edge company Warp X films.

Imagine the oddly brilliant Being John Malkovich with a UK spin.

Fielding and Barratt are still working on a Mighty Boosh film proper, but have yet to confirm details of it.

One thing is certain — with Little Britain and RUSSELL BRAND included — Brit comics are doing us proud on both sides of the pond . . .

Julian + Keytar = Love

I really love this picture of the Mighty Boosh at the Big Chill Festival this past weekend:



Also, here's something really cool: I'm actually in this video about the Mighty Boosh festival! When they're talking to a group of people saying "the weather! the people!," I'm the person in the green shirt sitting down facing the opposite direction in the background!

There doesn't appear to be a way for me to post the actual video on my blog, but you can see it if you click the link above....That was pretty much the BEST day of my LIFE! Oh, how I miss it :O)

Wait!! Scratch that! I managed to find it on youtube!! (The one on the KentTV website is still higher quality, though.) You can see me from approx 3:26 to 3:27. I know, its like an eternity!!



Here's a backstage interview with Gary Numan from the fest:

You need to upgrade your Adobe Flash Player to version 9.0.28+

And one with comedian Ross Noble:

You need to upgrade your Adobe Flash Player to version 9.0.28+

This Movie is Going to be AMAZING!

"The Bunny and the Bull"

A photo apparently from the filming:



To me, that looks like Julian Barratt on the right in the back.

From IMDB:

Directed by: Paul King

Writing credits: Paul King - screenplay


Cast (in credits order)

Edward Hogg ... Stephen
Noel Fielding
Richard Ayoade
Julian Barratt
Verónica Echegui ... Eloisa
Simon Farnaby
Waleed Khalid ... Ray
Madeleine Worrall ... Melanie
Margaret Wheldon ... Tourist

From thisisnottingham.co.uk:

MIGHTY BOOSH STARS TO SHOOT MOVIE IN CITY
2 readers have commented on this story. Click here to read their views.



STARS of The Mighty Boosh are to shoot a comedy movie in Nottingham.

Principal photography on Bunny And The Bull, the feature film debut from the writer/director Paul King, will begin next week. Mighty Boosh stars Julian Barratt and Noel Fielding will appear in the film alongside Edward Hogg (Brothers of the Head) and Simon Farnaby (The Mighty Boosh).

Bunny And The Bull is decribed as "a comedy road movie set in a flat" in which the key character Stephen Turnbull, stuck in his flat for months with little human contact, is disturbed to find an infestation of mice. It prompts memories of a disastrous trek around Europe with his friend - and fellow gambling addict - Bunny.



As well as The Mighty Boosh, Paul King has directed cult TV comedy Garth Marenghi's Fright Knight and Netherhead, winner of the 2001 Perrier Award at the Edinburgh Festival. He also directed Noel Fielding's Perrier nominated show Voodoo Hedgehog.

Its producers have previously worked on the acclaimed This is England, Dead Man's Shoes, Death of a President and Touching the Void.

Production company Warp X, which has a base in Nottingham, is behind the project with funding from Film4, the UK Film Council's New Cinema Fund, Screen Yorkshire, Optimum Releasing and Wild Bunch. EM Media in the Lace Market is also involved.

The film follows recent successes with Control and This Is England, both made in Nottingham.

From warpx.co.uk:

Bunny and the Bull starts shooting 30 JunePrincipal photography on BUNNY AND THE BULL, the feature film debut from the writer/director PAUL KING (The Mighty Boosh) commences on 30 June 2008.

BUNNY AND THE BULL stars EDWARD HOGG (White Lightnin’, Brothers of the Head), SIMON FARNABY (The Mighty Boosh, Jam and Jerusalem) and VERONICA ECHEGUI (El Patio de mi Carcel, Yo soy la Juani). Julian Barratt, Noel Fielding and Richard Ayoade will also appear.

A WARP X production, BUNNY AND THE BULL will be produced by MARY BURKE (A Complete History of My Sexual Failures, Rubber Johnny), with MARK HERBERT (This is England, Dead Man’s Shoes) and ROBIN GUTCH (Hunger, Executive Producer Death of a President, Touching the Void).

BUNNY AND THE BULL is a comedy road movie set entirely in a flat. Stephen Turnbull hasn’t been outside in months. When a sudden infestation of mice forces him to abandon his routine, he finds his mind hurtling back to the disastrous trek around Europe he undertook with his friend Bunny. Two gambling addicts let loose for the first time, they are hopelessly unprepared for the adventure that awaits them. Stephen’s flat becomes the springboard for an extraordinary odyssey through lands made up of snapshots and souvenirs, from the industrial wastelands of Silesia to the bull fields of Andalusia. BUNNY AND THE BULL is a touching and beautiful journey to the end of the room.

BUNNY AND THE BULL is the fifth film to shoot from Warp X’s production slate, which is backed by Film4, the UK Film Council’s New Cinema Fund, EM Media, Screen Yorkshire and Optimum Releasing. Wild Bunch are co-financing and handling all international sales. Shooting will take place at the University of Nottingham’s King’s Meadow Campus Studio (formerly Carlton Studios) for five weeks.

Warp X’s first projects, comic documentary A Complete History of My Sexual Failures directed by Chris Waitt and hedonism-gone-wrong thriller Donkey Punch directed by Olly Blackburn are on general release this summer after their Edinburgh UK premieres. Hush and ATP will be released later this year.

Writer/director PAUL KING works in both TV and theatre, specialising in comedy. He directed ‘Garth Marenghi’s Fright Knight’ and ‘Netherhead’, winner of the 2001 Perrier Award at the Edinburgh Festival and was associate director of the Channel 4 series ‘Garth Marenghi’s Darkplace’. He directed Noel Fielding’s Perrier nominated show ‘Voodoo Hedgehog’, before directing all three series of ‘The Mighty Boosh’ and their live tour show in 2006.

Producer MARY BURKE works across both Warp Films and Warp X slates. In 2007, she produced A Complete History of my Sexual Failures for Chris Waitt and is associate producing ‘Fur TV’, a comedy TV series currently in production with Warp Films for MTV, also directed by Waitt and produced by Warp Films and Yummo. Mary produced Rubber Johnny for Chris Cunningham in 2005. Her credits include BAFTA award-winning short My Wrongs 8245-8249 and 117 (Chris Morris), Dead Man’s Shoes and This Is England (Shane Meadows).

Warp X is an initiative of Film4, the UK Film Council’s New Cinema Fund, EM Media, Screen Yorkshire and Optimum Releasing. Optimum Releasing will distribute the film theatrically in the UK and Channel Four Television will take the UK TV rights. For further information please contact Zoe Flower / Keeley Naylor at Emfoundation:Tel: 020 7247 4171 / Email: zoe@emfoundation.com / keeley@emfoundation.com

I'm so excited! On IMDB, under "release date" it says "USA 2009," so hopefully that means they're actually going to show it in the states! If not, there better be a way for me to see it online or something, because there is no way I'm missing this one!!!

"Mighty Book of Boosh" Available for Pre-Order Now!!

From TheMightyBoosh.com:

THE MIGHTY BOOK
31.07.2008

The much-anticipated Mighty Book of Boosh is, indeed, mighty. The cover features a painting by Noel Fielding and is designed by Dave 'Bollo' Brown. Dedicated to Tommy Nooka ('Cheese is a kind of meat'), the entire book is fully illustrated and glitterball fabulous. Contents includes Vince's Jungle Story, Howard Moon's Trumpet Full of Memories, Old Gregg's Watercolours, a pictorial guide to Bob Fossil's dance routines, crimp lyrics and much, much more.

The Flighty Zeus are trying to claim copyright but the publishers' lawyer is onto them. The Mighty Book of Boosh will be published on 18th September 2008 or you can preorder online now to avoid disappointment.

Awesome Band Alert: NEMO

I've had this band on my radar for a while because they're friends of the Mighty Boosh and have even had cameo appearances in the show, but I hadn't gotten around to listening with them until now. I'm pretty sure the Boosh have impeccable taste because I've loved just about every band/comedian I've heard about through them (Robots in Disguise, IAMX, Richard Ayoade, etc)...and Nemo is no different.



James from Nemo is in the foreground. To his right is Chris Corner of IAMX. Behind them on the next animal statue is Julia Davis (comedian/Julian Barratt's partner) and Sue Denim from Robots in Disguise. Behind that is Julian Barratt, and then at the back is Noel Fielding and Dee Plume from Robots in Disguise.

I absolutely LOVE this song...

CAR CRASH EYES



And Alice Lowe(from Garth Marenghi's Darkplace and the Mighty Boosh) is in the video!


LIFESPAN




RESCUE THE REVOLUTION





You can buy & download their album HERE. DO IT NOW!

The Mighty Boosh: ten secrets of our success

From the Times Online:

The Mighty Boosh: ten secrets of our success:

How did the Mighty Boosh pull it off? Four years ago, Noel Fielding and Julian Barratt were cult comedians, beloved of Fringe-goers and little known to the outside world. Four years later, they've made three series of their wonderful sitcom, sold out one big tour with another to come in the autumn - including two nights at Wembley Arena - and are currently trading as a rock band, headlining first their own festival and, this weekend, the Big Chill festival. They're NME cover stars. Teen pin-ups. Tabloid fixtures in a way that Eric and Ernie never dreamt of. Fifteen years after the dread phrase “comedy is the new rock'n'roll” was coined, they've finally made it true.

Yorkshireman Barratt, 40, and Londoner Fielding, 35, are much like their Boosh alter egos Howard Moon and Vince Noir. Barratt is wry, vivid, low-key. Fielding is as garrulous and unaffected as a man can be while still wearing a spangly silver jumpsuit from a photoshoot. They're a tight unit - cutting into their crosstalk requires a licence - and have been ever since they first staged a show at Edinburgh ten years ago. But then, when you're basing your career on something as fragile as cosmic whimsy meets Hope-and-Crosby banter - which, in the wrong hands, would just be second-hand surrealism - you have to be pretty tough. Here, then, are the secrets of the Boosh's success.

1 Don't know your place

Julian Barratt We had to be a bit bloody-minded to say we wanted to do these shows with our band. People got quite annoyed with us: what are you doing? Who do you think you are? You're comedians, just know your place! Put that guitar down and tell me a joke.

Noel Fielding People are quite cynical. They go, oh, you're frustrated rock stars. Well, neither of us want to be rock stars and never have. I've always liked comedy. But I like the idea of mixing the two together.

JB It's one of those things we always wanted to do and never got round to. You get caught up, people want another series - it's great, but you do get caught up. It's important to make sidesteps.

NF It's taking “comedy is the new rock'n'roll” to its logical conclusion: comedians actually doing rock'n'roll.

2 Keep your feet on the ground ...

NF If you're an actor and you're 21, and you get put in a film, it's probably quite a shock. But we'd done ten years of stand-up, and those are probably the most humiliating times of your life. So by the time you do get on telly and people know who you are, you don't forget how hard it was. In comedy you're always quite humble, because you never know whether the next joke you make is going to be funny.

3 ... but not too firmly on the ground

NF I always thought I'd be famous - which is hilariously misguided, isn't it? I remember once, my mate went to me, about some newspaper review of something I did: “That's great, isn't it, you're next to a picture of the Beatles. Bet you never thought that would happen!” And I went: “Well, I did, actually.”

JB When you're a kid you think that's what you are, you're the most famous person in the world. And I remember not understanding when I went to school, and some girls went, I don't like you - it was devastating. Because your parents are like, “we love you, we love you”, and then you go out into the world where people don't love you. You have to learn that you're not the greatest thing in the world.

NF The same girls really liked me.

4 Live in a dreamworld
NF When you're writing something, it's all you think about.

JB It's quite frightening when you go home and everything is going through that lens. Everything your girlfriend is saying is just going into the lens, the Boosh lens, and coming out the other side as the possible idea for a routine.

NF It's madness, really.

JB We're not thinking about whether ten people or ten million people get to see it, we're just thinking that it would be good to see. In our heads, these characters are real, however insane that sounds.

5 Look like amateurs

JB When we started we developed a home-made aesthetic because we had no money and we were doing shows in the back rooms of pubs. Like, you'd use a Polo for an eye for an animal, but it has its own logic and its own style to use that sort of found stuff. Now we're thinking of doing a film. Maybe we could get a bit more money for effects. But then you think, “is that funnier than us two on our settee going through something back-projected?”

NF People are saturated with MTV and adverts. No one ever goes: “Wow, have you seen that effect, it's incredible!” They just go: “Seen it a million times, a million adverts, a million times a day, who cares?”

6 Ignore outsiders

NF We've never listened to anyone. Ever. On anything. People try to chip in with ideas; we're always just like, “we're doing this, this feels really fun”.

JB A lot of the production people we encounter work in committees, and they're influenced by advertising-speak and surveys of what people laugh at. In the first series we had a character called Mr Susan, and we had this idea that he'd go “look at them shine!” about his miracles. Over and over again in the same intonation. We just thought it was funny. And we had a meeting about the series, we got this guy, saying: “Does he need to do it that many times? 'Cos it doesn't work; there's no logic to it.” You just have to go, “no, that's what we're doing”. But those things are difficult to hold on to, because they're delicate.

7 Find a friend

NF It's hard to direct a double act because we edit each other all the time. When you're on your own, you need someone else watching. When it's us, there's always another pair of eyes.

JB We're always looking for people to help, actually. But you need to be strong to come into a formed relationship like this.

8 Keep it in the family

NF Actors, I don't know about. They're not really people that I get on with; they're very pompous and earnest. Often we write things with someone in mind - Bollo the gorilla is my best friend from art college; Naboo the shaman is my brother, our parents have all been in it, my mate does the animations. Casting's a bit like being God, really. It's ridiculous, all our family and friends; it's like an art project.

9 Don't fall for fame

NF It never really feels like you've made it - it's always a shock when people suggest that. And when people go mad and scream at you, I still find it shocking. Girls go “aaaaaaah!” at you. And you go, “What shall I do? Shall I run away? I don't know.” You never ever ever get used to people going, “Oh, I love the show.” It's great, but it's odd.

JB Hysterical reactions are frightening, aren't they?

NF But it doesn't really feel like it's happening to you, does it?

JB I think you're better at understanding that than I am.

NF Yeah, you run away.

JB I run away. But also the idea of being famous and that, I don't even see what it is, I just think, “I'm not famous, I'm just in this work, it's just me and my friend.” And then I'm a bit taken aback all the time.

10 Never network

NF If your career is resting on one TV executive going, “yeah, I'll commission them”, then you're f***ed.

JB There was a long period when no one wanted what we were doing, so we just went and did live stuff. That was great, we went around the world with it. But we could have just gone, “what's happened? Why didn't we get the series? This is so wrong, we've got to find a way to go to a dinner party and meet this executive”. All of that energy you spend trying to get next to people, you could be using that energy to actually do something creative.

NF There is a whole generation of people who just want to self-promote. We never really had much time for that, did we?

JB We were rubbish at it.

NF We were terrible at it. We never spoke to anyone.

JB The one time we did, we went to this dinner party for BBC Three and we told the head of the channel that we were on mushrooms. We were just joking around, but he believed it.

NF Nearly canned our show.

JB We got a message that the series wasn't going to happen after all.

NF I had to ring him up on a Friday night and apologise. Beg him. Which was pathetic, really. But I'd do it again any time to get our show on.

The Mighty Boosh Band play at the Big Chill festival, Aug 2 (www.bigchill.net/festival.html; 0871 4244444). The Mighty Boosh tour starts on September 11 at the Festival Theatre, Edinburgh (www.themightyboosh.com)

The Mighty Boosh Festival a.k.a the Best Day of My Life: Part III

And now for the main event....THE MIGHTY BOOSH BAND!!! It was the best thing I've ever seen and sooooo funny!!

First the Moon came out and said he was gonna lead everyone in a countdown to the Boosh Band. Which went something like this "10, 9, Some Numbers, 5, 7, ummm..., 3, 2, 1...THE MIGHTY BOOSH!!!". It was really funny, especially because everyone was doing the normal countdown and the moon threw everyone off.





After that Noel & Julian (in character as Vince and Howard) made their grand entrance...In true Boosh style Noel rode out on a GIANT silvery ship (The HMS Mighty Boosh) while Julian was in an inflatable dinghy that he had to blow up himself.







After that they went into "Future Sailors."









They then got into an argument and said hello to the crowd:



Noel talking about Gary Numan segued neatly into "Electro Boy." After that, Noel did "I Did A Shit On Your Mum!"



Which Julian followed with a Jazz Version, including some scatting.




Lester Corncrake (Rich Fulcher) then joined him onstage for a hilariously bad jazz duet.



After that, OLD GREGG (!!!) sneaked up on Howard and had a long (and hilarious!) conversation.







He then brought the Funk out so that he could sing a funk song with Howard...



...and the funk squirted him in the face with his Funk Juice.



They then began to sing the Old Greg/Mangina song, which sounds like this:







Old Gregg came into area in front of the stage to pass out his watercolors, and I didn't get one but he came within a few feet of me...(Even as Old Gregg he's GORGEOUS!).



Of course he then could get back up on the stage, and had to be lifted in a rather hilarious manner by a security guard.



After that they played "Mutants" (with a giant squid onstage, of course!).



...After which the Funk was reveale to be Bob Fossil in costume, and Fossil did his rap and had a dance-off with Har Mar Superstar.





After that, Howard and Vince came back on stage and Howard told Vince that he got a telegram informing him that Naboo had fallen into an ostrich pit and been killed.





So they started singing Naboolio (with Bollo) in tribute:





At a pause in the song, Naboo came in riding an ostrich. (Apparently they got on really well).



So they finished off the song in a celebratory manner, adding bits of "Bouncy Bouncy" and "Soup" into it.



The ostrich then thought that Vince was an ostrich because of his feathery cape and tried to get off with him.



After that, everyone left the stage and the Moon did a song. Basically it was a variation on his song from the show, but then he rotated around and when he came back he had sunglasses on, and he started singing "99 Problems" by Jay-Z, which was one of the funniest things I've ever seen. He changed some of the lyrics as well. ("I Got 99 Problems...4 of them are catering...WHOOOAAAAHH Be Ba Ba Ba!!!")



Julian then came on as Rudi, and sang "The New Sound" and "Isolation." At one point his fake teeth fell out and he worked it into the song before picking them up and putting them back in.





Then out came his arch nemesis, THE HITCHER!!!

He sang "Eels" of course, complete with a conga-eel-line, pyro and a large inflatable eel (which Noel slipped off of and hurt himself slightly).











After that, they left the stage and Rich Fulcher came out in character to lead a Bingo Game (like in the episode "Nanageddon"). After several other numbers, he called out "6-6-6...thats all the sixes!!!" and Noel and Julian came out dressed as old women to sing "Nanageddon" and "Charlie".









At this point there was even more pyro and they even had confetti, streamers and FIREWORKS!!! It was incredible.





So after all that, it took forever to figure out exactly where (and in which car park) my parents were waiting for me. When I finally did get to the car, there were two English guys from Essex who wanted to know if we could give them a ride home to Maidstone, which was on our way. So they piled into the back of the car, and then of course we got lost several times on our way there because there were hardly any road signs for Maidstone. It ended up being quite an adventure!

Saturday was the most amazing day and I wish every day could be like that. The Boosh make me very, very happy. :O)