CONTEST HAS ENDED!
This contest went really fucking well, so thanks to everyone that entered. The fact that the entries were so good also means that picking a winner was a pain in the ass. I personally narrowed it down pretty quick, but then had to get a group of people to help pick the winner again. It’s the only way to keep things fair and… quite honestly, it was the only way to figure it out at all. A lot of the time there is an obvious winner, but, this time, people really went all out. It was probably the most difficult decision yet. Now, to announce the winner…..
…who edged his way through with the following sentence: “It matters not that the police drag us away, and our home, this once-beloved apartment, is barred from us… we have found our true homes, behind the eyes of those precious children, who will re-write tomorrow with their Fiery Blood!”
thanks again to everyone who entered.
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[Scroll ahead to the bottom for contest entry details/rules]
At this point, The Residents have been been around for a long ass time. Way before bands like Black Dice and Animal Collective were experimenting with avant-garde Noise Rock, these Bay Area mansterminds were laying the groundwork. Later they ventured off into such polarizing territories as haunting Leonard Cohen-esque croons and everywhere in between, throughout their extensive careers. Although they tentatively formed in the SIXTIES, creating a few “unreleased” albums, the group themselves don’t fully acknowledge anything as an “official” Residents project until the release of their Santa Dog EP in 1972. Since then, they have created an impressive output of over 60 different albums, film scores, numerous multi-media projects, constant reinventions, and have left endless influences and failed imitators in their wake. Retaining their anonymity for over 4 decades and with a consistent refusal to ever be interviewed, speculation, confusion, fascination, and intrigue have surrounded the group ever since their inception. As history goes, the name “The Residents” was actually adopted after the group submitted a reel-to-reel tape (later known as “The Warner Bros. Album”) to Warner Bros. Records and, due to the fact that no name was listed onfor the return address, the rejection letter that was sent back to them was simply addressed to “the residents“. By taking the focus off of the individual members’ need for recognition and egos, The Residents have always sought to place the attention back where it belongs: on the work, itself. The duality to this framework lies in the fact that The Residents are an extremely visual-oriented art collective; their most recognizable imagery being their trademark eyeball heads with tuxedo and top-hat aesthetic. Much more than a simple musical outfit, they are an assemblage of innovators, performance artists, and multi-media experimenters, constantly pushing themselves and searching for new and exciting ways to share their latest visions.
Phase after phase, The Residents re-examine, augment, and fortify their legacy. The Seventies were a time of development and a prolific recording output for the guys. While the album production didn’t slow down in the 1980s, that second decade is when their visual and live performance elements really began to take flight and come together. Taking the stage in their eyeball ensembles for the first time, 1981 gave birth to the Mole Trilogy shows, which featured Pen Jillette, of Penn and Teller fame, playing the part of a live tangential narrator. As the decade progressed, more and more visual elements were included to enhance the over-the-top live performances. More themes were created, as well, with their 3-act “CUBE E” performances (presenting their interpretation of the history of American music) and their Wormwood performances (based on Bible stories and featuring both live and pre-recorded music). The Ninteties were a decade of multi-media technology obsessions for the crew, finding them directing their attention to such areas as CD-Roms, heavy usage on midi effects, and even the release of a comic book. From there they attempted to move back into a more band-oriented and less robotic sound, eventually performing a tour of retrospective material, encompassing elements from everything that they had created up until that point. More and more albums came, a youtube related project, a musical theater adaptation of an E.T.A. Hoffman short story, DVDs, and a hearty attention was placed back on story development for their live shows. After the red model of the 4 eyeball helmets was stolen in the 80s (later returned), a skull helmet replaced the lifted/”unlean” headwear semi-permanently, while the other 3 eyeball heads remained. However, for The Residents‘ most recent “Talking Light” tour (2010) the group (now a trio) featured a front man sporting an old-man mask with the other 2 members rocking some sort of Foot Clan-style fiber-optic dreadlock head coverings. One particular stop for The Residents and their Talking Light tour was as part of the Matt Groening-curated All Tomorrows Parties festivities last year in Minehead, England.
Thanks to the invention of the internet, gaining attention as a musician is easier now than ever, but it can also be a hell of a lot less profitable. Acts are being forced to turn to live shows as a means of income and, quite frankly, a good percentage of these fools should have just left their asses in the studio. The Residents, on the other hand, have been focusing on the overall entertainment package for over 40 years. If you’re gonna throw down some loot, you might as well do it on a show where you know that you are gonna see something unique… something that you know will provide a memorable experience and a spectacle.
According to the site, Altered Zone’s, here’s a synopsis of what to expect from their current tour:
“The group, going by the names Randy, Chuck, and Bob, will be performing pieces from Randy’s Ghost Stories, a collection of 8 compositions released last year on DVD. Each performance will have three pieces, the first about the story of a mysterious skeleton baby in a remote desert cottage, the last with another story involving a woman and her invisible twin sister, and the second changing each show.”
Ok… now that we’ve presented our case as to why a show by The Residents would be entirely worth your hard earned cash, we’re just gonna turn around and offer you an opportunity to get your hands on a pair of tickets for free, anyway.
THE CONTEST / GIVEAWAY:
*One winner will receive a pair of tickets to catch The Residents show at
Neumos Crystal Ball Reading Room in Seattle on March 18th.
HOW TO ENTER:
Playing off of the name “The Residents” (not to mention our current obsession with Charlie Sheen interview footage) we’ve decided to focus this particular contest on evictions and wingnut antics.
Come up with the most wacked-out, calculated, sketchball, elaborate, deviant, debaucherous, fucked up,destructive, morally reprehensible, and/or creative way that someone could go about getting themselves evicted from their residence.
Post your answer in the comment section below.
There is no part 3. That’s all there is to the contest. It’s pretty easy… but you should probably read the fine print.
The Fine Print:
All entries must be received by Tuesday the 15th at 11:59 pm to be eligible.
You can enter as many times as you want but, use a valid email so that we can contact you.
If we are unable to contact the winner in a reasonable amount of time, a new winner will be chosen.
[If you have any intentions to post comments asking us to pick you, or asking when the winner will be announced… how about, just don’t do it? It’s pretty fucking obnoxious and it won’t help your chances.]