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How to play Goat Getter
And to all of the people behind the scenes Giron Perez, Joey Bote, Sid Isidro, Roger Castro, Tristan Villagracia, Jeremy Beltran, Ednelyn Agulto-Manalo, Jeh Almazan, Ian Ignacio, Red Bargan, Kimmy Maclang, Xeirus Sta. Ana, Lea Nicolle Luat, Catherine Resurreccion, Alexandre Esguerra, Jayson Pimentel, Samori Joseph, Cindy Padilla, Amanda Lopez, Rogelio Gabiano, Aries Hegina, Fawn Labrie, Anthony Dohm, Adrian Eden, Paolo Ramos, Emily Haruko Leeb, Mani Chagtai, Brad Lancaster, Carl Rivera, Alfredo Abaroa, Shannon M, Aphol Angeles, Vine and Zen Alvarez, Frey Sotelo, Daves Biag, Idn Aguliar, Angela Alano, Jeremy Yap and George F.
I thank you from the bottom of my heart. I hope you enjoyed it as much I enjoyed working with you.
I’ll be behind the scenes helping tie up the loose ends, and then I’ll be taking a much-needed vacation staycation while I contemplate the next chapter.
What is Goat Getter?
“Africa isn’t saturated, but I wouldn’t call it easy either. Betway and the local incumbents are well dug in. The difference is that you’re competing for a market that’s still forming, at a fraction of the acquisition cost, and the operating margin is there if you get the payments and the product right. The risk is regulatory and currency rather than competitive.”
GiG’s immediate priority following the completion of the deal will be disciplined integration, says Richards. This includes bringing 888Africa’s financial reporting, compliance and operational processes in line with GiG’s standards.
Ahlberg suggests GiG will look to transition 888Africa onto GiG’s platform, providing synergies down the line. Richards says GiG will look at where the company’s platform and tech can add value to the existing 888Africa business, although in terms of expansion, he again reaffirms that it will be a cautious approach in the short term.
About Goat Getter
For anyone who watched David Letterman or listened to Howard Stern in the last millennium, there was no reason to judge his material firsthand—the pop-culture verdict was already in: Carrot Top was an unfunny prop comic.
For the better part of two decades, both the king of late night and the self‑proclaimed King of All Media leaned heavily into Carrot Top as a recurring punching bag.
Because he relied on props, sported a wild look, and established a dominant Las Vegas presence, he fit perfectly into the “anti-showbiz” persona cultivated by both arbiters of Gen-X cool. Across the 1990s and early 2000s, “Carrot Top” became universal shorthand for lazy, cringeworthy comedy.
