and techno. Influences The Residents have claimed to have been influenced by N. Senada (which may be a play on Ensenada, en se nada meaning "in himself nothing," no sé nada meaning "I don't know anything" or enseñada, a form of the past participle meaning "taught"), who they alleged was a Bavarian composer and music theorist who formulated the "Theory of Obscurity" and the "Theory of Phonetic Organization". His "Theory of Obscurity" states that an artist can only produce pure art when the expectations and influences of the outside world are not taken into consideration; while his "Theory of Phonetic Organization" states, "the musician should put the sounds first, building the music up from [them] rather than developing the music, then working down to the sounds that make it up." There is a debate as to whether or not Senada, supposedly having been born in 1907 and dying in 1993 at the age of 86, actually existed, or was simply an invention of the Residents. It is frequently speculated that, if real, N. Senada may have been the famous avant-garde composer and instrument designer Harry Partch, the influence of whose work may be heard in Residents compositions such as "Six Things to a Cycle"; his death is also referenced in the song "Death in Barstow". Another rumor speculates that N. Senada may have been Captain Beefheart, because in the late 1960s Beefheart and his "Magic Band" lived in a residence on Ensenada Drive in Woodland Hills, California, while recording Trout Mask Replica and Safe as Milk; Beefheart's influence can also be heard in early Residents works. The Residents also sent an early demo tape to the Warner Brothers executive Hal Halverstadt, who had signed Beefheart. According to the Residents, in 1937, N. Senada premiered his masterpiece, Pollex Christi, which means either Thumb of Christ or Big Toe of Christ. This work mainly consisted of borrowed pieces from other composers, namely Beethoven's Symphony No. 5 and Carl Orff's Carmina Burana, among others. He also left large holes in the work so that the performers could insert music of their choosing, thus "becoming composers themselves". Senada justified his work with "house" analogies claiming that he did not make the "bricks" but "cemented them together"; he was not the "architect", just the "builder". N. Senada allegedly collaborated with the Residents on their work prior to Santa Dog and Meet the Residents, and then