Allmusic had this to say about the Residents: "Over the course of a recording career spanning several decades, the Residents remained a riddle of Sphinx-like proportions; cloaking their lives and music in a haze of willful obscurity, the band's members never identified themselves by name, always appearing in public in disguise -- usually tuxedos, top hats and giant eyeball masks -- and refusing to grant media interviews. Drawing inspiration from the likes of fellow innovators including Harry Partch, Sun Ra, and Captain Beefheart & His Magic Band, the Residents channelled the breadth of American music into their idiosyncratic, satiric vision, their mercurial blend of electronics, distortion, avant-jazz, classical symphonies and gratingly nasal vocals reinterpreting everyone from John Philip Sousa to James Brown while simultaneously expanding the boundaries of theatrical performance and multimedia interaction.
It was commonly accepted that the four-member group emigrated to San Francisco, California from Shreveport, Louisiana at some point in the early '70s. According to longtime group spokesman Jay Clem -- one member of the so-called Cryptic Corporation, the band's representative body -- they received their name when Warner Bros. mailed back their anonymous demo tape, addressed simply "for the attention of residents". Finding no takers for their oddball sounds, the Residents founded their own label, Ralph Records, for the purposes of issuing their 1972 debut "Santa Dog", released in a pressing of 300 copies which were mailed out to luminaries from Frank Zappa to President Richard Nixon. Their debut full-length, 1974's "Meet the Residents", reportedly sold fewer than 50 copies before the group was threatened with a lawsuit from Capitol Records over its cover, a twisted, dada-esque parody of the art to "Meet the Beatles".
The follow-up, 1974's neoclassical excursion "Not Available", was recorded with the intention of its music remaining unissued; locked in cold storage upon its completion, only a 1978 contractual obligation resulted in its eventual release. 1976's "The Third Reich 'N Roll" was the next official offering, a collection of pop oldies covers presented in a controversial jacket portraying Adolf Hitler clutching an enormous carrot. After a 1976 concert in Berkeley, California which cloaked the Residents behind an opaque screen, wrapped up like mummies -- the most famous of only three live performances mounted during their first decade of existence -- they issued an abrasive 1977 cover of The Rolling Stones' "Satisfaction", which became an underground hit on both sides of the Atlantic at the peak of the punk movement. As the decade drew to a close, the group released a flurry of recordings, further building upon their growing cult following; among them were 1978's "Duck Stab", 1979's "Eskimo" (purportedly a collection of native Arctic chants) and 1980's "Commercial Album", a compilation of 40 one-minute "pop songs" that aired on San Francisco radio only because the Residents played them during the advertising time they bought.
In 1981 the Residents embarked upon their "Mole Trilogy", a prog rock collection of albums -- 1981's "Mark of the Mole", 1982's "The Tunes of Two Cities" and 1985's "The Big Bubble" -- recounting an epic battle between a pair of tribes named the Moles and the Chubs; a lavish, multimedia tour, "The Mole Show", followed. In the interim, the group also mounted another ambitious project, the "American Composer" series, although only two of the projected titles -- 1984's "George & James" (a reinterpretation of songs by George Gershwin and James Brown) and 1986's "Stars & Hank Forever" (celebrating John Philip Sousa and Hank Williams) -- ever appeared. Instead, in the wake of financial and corporate difficulties which resulted in the creation of a New Ralph label, the Residents issued the one-off "God in Three Persons" (a talking blues outing), and 1989's "The King and Eye" (a reinterpretation of Elvis Presley standards).
After losing control of the Ralph label as well as their back catalog, the Residents regained the rights to their music in 1990 and began reissuing long-out-of-print material as well as the new "Freak Show", a meditation on circus sideshows and carnival dementia. Four years later, Freak Show was reissued as a CD-ROM, marking the group's first leap into the new digital interactive technology; "Have a Bad Day" followed in 1996, and included the soundtrack to the CD-ROM game "Bad Day on the Midway." In 1997, the band celebrated their silver anniversary with the release of the career-spanning overview "Our Tired, Our Poor, Our Huddled Masses". "Wormwood: Curious Stories From the Bible" followed the next year, with "Roadworms" (songs from Wormwood as performed in the stage show) being issued in mid-2000. They followed that up with the awesome "Icky Flix" DVD, an incredibly detailed collection of their videos that featured both old and new soundtracks, 5.1 Digital Stereo Surround sound, countless hidden videos and in-depth histories of each individual track. That was followed by another one of their rare tours, which saw them incorporate the DVD into their live act and bring out guest singer Molly Harvey for some truly creative duets. The "Petting Zoo" retrospective followed in the spring of 2002, acting as a budget sampler for new fans and giving old fans something to tide them over while several high concept projects neared completion. The first was "Demons Dance Alone", a complicated pop album that hearkened back to the catchier material from "Duck Stab" and the "Commercial Album". That was followed in 2002 by a live retrospective called "Kettles Of Fish On The Outskirts Of Town" that contained 3 cd's and a DVD, and a further look at their past via remasters and remixes put out by EuroRalph (including a remix of their previously unreleased and notorious "Warner Brothers Demo"). A DVD of the Demons Dance Alone tour came out in 2004 and another new project, "Animal Lover" was released in 2005."
Summer of 2006 brought the internet download project, The 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 21st of May 2008 they announced on their website that their first North America tour since "Demons Dance Alone" for a project entitled "The Bunny Boy" is set to begin on October 9th in New York — later an earlier date was added for Santa Cruz. Soon, it was announced that the tour will also include Europe, starting November 13th. On June 3rd, the Residents.com website boasted the planned release of "The Bunny Boy" which was released on September 1st. 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.
In October 2017, Hardy Fox identified himself as both the anonymous primary composer and producer for The Residents as well as the pseudonymous Charles Bobuck.
Hardy Fox died on October 30, 2018.
Boo Who
The Residents Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Where once was a calf
Now there just is a stare
Where once was a laugh
Now there just is a bone
Where once was a bath
Now a tinkery toy
A smile would make believe
That it had a friend
And tomorrow's name
Once never would end
The lyrics to The Residents' song "Boo Who?" reflect the idea of loss and transformation. The first stanza describes the physical changes that occur as something innocent and pure, represented by a calf, is replaced by something more hardened, represented by a cow. The second stanza takes this idea further, describing the loss of laughter and joy that accompanies this transformation. The third stanza is perhaps the most metaphorical, describing the process of decay and obsolescence that all things eventually go through. The "tinkery toy" is a symbol of this process, as it is reduced to nothing more than an "epitaph" of what it once was.
The final stanza hints at a kind of optimism, however. The idea that a smile could give the cow a sense of connection and friendship is a reminder that even in the face of loss and change, there is still the potential for renewal and growth. The line "tomorrow's name once never would end" suggests that even though everything is constantly transforming and changing, there is some enduring quality that remains.
Overall, "Boo Who?" is a poignant reflection on the passage of time and the inevitability of transformation. It is a reminder that even though things are constantly changing, there is still value in holding onto the fleeting moments of connection and joy that we can find along the way.
Line by Line Meaning
Now there just is a cow
The calf has now become a cow and nothing else is present.
Where once was a calf
Before the cow existed, there was a calf.
Now there just is a stare
There is only a blank and emotionless gaze.
Where once was a laugh
There was once laughter and joy, but it has now disappeared.
Now there just is a bone
All that remains is a lifeless skeleton.
Where once was a bath
The bath has been taken away and left nothing behind.
Now a tinkery toy
The object has been reduced in importance to being merely a cheap and insignificant toy.
Is an epitaph
It has now become a symbol of death and loss.
A smile would make believe
Putting on a happy facade would create an illusion of happiness.
That it had a friend
It would appear as if there was someone or something else there for support.
And tomorrow's name
The future has a name, but it remains unknown and uncertain.
Once never would end
At one point, the future seemed endless and full of possibilities, but now it is limited and confined.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Joy
Now there just is a cow
Where once was a calf
Now there just is a stare
Where once was a laugh
Now there just is a bone
Where once was a bath
Now a tink-er-y toy
Is an epi-taph
A smile - would make believe
That it had a friend
And tomorrow's name
Once never would end .
__________________________
Dankwart Denkhardt
It was in summer of 78 when I heard this song the first time, but I remember it as it was yesterday...
Nicolas Paparelli
eno tune
jcBurton2094
Like a faint echo of Isn't It a Pity by George Harrison
outlaweverything
You're amazing.