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This article may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (February 2012)

An ideology is a set of ideas that constitute one's goals, expectations, and actions. An ideology can be thought of as a comprehensive vision, as a way of looking at things (compare worldview), as in several philosophical tendencies (see Political ideologies), or a set of ideas proposed by the dominant class of a society to all members of this society (a "received consciousness" or product of socialization). The main purpose behind an ideology is to offer either change in society, or adherence to a set of ideals where conformity already exists, through a normative thought process. Ideologies are systems of abstract thought applied to public matters and thus make this concept central to politics. Implicitly every political or economic tendency entails an ideology whether or not it is propounded as an explicit system of thought. It is how society sees things.

(For the Marxist definition of ideology, see Ideology as an instrument of social reproduction below.)

History[link]

This section contains information which may be of unclear or questionable importance or relevance to the article's subject matter. Please help improve this article by clarifying or removing superfluous information. (November 2010)

The term "ideology" was born in the highly controversial philosophical and political debates and fights of the French Revolution and acquired several other meanings from the early days of the First French Empire to the present. The word was coined by Destutt de Tracy in 1796,^[1][2] assembling the parts idea (near to the Lockean sense) and -logy. He used it to refer to one aspect of his "science of ideas" (to the study itself, not the subject of the study). He separated three aspects, namely: ideology, general grammar, and logic, considering respectively the subject, the means, and the reason of this science.^[3] He argues that among these aspects ideology is the most generic term, because the science of ideas also contains the study of their expression and deduction.

According to Karl Mannheim's historical reconstruction of the shifts in the meaning of ideology, the modern meaning of the word was born when Napoleon Bonaparte (as a politician) used it in an abusive way against "the ideologues" (a group which included^{[citation needed]} Cabanis, Condorcet, Constant, Daunou, Say, Madame de Staël, and Tracy), to express the pettiness of his (liberal republican) political opponents.

Perhaps the most accessible source for the near-original meaning of ideology is Hippolyte Taine's work on the Ancien Regime (the first volume of "Origins of Contemporary France"). He describes ideology as rather like teaching philosophy by the Socratic method, but without extending the vocabulary beyond what the general reader already possessed, and without the examples from observation that practical science would require. Taine identifies it not just with Destutt De Tracy, but also with his milieu, and includes Condillac as one of its precursors. (Tracy read the works of Locke and Condillac while he was imprisoned during the Reign of Terror.)

The word "ideology" was coined long before the Russians coined "intelligentsia", or before the adjective "intellectual" referred to a sort of person (see substantive), i.e. an intellectual. Thus these words were not around when the hard-headed, driven Napoleon Bonaparte took the word "ideologues" to ridicule his intellectual opponents. Gradually, however, the term "ideology" has dropped some of its pejorative sting, and has become a neutral term in the analysis of differing political opinions and views of social groups.^[4] While Karl Marx situated the term within class struggle and domination,^[5][6] others believed it was a necessary part of institutional functioning and social integration.^[7]

Analysis[link]

Meta-ideology is the study of the structure, form, and manifestation of ideologies. Meta-ideology posits that ideology is a coherent system of ideas, relying upon a few basic assumptions about reality that may or may not have any factual basis, but are subjective choices that serve as the seed around which further thought grows. According to this perspective, ideologies are neither right nor wrong, but only a relativistic intellectual strategy for categorizing the world. The pluses and minuses of ideology range from the vigor and fervor of true believers to ideological infallibility. Excessive need for certitude lurks at fundamentalist levels in politics and religions.

The works of George Walford and Harold Walsby, done under the heading of systematic ideology, are attempts to explore the relationships between ideology and social systems. Charles Blattberg has offered an account which distinguishes political ideologies from political philosophies.^[8]

David W. Minar describes six different ways in which the word "ideology" has been used:

1. As a collection of certain ideas with certain kinds of content, usually normative;
2. As the form or internal logical structure that ideas have within a set;
3. By the role in which ideas play in human-social interaction;
4. By the role that ideas play in the structure of an organization;
5. As meaning, whose purpose is persuasion; and
6. As the locus of social interaction, possibly.

For Willard A. Mullins, an ideology is composed of four basic characteristics:

1. it must have power over cognition
2. it must be capable of guiding one's evaluations;
3. it must provide guidance towards action;
4. and, as stated above, it must be logically coherent.

Mullins emphasizes that an ideology should be contrasted with the related (but different) issues of utopia and historical myth.

The German philosopher Christian Duncker called for a "critical reflection of the ideology concept" (2006). In his work, he strove to bring the concept of ideology into the foreground, as well as the closely connected concerns of epistemology and history. In this work, the term ideology is defined in terms of a system of presentations that explicitly or implicitly claim to absolute truth.

Though the word "ideology" is most often found in political discourse, there are many different kinds of ideology: political, social, epistemological, ethical, etc.

Ideology as an instrument of social reproduction[link]

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Karl Marx posits that a society’s dominant ideology is integral to its superstructure.

In the Marxist economic base and superstructure model of society, base denotes the relations of production, and superstructure denotes the dominant ideology (religious, legal, political systems). The economic base of production determines the political superstructure of a society. Ruling class-interests determine the superstructure and the nature of the justifying ideology—actions feasible because the ruling class control the means of production. For example, in a feudal mode of production, religious ideology is the most prominent aspect of the superstructure, while in capitalist formations, ideologies such as liberalism and social democracy dominate. Hence the great importance of the ideology justifying a society; it politically confuses the alienated groups of society via false consciousness, such as in the case of commodity fetishism—the belief that value is inherent to a commodity, rather than external, added to it via labor.

The ruling class affect their social reproduction by the dominant ideology's representing—to every social-economic class—that the economic interests of the ruling class are the economic interests of the entire society. Some explanations have been presented. György Lukács proposes ideology as a projection of the class consciousness of the ruling class. Antonio Gramsci uses cultural hegemony to explain why the working-class have a false ideological conception of what are their best interests.

Chronologically, the dominant ideologies in Capitalism are:

1. classical liberalism
2. modern liberalism^[9]
3. social democracy
4. neo-liberalism

corresponding to these three capitalist stages of development:

1. extensive stage
2. intensive stage
3. contemporary capitalism (late capitalism)

The Marxist formulation of "ideology as an instrument of social reproduction" is conceptually important to the sociology of knowledge, viz. Karl Mannheim, Daniel Bell, and Jürgen Habermas et al. Moreover, Mannheim has developed, and progressed, from the "total" but "special" Marxist conception of ideology to a "general" and "total" ideological conception acknowledging that all ideology (including Marxism) resulted from social life, an idea developed by the sociologist Pierre Bourdieu.

[edit] Louis Althusser's Ideological State Apparatuses

Louis Althusser proposed a materialistic conception of ideology, which made use of a special type of discourse: the lacunar discourse. A number of propositions, which are never untrue, suggest a number of other propositions, which are. In this way, the essence of the lacunar discourse is what is not told (but is suggested).

For example, the statement "All are equal before the law," which is a theoretical groundwork of current legal systems, suggests that all people may be of equal worth or have equal "opportunities". This is not true, for the concept of private property and power over the means of production results in some people being able to own more (much more) than others. This power disparity contradicts the claim that all share both practical worth and future opportunity equally; for example, the rich can afford better legal representation, which practically privileges them before the law.

Althusser also proffered the concept of the Ideological State Apparatus to explain his theory of ideology. His first thesis was "ideology has no history": while individual ideologies have histories, interleaved with the general class struggle of society, the general form of ideology is external to history. His second thesis, "Ideas are material", explains his materialistic attitude, which he illustrates with the "scandalous advice" of Pascal toward unbelievers: "kneel and pray, and then you will believe". For Althusser, beliefs and ideas are the products of social practices, not the reverse. What is ultimately important for Althusser are not the subjective beliefs held in the "minds" of human individuals, but rather the material institutions, rituals, and discourses that produce these beliefs.

Feminism as critique of ideology[link]

Naturalizing socially constructed patterns of behavior has always been an important mechanism in the production and reproduction of ideologies. Feminist theorists have paid close attention to these mechanisms. Adrienne Rich, for example, has shown how to understand motherhood as a social institution. However, feminism is not a homogeneous whole, and some corners of feminist thought criticize the critique of social constructionism, by advocating that it disregards too much of human nature and natural tendencies. The debate, they say, is about the normative/naturalistic fallacy—the idea that just something "being" natural does not necessarily mean it "ought" to be the case.

Political ideologies[link]

Many political parties base their political action and program on an ideology. In social studies, a Political Ideology is a certain ethical set of ideals, principles, doctrines, myths, or symbols of a social movement, institution, class, or large group that explains how society should work, and offers some political and cultural blueprint for a certain social order. A political ideology largely concerns itself with how to allocate power and to what ends it should be used. Some parties follow a certain ideology very closely, while others may take broad inspiration from a group of related ideologies without specifically embracing any one of them.

Political ideologies have two dimensions:

1. Goals: how society should work
2. Methods: the most appropriate ways to achieve the ideal arrangement.

An ideology is a collection of ideas. Typically, each ideology contains certain ideas on what it considers to be the best form of government (e.g. democracy, theocracy, etc.), and the best economic system (e.g. capitalism, socialism, etc.). Sometimes the same word is used to identify both an ideology and one of its main ideas. For instance, "socialism" may refer to an economic system, or it may refer to an ideology which supports that economic system.

Ideologies also identify themselves by their position on the political spectrum (such as the left, the center or the right), though this is very often controversial. Finally, ideologies can be distinguished from political strategies (e.g. populism) and from single issues that a party may be built around (e.g. legalization of marijuana). Philosopher Michael Oakeshott provides a good definition of ideology as "the formalized abridgment of the supposed sub-stratum of the rational truth contained in the tradition."

Studies of the concept of ideology itself (rather than specific ideologies) have been carried out under the name of systematic ideology.

Political ideologies are concerned with many different aspects of a society, some of which are: the economy, education, health care, labor law, criminal law, the justice system, the provision of social security and social welfare, trade, the environment, minors, immigration, race, use of the military, patriotism, and established religion.

There are many proposed methods for the classification of political ideologies. See the political spectrum article for a more in-depth discussion of these different methods (each of whom generates a specific political spectrum).

Today, many commentators claim that we are living in a post-ideological age,^[10] in which redemptive, all-encompassing ideologies have failed, and this is often associated with Francis Fukuyama's writings on "the end of history".^[11]

LANGUAGE & IDEOLOGY Andrew Goatly, the contemporary cognitive scholar, reminds us in his 'Washing the Brain' (2007) that ideologies are always maintained in language. Resisting ideolologies involves resisting the conceptual metaphors which an ideology adopts and imposes upon us, Goatly argues, following George Lakoff and his critique of conceptual metaphors in contemporary politics. But does ideology take root in language or in languages? James W. Underhill, in 'Creating Worldviews: ideology, metaphor & language' (2011, Edinburgh UP) investigates the way ideologies encrust within different languages, harnessing key concepts such as 'the people' and 'struggle' and 'history'. But he also demonstrates the way Czechs resisted the conceptual constraints being foisted upon them, and the way Germans resisted the Hitlerdeutsch being promoted by the fascists. These studies are revealing in that they show that ideologies must take root within the worldview of the language, but, at the same time, individuals resist the appropriation of concepts and the new emerging patterns of thought by thinking, speaking and writing. Propaganda belongs to the Party and the State, but, to a large extent, the language always belongs to the people. Underhill's multilingual studies of key concepts, truth, love, hate & war, (in 'Ethnolinguistics & Cultural Concepts', Cambridge UP 2012) investigate the uniqueness of each of these concepts in different languages (English, French, German and Czech). These studies also trace the ways in which ideological discourse spreads to other languages via translation (see the spread of neoconservative worldview and the discourse of the War on Terror).

Epistemological ideologies[link]

Even when the challenging of existing beliefs is encouraged, as in scientific theories, the dominant paradigm or mindset can prevent certain challenges, theories, or experiments from being advanced.

A special case of science adopted as ideology is that of ecology, which studies the relationships among living things on Earth. Perceptual psychologist James J. Gibson believed that human perception of ecological relationships was the basis of self-awareness and cognition itself. Linguist George Lakoff has proposed a cognitive science of mathematics wherein even the most fundamental ideas of arithmetic would be seen as consequences or products of human perception—which is itself necessarily evolved within an ecology.

Deep ecology and the modern ecology movement (and, to a lesser degree, Green parties) appear to have adopted ecological sciences as a positive ideology.

Some accuse ecological economics of likewise turning scientific theory into political economy, although theses in that science can often be tested. The modern practice of green economics fuses both approaches and seems to be part science, part ideology.

This is far from the only theory of economics to be raised to ideology status—some notable economically based ideologies include mercantilism, mixed economy, social Darwinism, communism, laissez-faire economics, and free trade. There are also current theories of safe trade and fair trade which can be seen as ideologies.

Psychological research[link]

Psychological research^[12] increasingly suggests that ideologies reflect motivational processes, as opposed to the view that political convictions always reflect independent and unbiased thinking. Research in 2008^[12] proposed that ideologies may function as prepackaged units of interpretation that spread because of basic human motives to understand the world, avoid existential threat, and maintain valued interpersonal relationships. The authors conclude that such motives may lead disproportionately to the adoption of system-justifying worldviews. Psychologists have generally found that personality traits, individual difference variables, needs, and ideological beliefs seem to have a common thread.^{[citation needed]}

Ideology and semiotic theory[link]

According to the semiotician Bob Hodge, ideology "identifies a unitary object that incorporates complex sets of meanings with the social agents and processes that produced them. No other term captures this object as well as 'ideology'. Foucault's 'episteme' is too narrow and abstract, not social enough. His 'discourse', popular because it covers some of ideology's terrain with less baggage, is too confined to verbal systems. 'Worldview' is too metaphysical, 'propaganda' too loaded. Despite or because of its contradictions, 'ideology' still plays a key role in semiotics oriented to social, political life".^[13] Authors such as Michael Freeden have also recently incorporated a semantic analysis to the study of ideologies.

See also[link]

Notes[link]

References[link]

• Christian Duncker (Hg.): Ideologiekritik Aktuell – Ideologies Today. Bd. 1. London 2008,[2]. ISBN 978-1-84790-015-9
• Christian Duncker: Kritische Reflexionen Des Ideologiebegriffes, 2006, ISBN 1-903343-88-7
• Minar, David M. (1961) "Ideology and Political Behavior", Midwest Journal of Political Science. Midwest Political Science Association.
• Mullins, Willard A. (1972) "On the Concept of Ideology in Political Science." The American Political Science Review. American Political Science Association.
• Pinker, Steven. (2002) "The Blank Slate: The Modern Denial of Human Nature." New York: Penguin Group, Inc. ISBN 0-670-03151-8

Further reading[link]

• Marx, Karl ([1845-46] 1932) The German Ideology [3]
• Lukács, Georg (1919–23) History and Class Consciousness [4]
• Mannheim, Karl (1936) Ideology and Utopia Routledge
• Althusser, Louis (1971) 'Ideology and Ideological State Apparatuses' Lenin and Philosophy and Other Essays Monthly Review Press ISBN 1-58367-039-4
• Minogue, Kenneth (1985) Alien Powers: The Pure Theory of Ideology, Palgrave Macmillan, ISBN 0-312-01860-6
• Zizek, Slavoj (1989) The Sublime Object of Ideology Verso ISBN 0-86091-971-4 [5]
• Eagleton, Terry (1991) Ideology. An introduction, Verso, ISBN 0-86091-319-8
• Ellul, Jacques. Propaganda: The Formation of Men's Attitudes. Trans. Konrad Kellen & Jean Lerner. New York: Knopf, 1965. New York: Random House/ Vintage 1973
• Freeden, Michael. 1996. Ideologies and Political Theory: A Conceptual Approach. Oxford: Oxford University Press. ISBN 978-0-19-829414-6 [6]
• Hawkes, David (2003) Ideology (2nd ed.), Routledge, ISBN 0-415-29012-0
• Sorce Keller, Marcello. “Why is Music so Ideological, Why Do Totalitarian States Take It So Seriously: A Personal View from History, and the Social Sciences”, Journal of Musicological Research, XXVI(2007), no. 2-3, pp. 91–122.
• Malesevic, Sinisa and Iain Mackenzie (ed). Ideology after Poststructuralism. London: Pluto Press.
• Owen, John (2011) "The Clash of Ideas in World Politics: Transnational Networks, States, and Regime Change, 1510-2010", Princeton University Press, ISBN 0-691-14239-4

External links[link]

Wikiquote has a collection of quotations related to: Ideology

Look up ideology in Wiktionary, the free dictionary.

• Ideology Study Guide
• Louis Althusser's "Ideology and Ideological State Apparatuses"
• Ideology and Symbolic Power: Between Althusser and Bourdieu

Billy Bragg
Bragg at a protest calling for electoral reform in 2010
Background information
Birth name	Stephen William Bragg
Born	(1957-12-20) 20 December 1957 (age 54) Barking, Essex, England
Genres	Folk punk,[1] folk rock, alternative rock
Instruments	Vocals, guitar
Years active	1977–present
Associated acts	The Blokes Riff-Raff Wilco
Website	billybragg.co.uk

Stephen William Bragg (born 20 December 1957) – known as Billy Bragg – is an English alternative rock musician and left-wing activist.^[2][3] His music blends elements of folk music, punk rock and protest songs, and his lyrics mostly deal with political or romantic themes. His music career has lasted more than 30 years.

Early life[link]

Bragg was born in 1957 in Barking, Essex,^[4] the son of Dennis Frederick Austin Bragg, an assistant sales manager to a Barking cap and hat maker, and his wife, Marie Victoria D'Urso.^[5] Bragg was educated at Barking Abbey Secondary School in Barking.^[6]

Career[link]

In 1977, Bragg formed the punk rock/pub rock band Riff Raff, and toured London's pubs and clubs. The band released a series of singles, which did not receive wide exposure. He also worked in Guy Norris Records in Barking. Bragg became disillusioned with his music career, and in May 1981 joined the British Army as a recruit destined for the Queen's Royal Irish Hussars of the Royal Armoured Corps. After three months, he bought his way out of the army for £175 and returned home, having attended basic training but having never served in a regiment as a soldier.^[7]

Bragg began performing frequent concerts and busking around London, playing solo with an electric guitar. His roadie at the time was Andy Kershaw, who became a BBC DJ (Bragg and Kershaw later, in 1989, appeared in an episode of the BBC TV programme, Great Journeys, in which they travelled the Silver Road from Potosí, Bolivia, to the Pacific coast at Arica, Chile).^[8]

Bragg performing at South by Southwest in 2008

Bragg's demo tape initially got no response from the record industry, but by pretending to be a television repair man, he got into the office of Charisma Records' A&R man Peter Jenner.^[9] Jenner liked the tape, but the company was near bankruptcy and had no budget to sign new artists. Bragg got an offer to record more demos for a music publisher, so Jenner agreed to release them as a record. Life's a Riot with Spy Vs. Spy was released in July 1983 by Charisma's new imprint, Utility. Hearing DJ John Peel mention on-air that he was hungry, Bragg rushed to the BBC with a mushroom biryani, so Peel played a song from Life's a Riot with Spy Vs. Spy although at the wrong speed (since the 12" LP was, unconventionally, cut to play at 45rpm).^[9] Peel insisted he would have played the song even without the biryani and later played it at the correct speed.

Within months, Charisma had been taken over by Virgin Records and Jenner, who had been laid off, became Bragg's manager. Stiff Records' press officer Andy Macdonald – who was setting up his own record label, Go! Discs – received a copy of Life's a Riot with Spy Vs. Spy. He made Virgin an offer and the album was re-released on Go! Discs in November 1983.^{[citation needed]} In 1984, he released Brewing Up with Billy Bragg, a mixture of political songs (e.g., "It Says Here") and songs of unrequited love (e.g., "The Saturday Boy"). The following year he released Between the Wars, an EP of political songs that included a cover version of Leon Rosselson's "The World Turned Upside Down" – the EP made the top 20 of the UK Singles Chart and earned Bragg an appearance on Top of the Pops. Bragg later collaborated with Rosselson on the song, "Ballad of the Spycatcher". In 1985, his song "A New England", with an additional verse, became a Top 10 hit in the UK for Kirsty MacColl. After MacColl's early death, Bragg always sang the extra verse in her honour. In 1984–1985 he toured North America.

In 1986, Bragg released Talking with the Taxman about Poetry, which became his first Top 10 album. Its title is taken from a poem by Vladimir Mayakovsky and a translated version of the poem was printed on the record's inner sleeve. Back to Basics is a 1987 collection of his first three releases: Life's A Riot With Spy Vs. Spy, Brewing Up with Billy Bragg, and the Between The Wars EP. Bragg released his fourth album, Workers Playtime, in September 1988. With this album, Bragg added a backing band and accompaniment.

In May 1990, Bragg released the political mini-LP, The Internationale. The songs were, in part, a return to his solo guitar style, but some songs featured more complicated arrangements and included a brass band. The album paid tribute to one of Bragg's influences with the song, "I Dreamed I Saw Phil Ochs Last Night", which is an adapted version of Earl Robinson's song, "I Dreamed I Saw Joe Hill Last Night", itself an adaptation of a poem by Alfred Hayes.^{[citation needed]}

Performing with The Imagined Village at Camp Bestival, 20 July 2008

The album Don't Try This at Home was released in September 1991, and included the song, "Sexuality", which reached the UK Singles Chart. Bragg had been persuaded by Go! Discs' Andy and Juliet Macdonald to sign a four-album deal with a million pound advance, and a promise to promote the album with singles and videos.^{[citation needed]} This gamble was not rewarded with extra sales, and the situation put the company in financial difficulty. In exchange for ending the contract early and repaying a large amount of the advance, Bragg regained all rights to his back catalogue.^{[citation needed]} Bragg continued to promote the album with his backing band, The Red Stars, which included his Riff Raff colleague and long-time roadie, Wiggy.

Bragg released the album William Bloke in 1996 after taking time off to help raise his son. Around that time, Nora Guthrie (daughter of American folk artist Woody Guthrie) asked Bragg to set some of her father's unrecorded lyrics to music. The result was a collaboration with the band Wilco and Natalie Merchant (with whom Bragg had worked previously). They released the album Mermaid Avenue in 1998, and Mermaid Avenue Vol. II in 2000. A rift with Wilco over mixing and sequencing the album led to Bragg recruiting his own band, The Blokes, to promote the album. The Blokes included keyboardist Ian McLagan, who had been a member of Bragg's boyhood heroes The Faces. The documentary film Man in the Sand depicts the roles of Nora Guthrie, Bragg, and Wilco in the creation of the Mermaid Avenue albums.

In 2004, Bragg joined Florida ska-punk band Less Than Jake to perform a version of 'The Brightest Bulb Has Burned Out' for the Rock Against Bush compilation.

At the 2005 Beautiful Days Festival in Devon, Bragg teamed up with the Levellers to perform a short set of songs by or associated with The Clash in celebration of Joe Strummer's birthday. Bragg performed guitar and lead vocals on "Police and Thieves", and performed guitar and backing vocals on "English Civil War", and "Police on my Back".

In 2007, Bragg moved closer to his English folk music roots by joining the WOMAD-inspired collective The Imagined Village, who recorded an album of updated versions of traditional English songs and dances and toured through that autumn. Bragg released his album Mr. Love & Justice in March 2008.^[10] This was the second Bragg album to be named after a book by Colin MacInnes. In 2008, during the NME Awards ceremony, Bragg sang a duet with British solo act Kate Nash. They mixed up their two greatest hits, Nash playing "Foundations", and Bragg redoing his "A New England".^[11] Bragg also collaborated with the poet and playwright, Patrick Jones, who supported Bragg's Tour.

In 2008, Bragg played a small role in Stuart Bamforth's film "A13: Road Movie".^[12] Bragg is featured alongside union reps, vicars, burger van chefs and Members of Parliament^[12] in a film that explored "the overlooked, the hidden and the disregarded."^[12]

He was involved in the play Pressure Drop at the Wellcome Collection in London in April and May 2010. The production, written by Mick Gorden, and billed as "part play, part gig, part installation", featured new songs by Bragg. He performed during the play with his band, and acted as compere.^[13]

Bragg curated the Leftfield stage at Glastonbury Festival 2010.^[14]

He will also be partaking in the Bush Theatre's 2011 project Sixty Six where he has written a piece based upon a chapter of the King James Bible.^[15]

Politics[link]

Bragg has been involved with grassroots, broadly leftist, political movements,^[3] and this is often reflected in his lyrics. Bragg has recorded and performed cover versions of famous socialist anthems The Internationale and The Red Flag. Bragg said in an interview: "My theory is this; I'm not a political songwriter. I'm an honest songwriter. I try and write honestly about what I see around me now."^[16] In another interview, Bragg said: "I don't mind being labelled a political songwriter. The thing that troubles me is being dismissed as a political songwriter."^[17] In an interview with Bullz-Eye, Bragg said:

I would then say that I am Mr. Love and Justice, and to check out the love songs. That’s how I capture people. People do say to me, “I love your songs, but I just can’t stand your politics.” And I say, “Well, Republicans are always welcome. Come on over!” I would hate to stand at the door, saying to people, “Do you agree with these positions? If not, you can’t come in.”^[18]

Bragg expressed support for the 1984 miners' strike, and the following year he formed the musicians' alliance Red Wedge, which promoted the Labour Party and discouraged young people from voting for the Conservative Party in the 1987 general election. Following the defeat of the Labour Party and the repeated victory of Margaret Thatcher and her Conservative government, Bragg joined Charter88 to push for a reform of the British political system.

Also during the 1980s, Bragg travelled to the Soviet Union a few times, after Mikhail Gorbachev had started to promote the policies of perestroika and glasnost. During one trip, he was accompanied by MTV, and during another trip he was filmed for the 1998 mini-documentary Mr Bragg Goes to Moscow, by Hannu Puttonen.

On TV series After Dark in 1987

On 12 June 1987, the night after the UK General Election, he appeared on a memorable edition of After Dark. In 1999, Bragg appeared before a commission that debated possible reform of the House of Lords.^[19]

During the 2001 UK general election, Bragg attempted to combat voter apathy by promoting tactical voting in an attempt to unseat Conservative Party candidates in Dorset, particularly in South Dorset and West Dorset.

Bragg has developed an interest in English national identity, apparent in his 2002 album England, Half-English and his 2006 book The Progressive Patriot. The book expressed his view that English socialists can reclaim patriotism from the right wing. He draws on Victorian poet Rudyard Kipling for an inclusive sense of Englishness.^[20] Bragg has participated in a series of debates with members of the Socialist Workers Party who disagree with his argument. Bragg also supports Scottish independence and Welsh independence.^[21]

Supporting a demonstration against police misuse of anti-terrorism legislation; Trafalgar Square, London, 23 January 2010

Bragg has been an outspoken opponent of fascism, racism, bigotry, sexism and homophobia, and is a supporter of a multi-racial Britain. As a result, Bragg has come under attack from far right groups such as the British National Party. In a 2004 The Guardian article, Bragg was quoted as saying:

The British National Party would probably make it into a parliament elected by proportional representation, too. It would shine a torch into the dirty little corner where the BNP defecate on our democracy, and that would be much more powerful than duffing them up in the street – which I'm also in favour of.^[22]

Also in 2004, Bragg collaborated with American ska punk band Less Than Jake to record a song for the Rock Against Bush compilation album.

During the 2005 general election campaign in the Bethnal Green and Bow constituency, Bragg supported Oona King, the Labour Party's pro-Iraq war candidate, over George Galloway, the anti-war Respect Party's candidate, due to a belief that splitting the left-wing vote would allow the Conservatives to win the seat.^[23] Galloway overturned King's 10,000-strong majority to become his party's only MP.^[24]

In March 2006, journalist Garry Bushell (a former Trotskyist who ran as a candidate for the English Democrats in 2005) accused Bragg of "pontificating on a South London council estate when we all know he lives in a lovely big house in West Dorset".^[25]

In January 2010, Bragg announced that he would withhold his income tax as a protest against the Royal Bank of Scotland's plan to pay bonuses of approximately of £1.5 billion to staff in its investment banking business. Bragg set up a Facebook group, made appearances on radio and television news programmes, and made speech at Speakers' Corner in London's Hyde Park. Bragg said, “Millions are already facing stark choices: are they willing to work longer hours for less money, or would they rather be unemployed? I don’t see why the bankers at RBS shouldn’t be asked the same.”^[26]

On the eve of the 2010 general election, Bragg announced that he would be voting for the Liberal Democrats because "they've got the best manifesto".^[27] He also backed the Lib Dems for tactical voting reasons. Bragg later expressed disappointment with the party, stating that "the Lib Dems had failed democracy ".^[28]

Bragg was also very active in his hometown of Barking as part of Searchlight's magazine's Hope not Hate campaign, where the BNP's leader Nick Griffin was standing for election. At one point during the campaign Bragg squared up to BNP London Assembly Member Richard Barnbrook, calling him a "Fascist racist" and saying "when you're gone from this borough, we will rebuild this community". The BNP came third on election day.^[29]

Bragg is a board director and key spokesman for the Featured Artists Coalition, a body representing the rights of recording artists. Bragg founded the organisation Jail Guitar Doors, which supplies instruments to prisoners to encourage them to address problems in a non-confrontational way.^[30]

Bragg is a regular at the Tolpuddle Martyrs' Festival, an annual event celebrating the memory of those transported to Australia for founding a union in the 1830s.^[31]

In January 2011, news sources reported that 20 to 30 residents of Bragg's Dorset hometown, Burton Bradstock, had received anonymous letters viciously attacking Bragg and his politics, and urging residents to oppose him in the village. Bragg claimed that a BNP supporter was behind the letters, which argued that Bragg is a hypocrite for advocating socialism while living a wealthy lifestyle, and referred to him as anti-British and pro-immigration.^[32]

In July 2011 Billy joined the growing protests over the News of the World phone hacking affair with the recording of "Never Buy the Sun" which references many of the scandals key points including the Milly Dowler case, police bribes and associated political fallout. It also draws on the 22 year Liverpool boycott of The Sun for their coverage of the Hillsborough Disaster.^[33]

In 2011 Bragg joined the Occupy Movement Protests.

Personal life[link]

Billy lives in Burton Bradstock, Dorset with his wife Juliet and son Jack.^[34] He is a supporter of West Ham United.

Discography[link]

References[link]

Further reading[link]

• Andrew Collins (2007). Still Suitable for Miners: Billy Bragg (revised and updated ed.). London: Virgin Books. ISBN 978-0-7535-1245-6. 
• Billy Bragg, The Progressive Patriot: A Search for Belonging (London: Bantam Press, 2006) ISBN 978-0-593-05343-0
• Billy Bragg, How we all lost when Thatcher won – Thatcher's victory over the miners led directly to this economic crisis. The Guardian, 5 March 2009

External links[link]

Wikisource has original works written by or about: Billy Bragg

Wikimedia Commons has media related to: Billy Bragg

• Official website
• Braggtopia
• Billy Bragg collection at the Internet Archive's live music archive
• Billy Bragg's Big Busk At Lincoln Center 27 July 2011

The Residents are an American art collective best known for avant-garde music and multimedia works. The first official release under the name of The Residents was in 1972, and the group has since released over sixty albums, numerous music videos and short films, three CD-ROM projects and ten DVDs. They have undertaken seven major world tours and scored multiple films. Pioneers in exploring the potential of CD-ROM and similar technologies, The Residents have won several awards for their multimedia projects. Ralph Records, a record label focusing on avant-garde music, was started by The Residents.

Throughout the group's existence, the individual members have ostensibly attempted to operate under anonymity, preferring instead to have attention focused on their art output. Much outside speculation and rumor has focused on this aspect of the group. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tuxedos - a long-lasting costume now recognized as their signature iconography. Their albums generally fall into two categories: deconstructions of Western popular music, or complex conceptual pieces, composed around a theme, theory or plot. They are noted for surrealistic lyrics and sound, disregard for conventional music composition, and the over the top, theatrical spectacle of their live performances.

History[link]

Origins[link]

The Residents hail from Shreveport, Louisiana, where they met in high school in the 1960s. In 1966 the members headed west for San Francisco, but after their truck broke down in San Mateo, California, they decided to remain there.

While attempting to make a living, they began to experiment with tape machines, photography, and anything remotely to do with art that they could get their hands on. Word of their experimentation spread and in 1969, a British guitarist and multi-instrumentalist named Phil Lithman^[1] and the mysterious N. Senada (whom Lithman had picked up in Bavaria where the aged avant-gardist was recording birds singing) paid them a visit, and decided to remain.

The two Europeans would become great influences on the band. Lithman's guitar playing technique earned him the nickname Snakefinger, after his frantic playing on the violin during the performance with the Residents at The Boarding House in San Francisco 1971, where his fingers' speed made them look like snakes in the eyes of the less-musically proficient, but imaginative Residents.

The group purchased crude recording equipment, instruments and began to make tapes, refusing to let an almost complete lack of musical proficiency stand in the way. Like all information pertaining to the early days of the band, this is provided by The Cryptic Corporation and may or may not be invented.

1969–1972: Residents Unincorporated[link]

In 1969 the group began to make the first of their unreleased tapes. Rumors have surfaced of two (of perhaps hundreds) unreleased reel-to-reel items titled Rusty Coathangers for the Doctor and The Ballad of Stuffed Trigger. The actual titles are in question (as is the notion that these were album-length recordings), but the first title has been confirmed by a former head of the now defunct Smelly Tongues fan club. Further evidence of pre-1970 recordings surfaced with the release of the song I Heard You Got Religion, supposedly recorded in 1969, and released originally as a downloadable track from Ralph America in 1999. Cryptic says there are lots of tapes dating back decades, but they were all recorded before the group had officially become The Residents so the band does not consider them to be part of their discography.

The album The Ballad of Stuffed Trigger has never been released in any form.^[2] "Uncle Willie", former Residents fan club president, wrote in his book Uncle Willie's Highly Opinionated Guide to The Residents that, while searching through the band's archives, he came across "a suite named The Ballad of Stuffed Trigger," but not a complete album.

In 1971 the group sent a reel-to-reel tape to Hal Halverstadt at Warner Brothers, since he had worked with Captain Beefheart (one of the group's musical heroes). Halverstadt was not overly impressed with the Warner Bros. Album (He describes it as "okay at best" in Uncle Willie's Cryptic Guide to the Residents), but awarded the tape an "A for Ariginality". Because the band had not included any name in the return address, the rejection slip was simply addressed to "The Residents". The members of the group then decided that this would be the name they would use, first becoming "Residents Unincorporated", then shortening it to the current name.

The first performance of the band using the name "The Residents" was at The Boarding House in San Francisco in 1971. That same year another tape was completed called Baby Sex. The original cover art for the tape box was a silk-screened copy of an old photo depicting a woman fellating a small child. (Considered artistically rude at that time, it would be viewed as child pornography today).

In 1972 they moved to San Francisco and formed Ralph Records.^[3] By this time, The Cryptic Corporation was operating as a partnership and incorporated to take over the running of Ralph Records.

1972–1980: Album era[link]

Before the Santa Dog single and while recording Meet the Residents, The Residents undertook one of their first major projects: the ambitious Vileness Fats film project. Intended to be the first-ever long form music video, The Residents saw this project as the opportunity to create the ultimate cult film. After four years of filming (from 1972 to 1976) the project was reluctantly canceled because of time, space and monetary constraints. Fifteen hours of footage were shot for the project yet only about three-quarters of an hour of that footage has ever been released.

Santa Dog is considered by The Residents themselves and their fans to be the "official" start of the band's recorded output. This is so because it was the first to be released to the public. Shortly after this release, the band left San Mateo and relocated to San Francisco. They sent copies of Santa Dog to west coast radio stations with no response until Bill Reinhardt, program director of KBOO-FM in Portland, Oregon received a copy. Santa Dog had the strange kind of sonic weirdness he was looking for and it was played heavily on his popular (Radio Lab) show. Bill met The Residents at their Sycamore St. studio in the summer of 1973 with the news of his broadcasts. They were overjoyed that they had finally got media acceptance and he was celebrated with the news that KBOO was the first station to play a Residents record on the air. Inviting him in and treating him like family, The Residents gave Reinhardt exclusive access to all their eclectic recordings, including copies of the original masters of Stuffed Trigger, Baby Sex and the Warner Bros. Album. He promoted these along with Meet the Residents regularly on his radio program. There was considerable resistance to the commercial viability of Residents material. To aid in their promotion, Bill was given 50 of the first 1,000 copies of Meet the Residents. Some were sent to friends, listeners and critics and two dozen were left for sale on consignment at Music Millennium Records where they sat unsold for months. KBOO DJ, Barry Schwam (Schwump, who also recorded with The Residents) promoted them on his program as well. Eventually KBOO airplay attracted many loyal fans and Portland became the epicenter of a worldwide cult phenomenon.

The Residents, at this time, were at a rough point in their career. According to official Residents lore, there was internal turmoil which resulted in a large, "embarrassing" food fight; they decided to resolve this tension in 1974 by recording what would later become Not Available —representative of N. Senada's Theory of Obscurity taken to its logical conclusion. The album was recorded and then placed in storage in order to be issued only when everyone had forgotten about it. However, contractual obligations related to the much-delayed release of Eskimo forced its release in 1978 after the band had almost forgotten about it. The Residents were not bothered by this deviation from their plan since the 1978 decision to release the album would not affect the philosophical conditions under which it was originally recorded.

The Third Reich 'n Roll came next, a pastiche on 1960s rock and roll with an overarching Nazi theme, represented visually on the album cover, which featured Dick Clark in an SS uniform holding a carrot, with a number of Hitlers dancing on clouds behind him. On each side of the record was a single composition, approximately 17½ minutes long, using recordings of classic rock and roll songs that were spliced, overdubbed and edited with new vocals, instrumentation and tape noises.^[3] The original songs were finally removed leaving entirely new and bizarre performances. The music video for this album was shot on the sets that were built for Vileness Fats.

Following The Third Reich 'n' Roll came Fingerprince, a particularly ambitious project not unlike the earlier Not Available recordings. The band's original intention with Fingerprince was to release it as the very first "three-sided" album – they had found a way to simulate a third side by arranging the grooves on one side of the vinyl album to play a completely different program of tracks depending on which series of grooves the needle was dropped on. However, this idea was dropped when the band discovered that the Monty Python comedy troupe had executed the very same idea three years earlier with their Matching Tie and Handkerchief album. The "third side" was later released as an EP titled Babyfingers, and the Babyfingers tracks have since been re-integrated into the Fingerprince album on the CD reissues.

The Residents followed Fingerprince with their Duck Stab/Buster & Glen album – their most easily comprehensible album up to that point. This album got the band some attention from the press (namely NME, Sounds and Melody Maker), and dropped most of their reliance upon the Theory of Obscurity.

Eskimo (1979) contained music consisting of non-musical sounds, percussion, and wordless voices. Rather than being songs in the orthodox sense, the compositions sounded like "live-action stories" without dialogue. The Residents remixed the "songs" in disco style, the results of which appeared on the EP Diskomo. Eskimo was reissued in surround sound on DVD in 2003. Eskimo's cover presents the first instance of the group wearing their signature eyeball masks and tuxedos, which would be featured in many subsequent releases, films, live appearances, and promotional materials.

Commercial Album (1980) consisted of 40 songs, each consisting of a verse and a chorus and lasting one minute.^[3] The songs pastiched the advertising jingle although the songs were not endorsements of known products or services. The liner notes state that songs should be repeated three times in a row to form a "pop song". The Residents purchased 40 one-minute advertising slots on San Francisco's most popular Top-40 radio station at the time, KFRC, such that the station played each track of their album over three days. This prompted an editorial in Billboard magazine questioning whether the act was art or advertising.

When MTV was in its infancy, The Residents' videos were in heavy rotation since they were among the few music videos available to broadcasters. The Residents' earliest videos are in the New York Museum of Modern Art's permanent collection and were eventually released together in 2001 on the Icky Flix DVD, which includes an optional audio track of remixes.

1981-1990: Performance art and concept albums[link]

The Mole Trilogy and The Mole Show (1981-83)[link]

In 1981, a trilogy of albums, starting with Mark of the Mole, was to be released.^[3] A tour ensued, and was narrated nightly by Penn Jillette. The Mole Trilogy is made up of parts I, II and IV. The performance featured The Residents performing behind a burlap screen, occasionally wearing disguises (such as their iconic eyeball masks), while dancers and actors appeared in front of painted backdrops used to help illustrate the story. Penn Jillette would come out between songs telling long intentionally pointless stories. The show was designed to appear to fall apart as it progressed: Penn pretended to grow angrier with the crowd, and lighting effects and music would become increasingly chaotic, all building up to the point where Penn was dragged off stage and returned, handcuffed to a wheelchair, to deliver his last monologue. During one performance, an audience member assaulted Penn while he was handcuffed to the wheelchair.

The 13th anniversary show (1985-86)[link]

After their Japanese distributor approached them for a two-week run in Japan, The Residents created the 13th Anniversary tour. While the musical performance was more mainstream, the stage show was another over-the-top spectacle, featuring inflatable giraffes, dancers in eye ball masks illuminating the darkened stage with work lights, and a lead vocalist who seemed to change costumes throughout the show from wearing his eyeball mask to wearing a Richard Nixon mask, and at one point wearing only a wig and fake ears. After the two-week run in Japan, the Residents took the show through the US. During the US leg of the tour the band encountered a few problems, including having the tour manager having to fan a member's keyboard because of overheating, being booked in a pool hall and having someone run on stage only to be thrown back into the audience.

Backstage at the Hollywood Palace show on December 26, 1985, one member's eyeball mask (Mr. Red Eye) was stolen, so it was replaced with a giant skull mask.^{[citation needed]} The eye was returned by a devoted fan who discovered where the thief lived and stole it back, although Homer Flynn said the person who returned the mask was most probably the thief. It was put into retirement because they said it was "unclean" and in a bad condition—a superfluous shell. After this, the lead Resident was known as Mr. Skull.^{[citation needed]}

The last show of this tour was in January 1987 at The Warfield in San Francisco, with a special appearance by Penn & Teller.^{[citation needed]}

Cube E (1989-1990)[link]

"Cube E" was a three-act performance covering the history of American music. It was a step up from previous shows, featuring more elaborate dance numbers and sets. It was also the first show composed exclusively of music written for the show. The show was almost entirely backlit, with blacklights highlighting fluorescent pieces of costumes and set.

They introduced the first part, which covered cowboy music, on German television as "Buckaroo Blues". It featured the singer and two dancers wearing giant cowboy hats around a glowing campfire. Part two was called "Black Barry" and focused on slave music and the blues. The act ended when a giant cube head rose from the back of the stage. Part three, "The Baby King," featured Elvis songs performed by an elderly Elvis impersonator for his grandchildren. The show ended with an inflated Elvis dying as a result of the British Invasion.

Other works[link]

In the late 1980s, they created the epic recording God in Three Persons, a story about the exploitation of two Siamese twins with healing powers by a male dominant force and The King & Eye, a surreal biography of Elvis Presley and the birth of rock and roll.

1991-97: Multimedia projects[link]

In the 1990s, they created Freak Show. This marked the beginning of The Residents' obsession with emerging computer technology in the 1990s.^[3] Much of the music was made with MIDI devices. Freak Show also served as the name for a CD-ROM released by the Voyager Company on January 1994^[4], shortly after Laurie Anderson's first multimedia CD-ROM experiment, Puppet Motel. Freak Show was also a stage performance by a theater company at the Archa Theater in Prague that premiered on November 1, 1995, and a comic book. Several of the songs were also performed live during the 1997 25th anniversary concerts at the Fillmore in San Francisco. After the CD-ROM's success, the album was re-released as The Freak Show Soundtrack with a different cover. A limited edition, The Freak Show Special Edition, was released in 2002 to mark their 30th anniversary.

Other multimedia projects by The Residents included The Gingerbread Man and Bad Day on the Midway.

1998-2008: Tours and storytelling projects[link]

Wormwood (1998-99)[link]

Based on Bible stories, Wormwood featured the Residents departing from pre-programmed music and again using a live band. The band wore ecclesiastical robes and performed in a brightly lit fluorescent cave. The male and female lead singers switched leads, depending on what characters they needed. Act one consisted of one-off stories about individual Bible characters. Act 2 focused on suites of songs about Bible figures such as Abraham, Moses, and King David. During a performance in Athens, Greece, Nolan Cook, their guitarist, had to leave the stage after taking a rock to the head from an audience member.

Demons Dance Alone and Animal Lover (2002-05)[link]

The Residents recorded the dramatic album Demons Dance Alone (also a tour and DVD in 2002) and Animal Lover in 2005. Singer Molly Harvey began as a Ralph employee but by the mid-90s contributed to virtually all of The Residents' many projects. The Residents' increased reliance on Harvey, essentially handing her half of the vocal duties since at least Demons Dance Alone, parallels their artistic revitalization. Nolan Cook, Carla Fabrizio, Toby Dammit, Eric Drew Feldman, and many other artists continuously worked with the band over the last five years, recording and performing live. The new artists helped to counter what Allmusic derided as a "sonic palette [confined to] factory presets from their new Macintosh audio" of the CD-ROM era.^[5]

In February 2005, The Residents toured Australia as part of the What is Music? festival, performing a two hour retrospective set titled the 33rd Anniversary Tour: The Way We Were. These shows saw a fairly minimal band; three eyeball-headed Residents (one on guitar and two laptop/sample operators), a "stage hand" performer, and a male and female vocalist in costumes reminiscent of the Wormwood Tour. Video projections and unusual flexible screens were added to the stage set, creating an unsettling ambiance. The performances on the Way We Were tour were recorded and were released on CD and DVD in 2005.

Storytelling projects (2006-09)[link]

Summer of 2006 brought the internet download project, River of Crime (Episodes 1–5). River of Crime was their first project with Warner Music Group's Cordless Label. Following the success of River of Crime, The Residents launched their weekly Timmy video project on YouTube. In 2007 they did the music for the documentary Strange Culture and also released a double instrumental album, Night of the Hunters. On the Fourth of July, 2007, the planned October release of their latest project with Mute Records, The Voice of Midnight (a music theater adaptation of E.T.A. Hoffmann's short story "Der Sandmann"), was announced on their website.

On the May 21 they announced on their website that their first North America tour since Demons Dance Alone for a project titled The Bunny Boy was set to begin on October 9 in New York – later an earlier date was added for Santa Cruz. Soon, it was announced that the tour would also include Europe, starting November 13. On June 3, the Residents.com website boasted the planned release of The Bunny Boy which was released on September 1. The website had posted information in which Foxboro claimed this would be a Farewell Tour; it was later revealed that this was nothing more than a mistake by Foxboro.

November 3, 2009 saw three new releases. The Ughs! is a mostly instrumental album made up of music composed earlier in their career, which had been completely reworked for the Voice of Midnight album. Ten Little Piggies is a futurist compilation, ten songs from projects that may or may not be released in the future. Finally Is Anybody Out There is a DVD collecting all the Bunny Boy videos from the series posted on YouTube. The episodes are streamlined and not exactly the same as the originals.

2010-present: Talking Light and beyond[link]

In January 2010 the Residents began a series of tours titled Talking Light, touring North America and Europe. During the tours, which lasted until April 2011, The Residents appeared as a trio (with the explanation that the fourth member "Carlos" had grown tired of the music business and "gone home" to Mexico to care for his mother) and adapted new identities and costumes. The singer, Randy, wore an old man mask, and the other two, keyboardist Chuck and guitarist Bob, wore dread lock wigs and some kind of illuminated optical gear over their faces. The songs were stories about various characters' obsessions with ghosts, imaginary people and supernatural phenomena. One of these performances was featured as part of the edition of the All Tomorrow's Parties festival curated by Matt Groening in May 2010 in Minehead, England. The band released several albums related to the Talking Light concept, including the instrumental albums Dollar General and Chuck's Ghost Music, live album Bimbo's Talking Light, and studio album Lonely Teenager.

In October and November 2011, the Residents presented an early version ofSam's Enchanted Evening at The Marsh performance center in Berkeley, with the lead singer appearing as Randy Rose.^[6]. A new version of "Sam's Enchanted Evening" was subsequently performed in March 2012 at Henry Street Settlement in New York City in a production directed by Travis Chamberlain, co-starring Joshua Raoul Brody and Jibz Cameron (aka, Dynasty Handbag).

On January 10, 2012, The Residents released "Coochie Brake"; it focused on an ambient, slightly ethnic sound, with lyrics in Spanish spoken by, apparently, a new singer.

Identity[link]

Much of the speculation about the members' true identities swirls around their management team, known as "The Cryptic Corporation."^[7] Cryptic was formed as a corporation in California by Jay Clem (born 1947), Homer Flynn (born April 1945), Hardy W. Fox (born 1945), and John Kennedy in 1976, all of whom denied having been band members. (Clem and Kennedy left the Corporation in 1982, much to the chagrin of some fans.^[8]) The Residents themselves do not grant interviews, though Flynn and Fox have conducted interviews with the media.

Nolan Cook, a prominent collaborator with the group in both their live and studio work (as well as being a live member of I Am Spoonbender), denied in an interview that Fox and Flynn are the Residents, saying that he has come across such rumors, and they are completely false. However, Cook himself is considered a member of the band by some, as he is known to wear the same head coverings as the rest of the group during live shows, even wearing the trademark eyeball mask during the Wormwood tour.

William Poundstone, author of the Big Secrets books, compared voiceprints of a Flynn lecture with those of spoken word segments from the Residents discography in his book Biggest Secrets. After noting similar patterns in both, he concluded "the similarities in the spectograms second the convincing subjective impression that the voices are identical." He posited that "It is possible that the creative core of the Residents is the duo of Flynn and Fox." A subset of that belief is that Flynn is the lyricist and that Fox writes the music. In addition BMI's online database of the performance rights organization (of which the Residents and their publishing company, Pale Pachyderm Publishing (Warner-Chappell), have been members for their entire careers), lists Flynn and Fox as the composers of all original Residents songs. This includes those songs written pre-1974 (the "Residents Unincorporated" years), the year Cryptic formed.^[9]

Simon Reynolds wrote in his book Rip It Up and Start Again: Post Punk 1978-1984 that "The Residents and their 'representatives' were one and the same",^[10] elaborating on one of his blogs that "this was something that anybody who had any direct dealings with Ralph figured out sooner rather than later." Reynolds quotes Helios Creed, who identifies The Residents as a keyboardist named "H", a singer named Homer, and "this other guy called John"; and Peter Principle of Tuxedomoon, who claims that "we eventually figured out that the guy doing the graphics and the engineer in the studio were in fact the Residents."^[11]

Cryptic openly admits the group's artwork is done by Flynn (among others), under various names that, put together, become Pornographics, but the pseudonym is rarely spelled the same way twice (examples: Porno Graphics, Pore No Graphix, Pore-Know Graphics); and that Fox is the "sound engineer" — meaning that he is the main producer, engineer, master, and editor of all their recordings. (Since 1976, the Residents' recordings have all listed their producer as "The Cryptic Corporation," presumably meaning Fox in particular.) Many other rumors have come and gone over the years, one being that 60s experimental band Cromagnon shared members with the band.

Most recently, the group's Facebook presence lists the members of the Residents as "Randy, Chuck and Bob." Furthermore, a synopsis for their 2012 stage production Sam's Enchanted Evening provides the name Randy Rose as that of "the Residents' lead singer." While it is clear that the Cryptic Corporation has chosen to share this information publicly, no further confirmation--nor any context as to the roles of "Chuck" and "Bob" in the group, or if these names are, indeed, the names of the group's members--appears to have been issued to date.

Discography[link]

References[link]

Further reading[link]

• Meet the Residents – America's most eccentric band!, Ian Shirley, SAF Publishing, Wembley, UK, 1998 ISBN 0-946719-12-8
• Richard Gehr (April 1986). Take a good hard look at America's preeminent underground avant-pop ensemble — you might like what you see. Spin Magazine. p. 59. http://books.google.com/books?id=xdLsQBjl0-IC&pg=PA59&dq=spin+magazine+1986+take+a+good+hard+look&hl=en&ei=9PWLTObxDo30swO-nbymBA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CC0Q6AEwAA#v=onepage&q&f=false. Retrieved 2010-09-11. 

External links[link]

• The Residents Official Historical Site
• Official MySpace page
• Official YouTube page
• Residents Lovers Forum
• The Moles present The Residents

Eric Norman Thompson (9 November 1929 – 30 November 1982) was an English actor, television presenter and producer.

Thompson was born in Sleaford, Lincolnshire, the son of George Henry and Anne Thompson,^[1] and grew up Rudgwick, Sussex, attending Collyer's School, Horsham. He trained to be an actor at the Old Vic acting school in London and joined the Old Vic theatre company in 1952.

He worked mostly for the BBC, and was a presenter of the children's television programme Play School in the 1960s. He was best known as the narrator of The Magic Roundabout, for which he wrote the English-language scripts, using the visuals from the French Le Manège Enchanté. These were transmitted between October 1965 and January 1977. Thompson rarely worked on television after his voice became well-known, but occasionally appeared in programmes such as Doctor Who in the serial The Massacre of St Bartholomew's Eve in 1966.

Death and legacy[link]

On 30 November 1982 Thompson died of a pulmonary embolism in London three weeks after his 53rd birthday. His death was widely reported as he was well known for his voice acting and narration.

In 1992, ten years after Thompson's death, fifty-two unseen episodes of The Magic Roundabout were broadcast on Channel 4. The adaptation and narration of the episodes was done by The Young Ones star Nigel Planer in a pastiche of Thompson's style.

Personal life[link]

Thompson married Scottish actress Phyllida Law,^[2] whom he met while at the Old Vic in 1957. Their daughters Emma and Sophie Thompson have followed in their footsteps into acting.

References[link]

External links[link]

• Eric Thompson at the Internet Movie Database

Tarpley attending the 2005 Axis for Peace conference

Webster Griffin Tarpley (born 1946) is an American historian, author, journalist, lecturer, and critic of US foreign and domestic policy. Tarpley maintains that the September 11 attacks were engineered by a rogue network of the military-industrial complex and intelligence agencies as a false flag operation.^[1] His writings and speeches describe a model of terror operations by a rogue network in the military/intelligence sector working with moles in the private sector and in corporate media, and locates such contemporary false flag operations in a historical context stretching back in the English speaking world to at least the Gunpowder Plot in England in 1605.

Education[link]

The "rogue network" which Tarpley suspects of the September 11 attacks

Tarpley was born in Pittsfield, Massachusetts in 1946. He received a BA degree summa cum laude in English and Italian from Princeton University in 1966. While a student at Princeton he became a member of Phi Beta Kappa, and was a Fulbright Scholar at University of Turin in Italy.^[2] Tarpley also obtained a MA degree in humanities from Skidmore College. As well as a Ph.D. from The Catholic University of America in History.

Career[link]

In 1971, Tarpley was on the editorial board of The Campaigner, a National Caucus of Labor Committees' journal, according to its masthead.^[3]

As a European based journalist in the 1980s, Tarpley wrote a study on the assassination of Prime Minister Aldo Moro. The study claimed that the murder was a false flag operation orchestrated by the Propaganda Due, a Masonic Lodge, with the cooperation of senior members of Italian government secret services but blamed on the Red Brigades.^[4]

Tarpley was president of the Schiller Institute of the United States in the 1980s^{[5][clarification needed]} and in 1993.^[6] In 1986 Tarpley attempted to run on Lyndon LaRouche's U.S. Labor Party platform in the New York State Democratic Party primary for the U.S. Senate, but was ruled off the ballot because of a defect in his nominating petitions.^[7] He was a frequent host of "The LaRouche Connection" which its producer LaRouche's Executive Intelligence Review News Service^[8] describes as "a news and information cable television program."^[9]

Tarpley first gained attention for co-authoring, with Anton Chaitkin, ("history editor of Executive Intelligence Review") a 1992 book on George H. W. Bush, George Bush: The Unauthorized Biography, which was published by Executive Intelligence Review, run by Lyndon LaRouche.^[10] He has expounded the "Versailles Thesis" laying the blame for the great wars of the 20th century on intrigues by Britain to retain her dominance.^[11] He gained experience as a political operative during his years with the LaRouche movement but broke away sometime after 1995.

In 2005, Tarpley published 9/11 Synthetic Terror: Made in USA. He speaks at length about the themes in the book during an interview in the film Oil, Smoke, Mirrors.

Since March, 2006, Tarpley has had a weekly online talk radio show called World Crisis Radio,^[12] currently hosted on GCNLive.com. Tarpley is a member of the "world anti-imperialist conference" Axis for Peace, of Scholars for 9/11 Truth and of a research Netzwerk of German 9/11 authors founded in September 2006. He is featured in the film, Zero: an investigation into 9/11 (2007–2008).^[13]

Tarpley is a critic of the Dalai Lama; in 2010 he told Russia Today that "pre-1959 Tibet ... was probably the closest thing to hell on earth that you had ... social reform was impossible." In the interview he criticizes US funding of pro-Dalai Lama organizations, which he says amounts to US$2 million per year, saying "this is a bad deal for the American taxpayers."^[14]

He also maintains that "The notion of anthropogenic global warming is a fraud."^[15]

Bibliography[link]

• Chi ha ucciso Aldo Moro? (Who Killed Aldo Moro?), a study commissioned by a member of the Italian government and published in Rome in 1978 The Larouchian, Partito Operaio Europeo http://www.movisol.org/moro.htm, which broke open the affiliation of the Red Brigades with the neofascist lodge P2.
• George Bush: The Unauthorized Biography (1992) (co-authored with Anton Chaitkin, son of the lawyer who indicted Prescott Bush under the Trading with the Enemy Act for collaboration with Nazi Germany.) Reprinted 2004, ISBN 0-930852-92-3.
• Against Oligarchy (1996)
• Surviving the Cataclysm: Your Guide through the Worst Financial Crisis in Human History (1999); updated edition, 2009.
• 9/11 Synthetic Terror: Made in USA - Myth of the 21st Century (2005), Foreword by Thierry Meyssan, ISBN 0-930852-31-1, Fourth edition ISBN 0-930852-37-0 (April 2007).
  • Version française: La Terreur Fabriquée, Made in USA : 11 Septembre, le mythe du XXIe siècle (Sept. 2006). ISBN 2-9525571-4-4
  • In Italiano: La Fabbrica del Terrore (Sept. 2007). ISBN 978-88-87307-36-6
  • En Español: 11-S, El Falso Terrorismo Jan. 2008 ISBN 0-930852-98-2.
• Obama - The Postmodern Coup: Making of a Manchurian Candidate (Apr. 2008) ISBN 0-930852-88-5.
  • Deutsche Fassung: Barack Obama: Wie ein US-Präsident gemacht wird (Aug. 2008) ISBN 978-3-938516-74-4.
  • Japanese Edition: Obama: Dangerous Geometry (Nov. 2008) ISBN 4-88086-239-8
  • Barack H. Obama: The Unauthorized Biography (Aug. 2008) ISBN 0-930852-81-8; Japanese edition, March 2009.

References[link]

External links[link]

• Tarpley's Website
• Tarpley's Show on the Genesis Network
• Ground Zero Grassy Knoll - Feature article in New York Magazine (March 20, 2006)
• Publisher's web site
• Amazon.com's Webster Griffin Tarpley page

Audio and Video Links:

• Webster Tarpley lecture and interview videos

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