World news or international news or even foreign coverage is the news media-jargon for news from abroad, about a foreign country or a global subject. For journalism, it is a branch that deals with news either sent by foreign correspondents or news agencies, or — more recently — information that is gathered or researched through distance communication technologies, such as telephone, satellite TV or the internet.

Although in most of the Anglophone world this field is not usually regarded as a specific specialization for journalists, it is so in nearly all the world. Particularly in the United States, there is a blurred distinction between world news and "national" news when they include directly the national government or national institutions, such as wars in which the US are involved or summits of multilateral organizations in which the US are a member.

Actually, at the birth of modern journalism, most news were actually foreign, as registered by the courants of the 17th century in West and Central Europe, such as the Daily Courant (England), the Nieuwe Tijudinger (Antwerp), the Relation (Strasbourg), the Avisa Relation oder Zeitung (Wolfenbüttel) and the Courante Uyt Italien, Duytsland & C. (Amsterdam). Since these papers were aimed at bankers and merchants, they brought mostly news from other markets, which usually meant other nations. In any case, it is worthy to remark that nation-states were still incipient in 17th-century Europe.

From the 19th century on, with newspapers already established in Europe, the United States and a few other countries, innovations in telecommunications such as the telegraph made news from abroad easier to be spread. The first news agencies were then founded, like AFP (France), Reuters (UK), Wolff (currently DPA, Germany) and the AP (USA).

War journalism is one of the best known subfields of world news (although war coverage can be national for the media of belligerent countries themselves).

Foreign Correspondents[link]

There are essentially two types of reporters who do foreign reporting: the foreign correspondent (full-time reporter employed by a news source) and the special envoy (sent abroad to cover a specific subject, temporarily stationed in a location).

The correspondent is a reporter based in a foreign city (often the capital of a country) covering a region, a country or sometimes even an entire continent. He or she regularly files stories to the news editor. He/she gathers materials for these stories from local officials, members of the community, and the local media, as well as from events he/she directly witnesses. Correspondents typically stay in touch with the local community and maintain contacts with other journalists and correspondents in order to identify strategic sources in the government, among diplomats, members of the military and other organizations on the ground who may provide important information.

The number of foreign correspondents has dropped significantly over the past 20 years or more. Often, a media company is either uninterested or unable to afford to support a single correspondent, such as in many developing countries. In some places, they cannot obtain visas due to political constraints, or otherwise dangerous conditions prohibit a media company from stationing a reporter there. In recent years, the drop in foreign correspondents has been due to cutbacks within media companies (often, but not always, a result of economics alone).[1]

When reporters working abroad have no permanent labor contract with media outlets, they are called stringers. Since they have no salary, stringers usually produce material for several different companies at once.

News Agencies[link]

A news agency is an organization of journalists established to supply news reports to news organizations: newspapers, magazines, and radio and television broadcasters. Such an agency may also be referred to as a wire service, newswire or news service. The bulk of major news agency services contains foreign news.

The major news agencies generally prepare hard news stories and feature articles that can be used by other news organizations with little or no modification, and then sell them to other news organizations. They provide these articles in bulk electronically through wire services (originally they used telegraphy; today they frequently use the Internet). Corporations, individuals, analysts and intelligence agencies may also subscribe.

Further reading[link]

• Clausen, L. (2003) Global news production. Copenhagen Business School Press DK
• Desmond, R.W. (1972) The press and world affairs. Arno Press
• Friedland, L.A. (1992) Covering the world: international television news services: essay. Twentieth Century Fund.
• Ginneken, J. (1998) Understanding global news: a critical introduction. SAGE
• Hachten, W.A.; Scotton, J.F. (2002) The world news prism: global media in an era of terrorism. Iowa State Press
• Malek, A.; Kavoori, A.P. (2000) The global dynamics of news: studies in international news coverage and news agenda. Greenwood
• Paterson, C.; Sreberny, A., ed. (2004) International news in the 21st century. John Libbey Pub. for University of Luton Press
• Richstad, J.; Anderson, M.H. (1981) Crisis in international news: policies and prospects. Columbia University Press
• Stanton, R. (2007) All news is local: the failure of the media to reflect world events in a globalized age. McFarland & Co.
• Stevenson, R.L.; Shaw, D.L. (1984) Foreign news and the new world information order. Iowa State University Press
• Wallis, R.; Baran, S.J. (1990) The known world of broadcast news: international news and the electronic media. Routledge

See also[link]

• World News (disambiguation)
• Afghanistanism

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

Buzz Aldrin
Aldrin portrait for the Apollo 11 mission
NASA Astronaut
Nationality	American
Status	Retired
Born	(1930-01-20) January 20, 1930 (age 82) Glen Ridge, New Jersey, U.S.
Other occupation	Fighter pilot
Rank	Colonel, USAF
Time in space	12 days, 1 hour and 52 minutes
Selection	1963 NASA Group
Total EVAs	4
Total EVA time	8 hours 4 minutes
Missions	Gemini 12, Apollo 11
Mission insignia

Buzz Aldrin, Sc.D. (born Edwin Eugene Aldrin, Jr., January 20, 1930) is an American mechanical engineer, retired United States Air Force pilot and astronaut who was the lunar module pilot on Apollo 11, the first manned lunar landing in history. On July 20, 1969, he was the second human being to set foot on the moon, following mission commander Neil Armstrong.

Life and career[link]

Early life[link]

Aldrin was born in Glen Ridge, New Jersey,^[1][2] to Edwin Eugene Aldrin, Sr., a career military man, and his wife Marion (née Moon).^[3][4] He is of Scottish, Swedish,^[5] and German ancestry. After graduating from Montclair High School in 1946,^[6] Aldrin turned down a full scholarship offer from Massachusetts Institute of Technology, and went to the U.S. Military Academy at West Point. The nickname "Buzz" originated in childhood: the younger of his two elder sisters mispronounced "brother" as "buzzer", and this was shortened to Buzz. Aldrin made it his legal first name in 1988.^[7]

Military career[link]

Aldrin graduated third in his class at West Point in 1951 with a bachelor of science degree in mechanical engineering. He was commissioned as a second lieutenant in the U.S. Air Force and served as a jet fighter pilot during the Korean War. He flew 66 combat missions in F-86 Sabres and shot down two Mikoyan-Gurevich MiG-15 aircraft. The June 8, 1953, issue of LIFE magazine featured gun camera photos taken by Aldrin of one of the Russian pilots ejecting from his damaged aircraft.^[8]

After the war, Aldrin was assigned as an aerial gunnery instructor at Nellis Air Force Base in Nevada, and next was an aide to the dean of faculty at the U.S. Air Force Academy, which had recently begun operations in 1955. He flew F-100 Super Sabres as a flight commander at Bitburg Air Base, Germany in the 22nd Fighter Squadron. Aldrin then earned a doctor of science degree in astronautics from Massachusetts Institute of Technology. His graduate thesis was Line-of-sight guidance techniques for manned orbital rendezvous. On completion of his doctorate, he was assigned to the Gemini Target Office of the Air Force Space Systems Division in Los Angeles before his selection as an astronaut.

NASA career[link]

Aldrin walks on the surface of the moon during Apollo 11.

Aldrin was selected as part of the third group of NASA astronauts selected in October 1963. Because test pilot experience was no longer a requirement, this was the first selection for which he was eligible. After the deaths of the original Gemini 9 prime crew, Elliot See and Charles Bassett, Aldrin and Jim Lovell were promoted to back-up crew for the mission. The main objective of the revised mission (Gemini 9A) was to rendezvous and dock with a target vehicle, but when this failed, Aldrin improvised an effective exercise for the craft to rendezvous with a coordinate in space. He was confirmed as pilot on Gemini 12, the last Gemini mission and the last chance to prove methods for EVA. Aldrin set a record for extra-vehicular activity, demonstrating that astronauts could work outside spacecraft.

Aldrin's lunar footprint in a photo taken by him on July 20, 1969

On July 20, 1969, he became the second astronaut to walk on the moon and the first to spacewalk, keeping his record total EVA time until that was surpassed on Apollo 14. There has been much speculation about Aldrin's desire at the time to be the first astronaut to walk on the moon.^[9] According to different NASA accounts, he had originally been proposed as the first to step onto the moon's surface, but due to the physical positioning of the astronauts inside the compact lunar landing module, it was easier for the commander, Neil Armstrong, to be the first to exit the spacecraft.

Aldrin, a Presbyterian, was the first person to hold a religious ceremony on the moon. After landing on the moon, he radioed Earth: "I'd like to take this opportunity to ask every person listening in, whoever and wherever they may be, to pause for a moment and contemplate the events of the past few hours, and to give thanks in his or her own way." He gave himself Communion on the surface of the moon, but he kept it secret because of a lawsuit brought by atheist activist Madalyn Murray O'Hair over the reading of Genesis on Apollo 8.^[10] Aldrin, a church elder, used a pastor's home Communion kit given to him by Dean Woodruff and recited words used by his pastor at Webster Presbyterian Church.^[11][12] Webster Presbyterian Church, a local congregation in Webster, Texas, (a Houston suburb near the Johnson Space Center) possesses the chalice used for communion on the moon, and commemorates the event annually on the Sunday closest to July 20.^[13] Aldrin, a Freemason, also carried to the moon a special deputization from Grand Master J. Guy Smith, with which to claim Masonic territorial jurisdiction over the moon on behalf of the Grand Lodge of Texas.^[14]

Video from the Apollo 11 mission

Col Aldrin as Commandant of the Air Force Test Pilot School

Retirement[link]

After leaving NASA, Aldrin was assigned as the Commandant of the U.S. Air Force Test Pilot School at Edwards Air Force Base, California. In March 1972, Aldrin retired from active duty after 21 years of service, and returned to the Air Force in a managerial role, but his career was blighted by personal problems. His autobiographies Return To Earth, published in 1973, and Magnificent Desolation, published in June 2009, both provide accounts of his struggles with clinical depression and alcoholism in the years following his NASA career.^[15] His life improved considerably when he recognized and sought treatment for his problems, and with his marriage to Lois Driggs Cannon. Since retiring from NASA, he has continued to promote space exploration, including producing a computer strategy game called Buzz Aldrin's Race Into Space (1993). To further promote space exploration, and to commemorate the 40th anniversary of the first lunar landing, Aldrin teamed up with Snoop Dogg, Quincy Jones, Talib Kweli, and Soulja Boy to create the rap single and video, "Rocket Experience", with proceeds from video and song sales to benefit Aldrin's non-profit foundation, ShareSpace.^[16] In 1995, he made a featured appearance in the Charlton Heston, Mickey Rooney, Deborah Winters film America: A Call to Greatness, directed by Warren Chaney.^[17][18]

He referred to a "Phobos monolith" in a July 22, 2009, interview with C-Span: "We should go boldly where man has not gone before. Fly by the comets, visit asteroids, visit the moon of Mars. There's a monolith there. A very unusual structure on this potato shaped object that goes around Mars once in seven hours. When people find out about that they're going to say 'Who put that there? Who put that there?' The universe put it there. If you choose, God put it there…"^[19]

He voiced in the 2011 Futurama episode "Cold Warriors" as himself judging a high school science fair.

In 2011 Aldrin appeared as himself in the film Transformers: Dark of the Moon.

Aldrin also lent his voice talents to the 2012 blockbuster game Mass Effect 3.

Buzz Aldrin, February 2009

Aldrin Cycler[link]

In 1985, Aldrin proposed the existence of a special spacecraft trajectory now known as the Aldrin cycler.^[20][21] A spacecraft traveling on an Aldrin cycler trajectory would pass near the planets Earth and Mars on a regular (cyclic) basis. The Aldrin cycler is an example of a Mars cycler. He was also instrumental in the idea of training of astronauts underwater in order to better prepare them for the intricate space walks and duties of maintenance while in space.

Criticism of NASA[link]

In December 2003, Aldrin published an opinion piece in The New York Times criticizing NASA's objectives.^[22] In it, he voiced concern about NASA's development of a spacecraft "limited to transporting four astronauts at a time with little or no cargo carrying capability" and declared the goal of sending astronauts back to the moon was "more like reaching for past glory than striving for new triumphs".

Stance on anthropogenic global warming[link]

In 2009, Aldrin said he did not believe humans were causing current climate change: "I think the climate has been changing for billions of years. If it's warming now, it may cool off later. I'm not in favor of just taking short-term isolated situations and depleting our resources to keep our climate just the way it is today. I'm not necessarily of the school that we are causing it all, I think the world is causing it."^[23]

Books[link]

Books co-authored by Aldrin include Return to Earth (1973), Men From Earth (1989), Reaching for the Moon (2008), Look to the Stars (2009) and Magnificent Desolation (2009). He has also co-authored with John Barnes the science fiction novels Encounter with Tiber (1996) and The Return (2000).

Personal life[link]

Aldrin has been married three times: to Joan Archer, with whom he had three children, James, Janice, and Andrew; to Beverly Zile; and to Lois Driggs Cannon. He filed for divorce from Lois on June 15, 2011, in Los Angeles, citing “irreconcilable differences,” according to his attorney, one day after the couple separated.^[24]

His battles against depression and alcoholism have been documented, most recently in Magnificent Desolation.^[25][26] Aldrin is an active supporter of the Republican Party, headlining fundraisers for GOP members of Congress.^[27] In 2007, Aldrin confirmed to Time magazine that he had recently had a face-lift;^[28] he joked that the G-forces he was exposed to in space "caused a sagging jowl that needed some attention."^[28]

Honors[link]

Aldrin next to his window in the Lunar Module after the Apollo 11 moonwalk.

• Military decorations include the Air Force Distinguished Service Medal, the Legion of Merit, two awards of the Distinguished Flying Cross, and three awards of the Air Medal.
• NASA decorations include the NASA Distinguished Service Medal, the NASA Exceptional Service Medal, and two awards of the NASA Space Flight Medal.
• Civilian awards and decorations include the Presidential Medal of Freedom, the Robert J. Collier Trophy, the Robert H. Goddard Memorial Trophy, and the Harmon International Trophy.
• The crater Aldrin on the moon near the Apollo 11 landing site and Asteroid 6470 Aldrin^[29] are named in his honor.
• In 1967, Aldrin received an Honorary Doctorate of Science from Gustavus Adolphus College.
• In 2001, President Bush appointed Aldrin to the Commission on the Future of the United States Aerospace Industry.^[30][31]
• Aldrin received the 2003 Humanitarian Award from Variety, the Children's Charity, which, according to the organization, "is given to an individual who has shown unusual understanding, empathy, and devotion to mankind."^[32]
• Aldrin is on the National Space Society's Board of Governors, and has served as the organization's Chairman; an inductee of the Astronaut Hall of Fame; and a member of The Planetary Society, with Aldrin's pre-recorded voice appearing on nearly every episode of the Society's Planetary Radio.
• In 2006, the Space Foundation awarded Aldrin its highest honor, the General James E. Hill Lifetime Space Achievement Award,^[33] which is presented annually to recognize outstanding individuals who have distinguished themselves through lifetime contributions to the welfare or betterment of humankind through the exploration, development and use of space, or the use of space technology, information, themes or resources in academic, cultural, industrial or other pursuits of broad benefit to humanity.
• For contributions to the television industry, Aldrin was honored with a star on the Hollywood Walk of Fame at Hollywood and Vine.^[34]
• Inducted into the New Jersey Hall of Fame in 2007.
• In 2009, President Obama signed legislation conferring the Congressional Gold Medal upon Aldrin, his Apollo 11 crewmates, and John Glenn.
• In a 2010 Space Foundation survey, Aldrin was ranked as the #9 (tied with astronauts Gus Grissom and Alan Shepard) most popular space hero.^[35]
• In 2011, Aldrin was nominated for Best Cameo at the 2011 Sceam Awards for his role playing himself in Transformers: Dark of the Moon.

UFO claims[link]

In 2005, while being interviewed for a documentary titled First on the Moon: The Untold Story, Aldrin told an interviewer that they saw an unidentified flying object. Aldrin told David Morrison, an NAI Senior Scientist, that the documentary cut the crew's conclusion that they were probably seeing one of four detached spacecraft adapter panels. Their S-IVB upper stage was 6,000 miles away, but the four panels were jettisoned before the S-IVB made its separation maneuver so they would closely follow the Apollo 11 spacecraft until its first midcourse correction.^[36] When Aldrin appeared on The Howard Stern Show on August 15, 2007, Stern asked him about the supposed UFO sighting. Aldrin confirmed that there was no such sighting of anything deemed extraterrestrial, and said they were and are "99.9 percent" sure that the object was the detached panel.^[37][38][39]

Interviewed by the Science Channel, Aldrin mentioned seeing unidentified objects, and he claims his words were taken out of context; he asked the Science Channel to clarify to viewers he did not see alien spacecraft, but they refused.^[40]

References[link]

External links[link]

	Biography portal
	Spaceflight portal
	United States Air Force portal

Wikiquote has a collection of quotations related to: Buzz Aldrin

Wikimedia Commons has media related to: Buzz Aldrin

• Official website
• Buzz Aldrin's Official NASA Biography
• A February 2009 BBC News item about Buzz Aldrin's moon memories, looking forward to the 40th anniversary of the first moon landing
• "Satellite of solitude" by Buzz Aldrin: an article in which Aldrin describes what it was like to walk on the moon, Cosmos science magazine
• Video interview with Buzz Aldrin Buzz is shown an enlarged print of Tranquility Base and talks Graeme Hill through the points of significance.
• Video interview on AstrotalkUK
• Thought Economics Interview with Buzz Aldrin Buzz Aldrin interviewed about the relationship between humanity and space, the future of space exploration, its economics, and the commercial opportunities it presents.