A18.Inglish BCEnc. Blauwe Kaas Encyclopedie, Duaal Hermeneuties Kollegium.

Inglish Site.18.
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TO THE THRISE HO-
NOVRABLE AND EVER LY-
VING VERTVES OF SYR PHILLIP
SYDNEY KNIGHT, SYR JAMES JESUS SINGLETON, SYR CANARIS, SYR LAVRENTI BERIA ; AND TO THE
RIGHT HONORABLE AND OTHERS WHAT-
SOEVER, WHO LIVING LOVED THEM,
AND BEING DEAD GIVE THEM
THEIRE DVE.
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In the beginning there is darkness. The screen erupts in blue, then a cascade of thick, white hexadecimal numbers and cracked language, ?UnusedStk? and ?AllocMem.? Black screen cedes to blue to white and a pair of scales appear, crossed by a sword, both images drawn in the jagged, bitmapped graphics of Windows 1.0-era clip-art?light grey and yellow on a background of light cyan. Blue text proclaims, ?God on tap!?
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Introduction.
Yes i am getting a little Mobi-Literate(ML) by experimenting literary on my Mobile Phone. Peoplecall it Typographical Laziness(TL).
The first accidental entries for the this part of this encyclopedia.
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This is TempleOS V2.17, the welcome screen explains, a ?Public Domain Operating System? produced by Trivial Solutions of Las Vegas, Nevada. It greets the user with a riot of 16-color, scrolling, blinking text; depending on your frame of reference, it might recall ?DESQview, the ?Commodore 64, or a host of early DOS-based graphical user interfaces. In style if not in specifics, it evokes a particular era, a time when the then-new concept of ?personal computing? necessarily meant programming and tinkering and breaking things.
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Index.
81."Justified And Ancient" and The KLF.
83.Alternate history in literature.
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83.
Antiquity and medieval.
The earliest example of an alternate (or counterfactual) history is found in Livy's Ab Urbe condita (book IX, sections 17?19). Livy contemplated an alternative 4th century BC in which Alexander the Great expanded his empire westward instead of eastward; he asked, "What would have been the results for Rome if she had been engaged in war with Alexander?" Livy concluded that the Romans would likely have defeated Alexander.
Joanot Martorell's 1490 epic romance Tirant lo Blanc, written when the loss of Constantinople to the Turks was still a recent and traumatic memory to Christian Europe, tells the story of the valiant knight Tirant The White from Brittany who gets to the embattled remnant of the Byzantine Empire, becomes a Megaduke and commander of its armies, and manages to fight off the invading Ottoman armies of Mehmet II, save the city from Islamic conquest, and even chase the Turks deeper into lands they had conquered before.
19th century.
One of the earliest works of alternate history published in large quantities for the reception of a popular audience may be the French Louis Geoffroy's Histoire de la Monarchie universelle: Napoléon et la conquête du monde (1812?1832) (History of the Universal Monarchy: Napoleon And The Conquest Of The World) (1836), which imagines Napoleon's First French Empire victorious in the French invasion of Russia in 1811 and in an invasion of England in 1814, later unifying the world under Bonaparte's rule.
In the English language, the first known complete alternate history is Nathaniel Hawthorne's short story "P.'s Correspondence", published in 1845. It recounts the tale of a man who is considered "a madman" due to his perceiving a different 1845, a reality in which long-dead famous people are still alive such as the poets Burns, Byron, Shelley, and Keats, the actor Edmund Kean, the British politicians George Canning, Arthur Wellesley, 1st Duke of Wellington, and even Napoleon Bonaparte.
The first novel-length alternate history in English would seem to be Castello Holford's Aristopia (1895). While not as nationalistic as Louis Geoffroy's Napoléon et la conquête du monde, 1812?1823, Aristopia is another attempt to portray a utopian society. In Aristopia, the earliest settlers in Virginia discover a reef made of solid gold and are able to build a Utopian society in North America.
Early 20th century and the era of the pulps.
A number of alternate history stories and novels appeared in the late 19th and early 20th centuries (see, for example, Charles Petrie's If: A Jacobite Fantasy [1926]).[14] In 1931, British historian Sir John Squire collected a series of essays from some of the leading historians of the period in the anthology If It Had Happened Otherwise. In this work, scholars from major universities as well as important non-university-based authors turned their attention to such questions as "If the Moors in Spain Had Won" and "If Louis XVI Had Had an Atom of Firmness". The essays range from serious scholarly efforts to Hendrik Willem van Loon's fanciful and satiric portrayal of an independent 20th century Dutch city state on the island of Manhattan. Among the authors included were Hilaire Belloc, André Maurois, and Winston Churchill.
One of the entries in Squire's volume was Churchill's "If Lee Had Not Won the Battle of Gettysburg," written from the viewpoint of a historian in a world where the Confederacy had won the American Civil War, considering what would have happened if the north had been victorious (in other words, a character from an alternate world imagining a world more like the real one we live in, although not identical in every detail). This kind of speculative work, which posts from the point of view of an alternate history is variously known as a "recursive alternate history", a "double-blind what-if" or an "alternate-alternate history". Churchill's essay was one of the influences behind Ward Moore's alternate universe novel Bring the Jubilee,[citation needed] in which General Robert E. Lee won the Battle of Gettysburg, which paved the way for the eventual Confederacy victory in the American Civil War, renamed the "War of Southron Independence" in this timeline. The protagonist, autodidact Hodgins Backmaker, travels back to the aforementioned battle and inadvertently changes history, resulting in the emergence of our own timeline, and the consequent victory of the Union instead.
American humorist author James Thurber parodied alternate history stories about the American Civil War in his 1930 story, "If Grant had been drinking at Appomattox", which he accompanied with this very brief introduction: "Scribner's magazine is publishing a series of three articles: 'If Booth Had Missed Lincoln', 'If Lee Had Won the Battle of Gettysburg', and 'If Napoleon Had Escaped to America'. This is the fourth."
Another example of alternate history from this period (and arguably the first to explicitly posit cross-time travel from one universe to another as anything more than a visionary experience) is H.G. Wells' Men Like Gods (1923) in which several Englishmen are transferred via an accidental encounter with a cross-time machine into an alternate universe featuring a seemingly pacifistic and utopian Britain. When the Englishmen, led by a satiric figure based on Winston Churchill, try to seize power, the utopians simply point a ray gun at them and send them on to someone else's universe. Wells describes a multiverse of alternative worlds, complete with the paratime travel machines that would later become popular with U.S. pulp writers, but since his hero experiences only a single alternate world this story is not very different from conventional alternate history.
The 1930s would see alternate history move into a new arena. The December 1933 issue of Astounding published Nat Schachner's "Ancestral Voices," quickly followed by Murray Leinster's "Sidewise in Time". While earlier alternate histories examined reasonably straightforward divergences, Leinster attempted something completely different. In his "world gone mad", pieces of Earth traded places with their analogs from different timelines. The story follows Professor Minott and his students from a fictitious Robinson College as they wander through analogues of worlds that followed a different history.
The world in 1964 in the novel Fatherland where the Germans won World War II.
A somewhat similar approach was taken by Robert A. Heinlein in his 1941 novelette Elsewhen. A professor trains his mind to move his body across timelines. He then hypnotizes his students so they can explore more of them. Eventually each settles in the reality most suitable for him or her. Some of the worlds they visit are mundane, some very odd, and others follow science fiction or fantasy conventions.
World War II produced alternate history for propaganda: both British and American authors wrote works depicting Nazi invasions of their respective countries as cautionary tales.
Time travel as a means of creating historical divergences.
The period around the second World War also saw the publication of the time travel novel Lest Darkness Fall by L. Sprague de Camp where an American academic travels to the Italy of the Ostrogoths at the time of the Byzantine invasion led by Belisarius. De Camp's work is concerned with the historical changes wrought by his time traveler, Martin Padway, thereby making the work an alternate history. Padway is depicted as making permanent changes and implicitly forming a new time branch.
Time travel as the cause of a point of divergence (POD, creating two histories where before there was one, or simply replacing the future that existed before the time traveling event) has continued to be a popular theme. In Ward Moore's Bring the Jubilee, the protagonist lives in an alternate history in which the Confederate States of America won the Civil War, and he travels through time and brings about a Union victory in the Battle of Gettysburg.
When a story's assumptions about the nature of time travel lead to the complete replacement of the visited time's future rather than just the creation of an additional time line, the device of a "time patrol" is often used, most notably in Poul Anderson's "Time Patrol" collection ? where guardians race uptime and downtime to preserve the "correct" history. In the most celebrated of this series, Delenda Est, the interference of time-travelling outlaws causes Carthage to win the Second Punic War and destroy Rome with massive consequences for the present day.
A more recent example is Making History by Stephen Fry, in which a time machine is used to alter history so that Adolf Hitler was never born ? which ironically results in a more competent Nazi leader who has none of Hitler's faults or syphilis-induced mental illness, resulting in Nazi ascendancy and longevity in this altered timeline.
Cross-time stories.
H.G. Wells' "cross-time"/"many universes" variant (see above) was fully developed by Murray Leinster in his 1934 short story "Sidewise in Time" where sections of the Earth's surface begin changing places with their counterparts in alternate timelines.
This subgenre was used early on for purposes far removed from quasi-academic examination of alternative outcomes to historical events. Fredric Brown employed it to satirize the science fiction pulps and their adolescent readers?and fears of foreign invasion?in the classic What Mad Universe (1949). In Clifford D. Simak's Ring Around the Sun (1953), the hero ends up in an alternate earth of thick forests in which humanity never developed but where a band of mutants is establishing a colony; the story line appears to frame the author's anxieties regarding McCarthyism and the Cold War.
Paratime themes.
Also in the late 1940s and the 1950s, however, writers such as H. Beam Piper, Sam Merwin, Jr. and Andre Norton wrote thrillers set in a multiverse in which all alternate histories are co-existent and travel between them occurs via a technology involving portals and/or paratime capsules. These authors established the convention of a secret paratime trading empire that exploits and/or protects worlds lacking the paratime technology via a network of James Bond-style secret agents (Piper called them the "paratime police").
This concept provided a convenient framing for packing a smorgasbord of historical alternatives (and even of timeline "branches") into a single novel, either via the hero chasing or being chased by the villain(s) through multiple worlds or (less artfully) via discussions between the paratime cops and their superiors (or between paratime agents and new recruits) regarding the histories of such worlds.
The paratime theme is sometimes used without the police; Poul Anderson dreamed up the Old Phoenix tavern as a nexus between alternate histories. A character from a modern American alternate history Operation Chaos can thus appear in the English Civil War setting of A Midsummer's Tempest. In this context, the distinction between an alternate history and a parallel universe with some points in common but no common history may not be feasible, as the writer may not provide enough information to distinguish.
Paratime thrillers published in recent decades often cite the many-worlds interpretation of quantum mechanics (first formulated by Hugh Everett III in 1957) to account for the differing worlds. Some science fiction writers interpret the splitting of worlds to depend on human decision-making and free will, while others rely on the butterfly effect from chaos theory to amplify random differences at the atomic or subatomic level into a macroscopic divergence at some specific point in history; either way, science fiction writers usually have all changes flow from a particular historical point of divergence (often abbreviated 'POD' by fans of the genre). Prior to Everett, science-fiction writers drew on higher dimensions and the speculations of P. D. Ouspensky to explain their characters' cross-time journeys.
Quantum theory of many worlds.
While many justifications for alternate histories involve a multiverse, the "many world" theory would naturally involve many worlds, in fact a continually exploding array of universes. In quantum theory, new worlds would proliferate with every quantum event, and even if the writer uses human decisions, every decision that could be made differently would result in a different timeline. A writer's fictional multiverse may, in fact, preclude some decisions as humanly impossible, as when, in Night Watch, Terry Pratchett depicts a character informing Vimes that while anything that can happen, has happened, nevertheless there is no history whatsoever in which Vimes has ever murdered his wife. When the writer explicitly maintains that all possible decisions are made in all possible ways, one possible conclusion is that the characters were neither brave, nor clever, nor skilled, but simply lucky enough to happen on the universe in which they did not choose the cowardly route, take the stupid action, fumble the crucial activity, etc.; few writers focus on this idea, although it has been explored in stories such as Larry Niven's All the Myriad Ways, where the reality of all possible universes leads to an epidemic of suicide and crime because people conclude their choices have no moral import.
In any case, even if it is true that every possible outcome occurs in some world, it can still be argued that traits such as bravery and intelligence might still affect the relative frequency of worlds in which better or worse outcomes occurred (even if the total number of worlds with each type of outcome is infinite, it is still possible to assign a different measure to different infinite sets). The physicist David Deutsch, a strong advocate of the many-worlds interpretation of quantum mechanics, has argued along these lines, saying that "By making good choices, doing the right thing, we thicken the stack of universes in which versions of us live reasonable lives. When you succeed, all the copies of you who made the same decision succeed too. What you do for the better increases the portion of the multiverse where good things happen."[19] This view is perhaps somewhat too abstract to be explored directly in science fiction stories, but a few writers have tried, such as Greg Egan in his short story The Infinite Assassin, where an agent is trying to contain reality-scrambling "whirlpools" that form around users of a certain drug, and the agent is constantly trying to maximize the consistency of behavior among his alternate selves, attempting to compensate for events and thoughts he experiences but he guesses are of low measure relative to those experienced by most of his other selves.
Many writers?perhaps the majority?avoid the discussion entirely. In one novel of this type, H. Beam Piper's Lord Kalvan of Otherwhen, a Pennsylvania State Police officer, who knows how to make gunpowder, is transported from our world to an alternate universe where the recipe for gunpowder is a tightly held secret and saves a country that is about to be conquered by its neighbors. The paratime patrol members are warned against going into the timelines immediately surrounding it, where the country will be overrun, but the book never depicts the slaughter of the innocent thus entailed, remaining solely in the timeline where the country is saved.
The cross-time theme was further developed in the 1960s by Keith Laumer in the first three volumes of his Imperium sequence, which would be completed in Zone Yellow (1990). Piper's politically more sophisticated variant was adopted and adapted by Michael Kurland and Jack Chalker in the 1980s; Chalker's G.O.D. Inc trilogy (1987?89), featuring paratime detectives Sam and Brandy Horowitz, marks the first attempt at merging the paratime thriller with the police procedural.[citation needed] Kurland's Perchance (1988), the first volume of the never-completed "Chronicles of Elsewhen", presents a multiverse of secretive cross-time societies that utilize a variety of means for cross-time travel, ranging from high-tech capsules to mutant powers. Harry Turtledove has launched the Crosstime Traffic series for teenagers featuring a variant of H. Beam Piper's paratime trading empire.
Rival paratime worlds.
The concept of a cross-time version of a world war, involving rival paratime empires, was developed in Fritz Leiber's Change War series, starting with the Hugo Award winning The Big Time (1958); followed by Richard C. Meredith's Timeliner trilogy in the 1970s, Michael McCollum's A Greater Infinity (1982) and John Barnes' Timeline Wars trilogy in the 1990s.
Such "paratime" stories may include speculation that the laws of nature can vary from one universe to the next, providing a science fictional explanation?or veneer?for what is normally fantasy. Aaron Allston's Doc Sidhe and Sidhe Devil take place between our world, the "grim world" and an alternate "fair world" where the Sidhe retreated to. Although technology is clearly present in both worlds, and the "fair world" parallels our history, about fifty years out of step, there is functional magic in the fair world. Even with such explanation, the more explicitly the alternate world resembles a normal fantasy world, the more likely the story is to be labeled fantasy, as in Poul Anderson's "House Rule" and "Loser's Night."
In both science fiction and fantasy, whether a given parallel universe is an alternate history may not be clear. The writer might allude to a POD only to explain the existence and make no use of the concept, or may present the universe without explanation to its existence.
Major writers explore alternate histories.
In 1962, Philip K. Dick published The Man in the High Castle, an alternate history in which Nazi Germany and Imperial Japan won World War II. This book contained an example of "alternate-alternate" history, in that one of its characters is the author of a book depicting a reality in which the Allies won the war, itself divergent from real-world history in several aspects.
It was followed by Vladimir Nabokov's Ada or Ardor: A Family Chronicle (1969), a story of incest that takes place within an alternate North America settled in part by Czarist Russia, and that borrows from Dick's idea of "alternate-alternate" history (the world of Nabokov's hero is wracked by rumors of a "counter-earth" that apparently is ours). Some critics believe that the references to a counter-earth suggest that the world portrayed in Ada is a delusion in the mind of the hero (another favorite theme of Dick's novels). Strikingly, the characters in Ada seem to acknowledge their own world as the copy or negative version, calling it "Anti-Terra" while its mythical twin is the real "Terra." Not only history but science has followed a divergent path on Anti-Terra: it boasts all the same technology as our world, but all based on water instead of electricity. When a character in Ada makes a long-distance call, all the toilets in the house flush at once to provide hydraulic power.
Isaac Asimov's short story What If-- is about a couple who can explore alternate realities by means of a television-like device. This idea can also be found in Asimov's 1955 novel The End of Eternity. In that novel, the "Eternals" can change the realities of the world, without people being aware of it.
Guido Morselli described the defeat of Italy (and subsequently France) in World War I in his 1975 novel Past Conditional (Contro-passato prossimo) where the static Alpine front line which divided Italy from Austria during that war collapses when the Germans and the Austrians forsake trench warfare and adopt blitzkrieg twenty years in advance.
Kingsley Amis set his 1976 novel The Alteration in the 20th century, but major events in the Reformation did not take place, and Protestantism is limited to the breakaway Republic of New England. Martin Luther was reconciled to the Roman Catholic Church and later became Pope Germanian I.
The Plot Against America (2004) by Philip Roth looks at an America where Franklin D. Roosevelt is defeated in 1940 in his bid for a third term as President of the United States, and Charles Lindbergh is elected, leading to increasing fascism and anti-Semitism in the U.S.
Michael Chabon, occasionally an author of speculative fiction, contributed to the genre with his 2007 novel The Yiddish Policemen's Union. This book explores a world in which the State of Israel was destroyed in its infancy and many of the world's Jews instead live in a small strip of Alaska set aside by the US government for Jewish settlement. The story follows a Jewish detective solving a murder case in the Yiddish-speaking city of Sitka. Stylistically, Chabon borrows heavily from the noir and detective fiction genres, while exploring social issues related to Jewish history and culture.
Contemporary alternate history in popular literature.
The late 1980s and the 1990s saw a boom in popular-fiction versions of alternate history, fueled by the emergence of the prolific alternate history author Harry Turtledove, as well as the development of the steampunk genre and two series of anthologies?the What Might Have Been series edited by Gregory Benford and the Alternate ... series edited by Mike Resnick. This period also saw alternate history works by S.M. Stirling, Kim Stanley Robinson, Harry Harrison, Howard Waldrop, and others.
Since the late 1990s, Harry Turtledove has been the most prolific practitioner of alternate history and has been given the title "Master of Alternate History" by some.[20] His books include those of Timeline 191 (a.k.a. Southern Victory), in which, while the Confederate States of America won the American Civil War, the Union and Imperial Germany defeat the Entente Powers in the two "Great War"s of the 1910s and 1940s (with a Nazi-esque Confederate government attempting to exterminate its Black population), and the Worldwar series, in which aliens invaded Earth during World War II. Other stories by Turtledove include A Different Flesh, in which America was not colonized from Asia during the last ice age; In the Presence of Mine Enemies, in which the Nazis won World War II; and Ruled Britannia, in which the Spanish Armada succeeded in conquering Britain in the Elizabethan era, with William Shakespeare being given the task of writing the play that will motivate the Britons to rise up against their Spanish conquerors. He also co-authored a book with actor Richard Dreyfuss The Two Georges, in which the United Kingdom retained the American colonies, with George Washington and King George III making peace. He did a two-volume series in which the Japanese not only bombed Pearl Harbor but also invaded and occupied the Hawaiian Islands.
Perhaps the most incessantly explored theme in popular alternate history focuses on worlds in which the Nazis won World War Two. In some versions, the Nazis and/or Axis Powers conquer the entire world; in others, they conquer most of the world but a "Fortress America" exists under siege; while in others, there is a Nazi/Japanese Cold War comparable to the US/Soviet equivalent in 'our' timeline. Fatherland (1992) by Robert Harris, is set in Europe following the Nazi victory. Several writers have posited points of departure for such a world but then have injected time splitters from the future or paratime travel for instance James P. Hogan's The Proteus Operation. Norman Spinrad wrote The Iron Dream in 1972, which is intended to be a science fiction novel written by Adolf Hitler after fleeing from Europe to North America in the 1920s.
In Jo Walton's "Small Change" series, the United Kingdom made peace with Hitler before the involvement of the United States in World War II, and fascism slowly strangled the UK. Former House Speaker Newt Gingrich and William R. Forstchen have written a novel, 1945, in which the U.S. defeated Japan but not Germany in World War II, resulting in a Cold War with Germany rather than the Soviet Union. Gingrich and Forstchen neglected to write the promised sequel; instead, they wrote a trilogy about the American Civil War, starting with Gettysburg: A Novel of the Civil War, in which the Confederates win a victory at the Battle of Gettysburg - however, after Lincoln responds by bringing Grant and his forces to the eastern theater, the Army of Northern Virginia is soon trapped and destroyed in Maryland, and the war ends within weeks. Also from that general era, Martin Cruz Smith, in his first novel, posited an independent American Indian nation following the defeat of Custer in The Indians Won (1970).
Beginning with The Probability Broach in 1981, L. Neil Smith wrote several novels that postulated the disintegration of the U.S. Federal Government during the Whiskey Rebellion and the creation of a libertarian utopia.
A recent time traveling splitter variant involves entire communities being shifted elsewhere to become the unwitting creators of new time branches. These communities are transported from the present (or the near-future) to the past or to another time-line via a natural disaster, the action of technologically advanced aliens, or a human experiment gone wrong. S. M. Stirling wrote the Island in the Sea of Time trilogy, in which Nantucket Island and all its modern inhabitants are transported to Bronze Age times to become the world's first superpower. In Eric Flint's 1632 series, a small town in West Virginia is transported to 17th century central Europe and drastically changes the course of the Thirty Years' War, which was then underway. John Birmingham's Axis of Time trilogy deals with the culture shock when a United Nations naval task force from 2021 finds itself back in 1942 helping the Allies against the Empire of Japan and the Germans (and doing almost as much harm as good in spite of its advanced weapons). Similarly, Robert Charles Wilson's Mysterium depicts a failed U.S. government experiment which transports a small American town into an alternative version of the U.S. run by believers in a form of Christianity known as Gnosticism, who are engaged in a bitter war with the "Spanish" in Mexico (the chief scientist at the laboratory where the experiment occurred is described as a Gnostic, and references to Christian Gnosticism appear repeatedly in the book).
Alternate history in the contemporary fantasy genre.
Many fantasies and science fantasies are set in a world that has a history somewhat similar to our own world, but with magic added. Some posit points of divergence, but some also feature magic altering history all along. One example of a universe that is in part historically recognizable but also obeys different physical laws is Poul Anderson's Three Hearts and Three Lions in which the Matter of France is history, and the fairy folk are real and powerful. A partly familiar European history for which the author provides a point of divergence is Randall Garrett's "Lord Darcy" series: a monk systemizing magic rather than science, so the use of foxglove to treat heart disease is called superstition. The other great point of divergence in this timeline occurs in 1199, when Richard the Lionheart survives the Siege of Chaluz and returns to England, making the Angevin Empire so strong it survives into the 20th century.
Jonathan Strange & Mr Norrell takes place in an alternative version of England where a separate Kingdom ruled by the Raven King and founded on magic existed in Northumbria for over 300 years. In Patricia Wrede's Regency fantasies, Great Britain has a Royal Society of Wizards, and in Poul Anderson's A Midsummer Tempest William Shakespeare is remembered as the Great Historian, with the novel itself taking place in the era of Oliver Cromwell and Charles I, with an alternate outcome for the English Civil War and an earlier Industrial Revolution.
The Tales of Alvin Maker series by Orson Scott Card (a parallel to the life of Joseph Smith, Jr., founder of the Latter Day Saint movement) takes place in an alternate America, beginning in the early 19th century. Prior to that time, a POD occurred: England, under the control of Oliver Cromwell, had banished "makers", or anyone else demonstrating "knacks" (an ability to perform seemingly supernatural feats) to the North American continent. Thus the early American colonists embraced as perfectly ordinary these gifts, and counted on them as a part of their daily lives. The political division of the continent is considerably altered, with two large English colonies bookending a smaller "American" nation, one aligned with England, and the other governed by exiled Cavaliers. Actual historical figures are seen in a much different light: Ben Franklin is revered as the continent's finest "maker", George Washington was executed at the hands of an English army, and "Tom" Jefferson is the first president of "Apallachee", the result of a compromise between the Continentals and the British.
On the other hand, when the "Old Ones" still manifest themselves in England in Keith Roberts's Pavane, which takes place in a technologically backward world after a Spanish assassination of Elizabeth I allowed the Spanish Armada to conquer England, the possibility that the fairies were real but retreated from modern advances makes the POD possible: the fairies really were present all along, in a secret history. Again, in the English Renaissance fantasy Armor of Light by Melissa Scott and Lisa A. Barnett, the magic used in the book, by Dr. John Dee and others, actually was practiced in the Renaissance; positing a secret history of effective magic makes this an alternate history with a POD, Sir Philip Sidney's surviving the Battle of Zutphen, and shortly thereafter saving the life of Christopher Marlowe.
Many works of fantasy posit a world in which known practi.
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81."Justified And Ancient" and The KLF.
The KLF (also known as The Justified Ancients of Mu Mu, The Timelords and other names) were one of the seminal bands of the British acid house movement during the late 1980s and early 1990s.
Beginning in 1987, Bill Drummond (alias King Boy D) and Jimmy Cauty (alias Rockman Rock) released hip hop-inspired and sample-heavy records as The Justified Ancients of Mu Mu, and on one occasion (the British number one hit single "Doctorin' the Tardis") as The Timelords. The KLF released a series of international hits on their own KLF Communications record label, and became the biggest-selling singles act in the world for 1991. The duo also published a cynical book, The Manual (How to Have a Number One the Easy Way), and worked on a road movie called The White Room.
From the outset, they adopted the philosophy espoused by esoteric novel series The Illuminatus! Trilogy, gaining notoriety for various anarchic situationist manifestations, including the defacement of billboard adverts, the posting of prominent cryptic advertisements in NME magazine and the mainstream press, and highly distinctive and unusual performances on Top of the Pops. Their most notorious performance was a collaboration with Extreme Noise Terror at the February 1992 BRIT Awards, where they fired machine gun blanks into the audience and dumped a dead sheep at the aftershow party. This performance announced The KLF's departure from the music business, and in May 1992 the duo deleted their entire back catalogue.
With The KLF's profits, Drummond and Cauty established the K Foundation and sought to subvert the art world, staging an alternative art award for the worst artist of the year and burning one million pounds sterling. Drummond and Cauty remained true to their word of May 1992?the KLF Communications catalogue remains deleted in the UK, but The White Room is still being pressed in the US by Arista. They have released a small number of new tracks since then, as the K Foundation, The One World Orchestra and most recently, in 1997, as 2K.
"Justified & Ancient" is a song by British band the KLF (Bill Drummond and Jimmy Cauty) which featured on their 1991 album The White Room but with origins dating back to the duo's debut album, 1987 (What the Fuck Is Going On?).
The song is best known for its remake that was released in November 1991 as a pop-house single subtitled "Stand by The JAMs", with verses featuring the vocals of American country music singer Tammy Wynette. This version was an international hit, reaching #2 on both the UK Singles Chart, and the U.S. dance charts, #11 on the U.S. Billboard Hot 100, and hitting #1 in 18 countries.
Despite its success, "Justified & Ancient (Stand by the JAMs)" was the final release by the KLF through retail channels as well the second-to-last altogether release from the KLF (the last release being the mail-order only "3 a.m. Eternal") before Drummond and Cauty quit the music business and retired the KLF name.
"Justified And Ancient"
All bound for Mu Mu Land
All bound for Mu Mu Land
(hey)
(hey hey)
All bound for Mu Mu Land (justified)
(hey hey)
All bound for Mu Mu Land
(Bring the beat back!)_
They're Justified, and they're Ancient,
And they like to roam the land.
(just roll it from the top)
They're Justified, and they're Ancient,
I hope you understand.
(to the bridge, to the bridge, to the bridge now)
They called me up in Tennessee
They said "Tammy, stand by The Jams"
But if you don't like what they're going to do,
You better not stop them 'cause they're coming through
(bring the beat back)_
(Hey hey)
All bound for Mu Mu Land (justified)
(Hey hey)
All bound for Mu Mu Land (justified)
(Ancients of Mu Mu)_
Mu Mu Land
Mu Mu Land
All bound for Mu Mu Land_
They're Justified, and they're Ancient,
And they drive an ice cream van.
(just roll it from the top)
They're Justified and they're Ancient,
With still no master plan.
(to the bridge, to the bridge, to the bridge now)
The last train left an hour ago,
They were singing "All aboard"
All bound for Mu Mu Land,
Then someone starting screaming "Turn up the Strobe"
(bring the beat back)_
(Hey hey)
All bound for Mu Mu Land (justified)
(Hey hey)
All bound for Mu Mu Land (Ancients of Mu Mu)
(Bring the beat back)_
Justified and Ancient, Ancient and a-justified,
Rocking to the rhythm in their ice cream van
with the plan and the key to
enter into Mu Mu
Vibes from the tribes of the Jams_
I know where the beat is at,
'cos I know what time it is
Bring home a dime,
Make mine a "99"_
New style, meanwhile, always on a mission while
Fishing in the rivers of life
Fishing in the rivers of life (hoi)
Fishing in the rivers of life (hoi)
Fishing in the rivers
Fishing in the rivers
Fishing in the rivers of life (hoi)_
Voo-va-voolie
Za-shi-va-zom
Voo-va-voolie
(Bring the beat back)_
(Hey hey)
All bound for Mu Mu Land (justified)
(Hey hey)
All bound for Mu Mu Land (Ancients of Mu Mu)_
They have travelled the world
With the ice cream van
Their voyage, the bottom of time
They have entered the place
with the Mu Mu mate
And their children so pride
Mine as a "99"
(Bring the beat back)_
Mu Mu Land (Ancients of Mu Mu)
Mu Mu Land (Ancients of Mu Mu)
All bound for Mu Mu Land_
Mu Mu Land (Ancients of Mu Mu)
Mu Mu Land (Ancients of Mu Mu)
All bound for Mu Mu Land_
Mu Mu Land
Mu Mu Land
All bound for Mu Mu Land_
The title "Justified & Ancient" refers to the KLF's pseudonym and earlier incarnation, "The Justified Ancients of Mu Mu" (The JAMs). The JAMs took their name from a fictional subversive cult from the 1970s conspiratorial novels The Illuminatus! Trilogy. Just as the fictional JAMs made it their remit to propagate chaos and confusion, so too did the real JAMs and the KLF. Their attempts to subvert the music industry and other establishments were frequent, unconcealed and controversial. The song "Justified & Ancient" is a statement of identity and rebellious intent. Moreover, it deliberately understates this intent. In contrast to the provocative and abrasive lyrics of the JAMs' album 1987 (What the Fuck Is Going On?), on which "Justified & Ancient" first appeared, the song has a soft and innocuous tune, and quaint lyrics:
"We don't want to upset the apple-cart (Kallisti), and we don't want to cause any harm, but if you don't like what we're going to do, you'd better not stop us 'cause we're coming through."
The words and music of "Justified & Ancient" feature several times in the work of The KLF and The JAMs, including their first album and their last full-release single.
The melody and one repeated lyrical verse of the song first appeared as part of "Hey Hey We Are Not The Monkees" from The JAMs' debut album, 1987: What The Fuck Is Going On?. All of the album's most prominent characteristics are notably absent in this part of "Hey Hey...", which has female vocals (as opposed to the rapping of The JAMs' Scottish co-founder Bill Drummond), inoffensive lyrics, and it is free from plagiarised samples of other artists' recordings. Also in contrast, "Hey Hey" itself begins with a minute's worth of typical human sexual intercourse noises, arranged as a rhythm. It progresses into a cryptic and bleak spoken verse from Drummond and descends into a cacophony of samples from "The Monkees Theme". An abrupt cut takes the track into the gentle "Justified & Ancient" vocal line, which is syncopated similarly to African music and is at first a cappella.
In 1990, the recording re-appeared on The KLF's ambient album, Chill Out, in a part of the composition titled "Justified & Ancient Seems a Long Time Ago". This time the song provides a complement rather than a contrast to the mood of the album, which is passive and contains various authentic ethnic sounds.
In March 1991, a full song called "Justified & Ancient" appeared on The KLF's album The White Room. Sung by Black Steel, the song begins and ends the album. This version retains the lyrics and melody, adds an additional verse, and full song structure and instrumentation is present, in an arrangement akin to a lullaby. Where the song starts the album, it is interrupted at the point "...they're coming through" by urgent "Mu Mu!" samples and blazing machine guns that open the house track "What Time Is Love?". At the end of the mellower second half of the album, the song is presented in its entirety.
In 1986, Bill Drummond was an established figure within the British music industry, having co-founded Zoo Records, played guitar in the Liverpool band Big in Japan, and worked as manager of Echo & the Bunnymen and The Teardrop Explodes. On 21 July of that year, he resigned from his position as an A&R man at record label WEA, citing that he was nearly 33? years old (33? revolutions per minute being significant to Drummond as the speed at which a vinyl LP revolves), and that it was "time for a revolution in my life. There is a mountain to climb the hard way, and I want to see the world from the top". He released a well-received solo LP, The Man, judged by reviewers as "tastefully understated," a "touching if idiosyncratic biographical statement" encapsulating "his bizarrely sage ruminations", and "a work of humble genius: the best kind".
Artist and musician Jimmy Cauty was, in 1986, the guitarist in the commercially unsuccessful three-piece Brilliant[10]?an act that Drummond had signed to WEA Records and managed. Cauty and Drummond shared an interest in the esoteric conspiracy novels The Illuminatus! Trilogy, and, in particular, their theme of Discordianism, a form of post-modern anarchism. As an art student in Liverpool, Drummond had been involved with the set design for the first stage production of The Illuminatus! Trilogy, a 12-hour performance which opened in Liverpool on 23 November 1976.
Re-reading Illuminatus! in late 1986, and influenced by hip-hop, Drummond felt inspired to react against what he perceived to be the stagnant soundscape of popular music. Recalling that moment in a later radio interview, Drummond said that the plan came to him in an instant: he would form a hip-hop band with former colleague Jimmy Cauty, and they would be called The Justified Ancients of Mu Mu.
It was New Year's Day ... 1987. I was at home with my parents, I was going for a walk in the morning, it was, like, bright blue sky, and I thought "I'm going to make a hip-hop record. Who can I make a hip-hop record with?". I wasn't brave enough to go and do it myself, 'cause, although I can play the guitar, and I can knock out a few things on the piano, I knew nothing, personally, about the technology. And, I thought, I knew [Jimmy], I knew he was a like spirit, we share similar tastes and backgrounds in music and things. So I phoned him up that day and said "Let's form a band called The Justified Ancients of Mu-Mu". And he knew exactly, to coin a phrase, "where I was coming from". And within a week we had recorded our first single which was called "All You Need Is Love".?
The Justified Ancients of Mu Mu
Early in 1987, Drummond and Cauty's collaborations began. They assumed alter egos?King Boy D and Rockman Rock respectively?and they adopted the name The Justified Ancients of Mu Mu (The JAMs), after the fictional conspiratorial group "The Justified Ancients of Mummu" from The Illuminatus! Trilogy. In those novels, the JAMs are what the Illuminati (a political organisation which seeks to impose order and control upon society) call a group of Discordians who have infiltrated the Illuminati in order to feed them false information. As The Justified Ancients of Mu Mu, Drummond and Cauty chose to interpret the principles of the fictional JAMs in the context of music production in the corporate music world.[citation needed] Shrouded in the mystique provided by their disguised identities and the cultish Illuminatus!, they mirrored the Discordians' gleeful political tactics of causing chaos and confusion by bringing a direct, humorous but nevertheless revolutionary approach to making records, often attracting attention in unconventional ways. The JAMs' primary instrument was the digital sampler with which they would plagiarise the history of popular music, cutting chunks from existing works and pasting them into new contexts, underpinned by rudimentary beatbox rhythms and overlaid with Drummond's raps, of social commentary, esoteric metaphors and mockery. (This technique is rather similar to that used by The Residents on their album Meet the Residents).
The JAMs' debut studio single "All You Need Is Love" dealt with the media coverage given to AIDS, sampling heavily from The Beatles' "All You Need Is Love" and Samantha Fox's "Touch Me (I Want Your Body)". Although it was declined by distributors fearful of prosecution, and threatened with lawsuits, copies of the one-sided white label 12" were sent to the music press; it received positive reviews and was made "single of the week" in Sounds. A later piece in the same magazine called The JAMs "the hottest, most exhilarating band this year.... It's hard to understand what it feels like to come across something you believe to be totally new; I have never been so wholeheartedly convinced that a band are so good and exciting."
The JAMs re-edited and re-released "All You Need Is Love" in May 1987, removing or doctoring the most antagonistic samples; lyrics from the song appeared as promotional graffiti, defacing selected billboards. The re-release rewarded The JAMs not just with further praise (including NME´s "single of the week") but also with the funds necessary to record their debut album. The album, 1987 (What the Fuck Is Going On?), was released in June 1987. Included was a song called "The Queen and I", which sampled large portions of the ABBA single "Dancing Queen". The recording came to the attention of ABBA's management and, after a legal showdown with ABBA and the Mechanical-Copyright Protection Society, the 1987 album was forcibly withdrawn from sale. Drummond and Cauty travelled to Sweden in hope of meeting ABBA and coming to some agreement, taking an NME journalist and photographer with them, along with most of the remaining copies of the LP. They failed to meet ABBA, so disposed of the copies by burning most of them in a field and throwing the rest overboard on the North Sea ferry trip home. In a December 1987 interview, Cauty maintained that they "felt that what [they]'d done was artistically justified."
Two new singles followed 1987, on The JAMs' "KLF Communications" independent record label. Both reflected a shift towards house rhythms. According to NME, The JAMs' choice of samples for the first of these, "Whitney Joins The JAMs" saw them leaving behind their strategy of "collision course" to "move straight onto the art of super selective theft". The song uses samples of the Mission: Impossible and Shaft themes alongside Whitney Houston's "I Wanna Dance With Somebody". Ironically, Drummond has claimed that The KLF were later offered the job of producing or remixing a new Whitney Houston album as an inducement from her record label boss (Clive Davis of Arista Records) to sign with them. Drummond turned the job down, but nonetheless The KLF signed with Arista as their American distributors. The second single in this sequence?Drummond and Cauty's third and final single of 1987?was "Down Town", a dance record built around a gospel choir and "Downtown" by 1960s star Petula Clark. These early works were later collected on the compilation album Shag Times.
A second album, Who Killed The JAMs?, was released in early 1988. Who Killed The JAMs? was a rather less haphazard affair than 1987, earning the duo at least one five-star review (from Sounds Magazine, who called it "a masterpiece of pathos".)
The Timelords.
In 1988, Drummond and Cauty became "Time Boy" and "Lord Rock", and released a 'novelty' pop single, "Doctorin' the Tardis" as The Timelords. The song is predominantly a mash-up of the Doctor Who theme music, "Block Buster!" by The Sweet and Gary Glitter's "Rock and Roll (Part Two)", with sparse vocals inspired by The Daleks and Harry Enfield's "Loadsamoney" character. "Doctorin' the Tardis" reached number one in the UK Singles Chart on 12 June, and charted highly in Australia and New Zealand.
Also credited on the record was "Ford Timelord", Cauty's 1968 Ford Galaxie American police car (claimed to have been used in the film Superman IV filmed in the UK). Drummond and Cauty declared that the car had spoken to them, giving its name as Ford Timelord, and advising the duo to become "The Timelords".
Drummond and Cauty would later portray the song as the result of a deliberate effort to write a number one hit single. However, in interviews with Snub TV and BBC Radio 1, Drummond said that the truth was that they had intended to make a house record using the Dr Who theme. After Cauty had laid down a basic track, Drummond observed that their house idea wasn't working and what they actually had was a Glitter beat. Sensing the opportunity to make a commercial pop record they abandoned all notions of underground credibility and went instead for the lowest common denominator. According to the British music press, the result was "rancid", "pure, unadulterated agony" and "excruciating" and?in something of a backhanded compliment from the normally supportive Sounds Magazine?"a record so noxious that a top ten place can be its only destiny". They were right: the record went on to sell over one million copies. A single of The Timelords' remixes of the song was released: "Gary Joins The JAMs" featured original vocal contributions from Glitter himself, who also appeared on Top of the Pops to promote the song with The Timelords.
The Timelords released one other product, a 1989 book called The Manual (How to Have a Number One the Easy Way), a tongue-in-cheek but nonetheless insightful step-by-step guide to achieving a number one hit single with little money or talent.
The KLF.
By the time the JAMs' single "Whitney Joins The JAMs" was released in September 1987, their record label had been renamed "KLF Communications" (from the earlier "The Sound of Mu(sic)"). However, the duo's first release as The KLF was not until March 1988, with the single "Burn the Bastards"/"Burn the Beat" (KLF 002). Although the Justified Ancients of Mu Mu name was not yet retired, most future Drummond and Cauty releases would go under the name "The KLF".
The name change accompanied a change in Drummond and Cauty's musical direction. Said Drummond (as 'King Boy D') in January 1988, "We might put out a couple of 12" records under the name The K.L.F., these will be rap free just pure dance music, so don't expect to see them reviewed in the music papers". King Boy D also claimed that he and Rockman Rock were "pissed off at [them]selves" for letting "people expect us to lead some sort of crusade for sampling". In 1990 he recalled that "We wanted to make [as The KLF] something that was ... pure dance music, without any reference points, without any nod to the history of rock and roll. It was the type of music that by early '87 was really exciting me ... [although] we weren't able to get our first KLF records out until late '88".
The 12" records subsequently released in 1988 and 1989 by The KLF were indeed rap free and house-oriented; remixes of some of The JAMs tracks, and new singles, the largely instrumental acid house anthems "What Time Is Love?" and "3 a.m. Eternal", the first incarnations of later international chart successes. The KLF described these new tracks as "Pure Trance". In 1989, The KLF appeared at the Helter Skelter rave in Oxfordshire. "They wooed the crowd", wrote Scotland on Sunday some years later, "by pelting them with... £1,000 worth of Scottish pound notes which each bore the message 'Children we love you'".
Also in 1989, The KLF embarked upon the creation of a road movie and soundtrack album, both titled The White Room, funded by the profits of "Doctorin' The Tardis". Neither the film nor its soundtrack were formally released, although bootleg copies of both exist. The soundtrack album contained pop-house versions of some of the "pure trance" singles, as well as new songs, most of which would appear (albeit in radically reworked form) on the version of the album which was eventually released to mainstream success. A single from the original album was released, however: "Kylie Said to Jason", an electropop record featuring references to Todd Terry, Rolf Harris, Skippy the Bush Kangaroo and BBC comedy programme The Good Life. In reference to that song, Drummond and Cauty noted that they had worn "Pet Shop Boys infatuations brazenly on [their] sleeves".
The film project was fraught with difficulties and setbacks, including dwindling funds. "Kylie Said to Jason", which Drummond and Cauty were hoping could "rescue them from the jaws of bankruptcy", flopped commercially, failing even to make the UK top 100. In consequence, The White Room film project was put on hold, and The KLF abandoned the musical direction of the soundtrack and single. Meanwhile, "What Time Is Love?" was generating acclaim within the underground clubs of continental Europe; according to KLF Communications, "The KLF were being feted by all the 'right' DJs". This prompted Drummond and Cauty to pursue the acid house tone of their Pure Trance series. A further Pure Trance release, "Last Train to Trancentral", followed. At this time, Cauty had co-founded The Orb as an ambient side-project with Alex Paterson. Cauty and Paterson DJ-ed at the monthly "Land Of Oz" house night in London, and The KLF's seminal 1990 "ambient house" LP Chill Out was born partly from these sessions.  The ambient album Space and The KLF's ambient video Waiting were also released in 1990, as was a heavier, more industrial sounding dance track, "It's Grim Up North", under The JAMs' moniker.
In 1990 The KLF launched a series of singles with an upbeat pop-house sound which they dubbed "Stadium House". Songs from The White Room soundtrack were re-recorded with rap and more vocals (by guests labelled "Additional Communicators"), a sample-heavy pop-rock production and crowd noise samples.  The results brought The KLF international recognition and acclaim. The first "Stadium House" single, "What Time Is Love?", released in August 1990, reached number five in the UK Singles Chart and hit the top-ten internationally. The follow-up, "3 a.m. Eternal", was an international top-five hit in January 1991, reaching number one in the UK and number five in the US Billboard Hot 100. The album The White Room followed in March 1991, reaching number three in the UK. A substantial reworking of the aborted soundtrack, the album featured a segued series of "Stadium House" songs followed by downtempo tracks.
The KLF's chart success continued with the single "Last Train to Trancentral" hitting number two in the UK, and number three in the Eurochart Hot 100. In December 1991, a re-working of a song from 1987, "Justified & Ancient" was released, featuring the vocals of American country star Tammy Wynette. It was another international hit?peaking at number two in the UK, and number 11 on the Billboard Hot 100?as was "America: What Time Is Love?", featuring the vocals of ex-Deep Purple member Glenn Hughes (number four on the UK singles chart), a hard, guitar-laden reworking of "What Time Is Love?".
In 1990 and 1991, The KLF also remixed tracks by Depeche Mode ("Policy of Truth"), The Moody Boys ("What Is Dub?"), and the Pet Shop Boys ("So Hard" from the Behaviour album, and "It Must Be Obvious"). Pet Shop Boy Neil Tennant described the process: "When they did the remix of 'So Hard', they didn't do a remix at all, they re-wrote the record ... I had to go and sing the vocals again, they did it in a different way. I was impressed that Bill Drummond had written all the chords out and played it on an acoustic guitar, very thorough."
After successive name changes and a plethora of highly influential dance records, Drummond and Cauty ultimately became, as The KLF, the biggest-selling singles act in the world for 1991, still incorporating the work of other artists but in less gratuitous ways and predominantly without legal problems.
Vocalists Wanda Dee and Ricardo da Force featured on many of The KLF's hits. In addition to her own show, Dee still performs as "Wanda Dee of the KLF".
Retirement.
On 12 February 1992, The KLF and crust punk group Extreme Noise Terror performed a live version of "3 a.m. Eternal" at the BRIT Awards, the British Phonographic Industry's annual awards show; a "violently antagonistic performance" in front of "a stunned music-business audience". Drummond and Cauty had planned to throw buckets of sheep's blood over the audience, but were prevented from doing so due to opposition from BBC lawyers and "hardcore vegans" Extreme Noise Terror. The performance was instead garnished by a limping, kilted, cigar-chomping Drummond firing blanks from an automatic weapon over the heads of the crowd. As the band left the stage, The KLF's promoter and narrator Scott Piering announced over the PA system that "The KLF have now left the music business". Later in the evening the band dumped a dead sheep with the message "I died for ewe?bon appetit" tied around its waist at the entrance to one of the post-ceremony parties.
Reactions were mixed. Piers Morgan, writing in The Sun, under the headline "KLF's Sick Gun Stunt Fails To Hit The Target", called The KLF "pop's biggest wallies" and producer Trevor Horn is reported to have called their antics "disgusting". NME, on the other hand, said that The KLF "stormed" the show and that after their performance the BRITs show went "downhill all the way".
Scott Piering's PA announcement of The KLF's retirement was largely ignored at the time. NME, for example, assured their readers that the tensions and contradictions would continue to "push and spark" The KLF and that more "musical treasure" would be the result, but they noted: "[Drummond has] himself nicely skewered on the horns of an almighty dilemma. He has taken over pop music and it has been a piece of piss to do so. And he hates that. He wants to be separate from a music industry that clasps him ever closer to its bosom. He loves being in the very belly of the beast, yet he wishes he was something that'd cause it to throw up too. He wants not only to bite the hand that feeds but to shove it into an industrial mincer and stomp the resultant pulp into the dirt, yet pop, as long as you continue to make it money, would let you sexually abuse its grandmother. There is, Bill old boy, no sensible way out."
In the weeks following the BRITs performance, The KLF continued working with Extreme Noise Terror on the album The Black Room, but it was never finished. On 14 May 1992, The KLF announced their immediate retirement from the music industry and the deletion of their entire back catalogue:
We have been following a wild and wounded, glum and glorious, shit but shining path these past five years. The last two of which has [sic] led us up onto the commercial high ground?we are at a point where the path is about to take a sharp turn from these sunny uplands down into a netherworld of we know not what. For the foreseeable future there will be no further record releases from The Justified Ancients of Mu Mu, The Timelords, The KLF and any other past, present and future name attached to our activities. As of now all our past releases are deleted.... If we meet further along be prepared...our disguise may be complete.
In a comprehensive examination of The KLF's announcement and its context, Select called it "the last grand gesture, the most heroic act of public self destruction in the history of pop. And it's also Bill Drummond and Jimmy Cauty's final extravagant howl of self disgust, defiance and contempt for a music world gone foul and corrupt." Many of The KLF's friends and collaborators gave their reactions in the magazine. Movie director Bill Butt said that "Like everything, they're dealing with it in a very realistic way, a fresh, unbitter way, which is very often not the case. A lot of bands disappear with such a terrible loss of dignity". Scott Piering said that "They've got a huge buzz off this, that's for sure, because it's something that's finally thrilling. It's scary to have thrown away a fortune which I know they have. Just the idea of starting over is exciting. Starting over on what? Well, they have such great ideas, like buying submarines". Even Kenny Gates, who as a director of The KLF's distributors APT stood to lose financially from the move, called it "Conceptually and philosophically ... absolutely brilliant". Mark Stent reported the doubts of many when he said that "I [have] had so many people who I know, heads of record companies, A&R men saying, 'Come on, It's a big scam.' But I firmly believe it's over". "For the very last spectacularly insane time", the magazine concluded, "The KLF have done what was least expected of them".
The final KLF Info sheet discussed the retirement in a typically offbeat fashion, and asked "What happens to 'Footnotes in rock legend'? Do they gather dust with Ashton Gardner and Dyke, The Vapors, and the Utah Saints, or does their influence live on in unseen ways, permeating future cultures? A passing general of a private army has the answer. 'No', he whispers 'but the dust they gather is of the rarest quality. Each speck a universe awaiting creation, Big Bang just a dawn away'."
There have been numerous suggestions that in 1992 Drummond was on the verge of a nervous breakdown. Drummond himself said that he was on the edge of the "abyss". BRIT Awards organiser Jonathan King had publicly endorsed The KLF's live performance, a response which Scott Piering cited as "the real low point". The KLF's BRITs statuette for "Best British Group" of 1992 was later "found" buried in a field near Stonehenge.
K Foundation and post-retirement projects.
The K Foundation was an arts foundation established by Drummond and Cauty in 1993 following their 'retirement' from the music industry. From 1993 to 1995 they engaged in a number of art projects and media campaigns, including the high-profile K Foundation art award (for the "worst artist of the year"). Most notoriously, they burnt what was left of their KLF earnings?a million pounds in cash?and filmed the performance.
Two "old reprobates": The KLF come out of retirement for 23 minutes to make an appearance as 2K.
In 1995, Drummond and Cauty contributed a song to The Help Album as The One World Orchestra ("featuring The Massed Pipes and Drums of the Children's Free Revolutionary Volunteer Guards"). "The Magnificent" is a drum'n'bass version of the theme tune from The Magnificent Seven, with vocal samples from DJ Fleka of Serbian radio station B92: "Humans against killing... that sounds like a junkie against dope".
On 17 September 1997, ten years after their debut album 1987, Drummond and Cauty re-emerged briefly as 2K. 2K made a one-off performance at London's Barbican Arts Centre with Mark Manning, Acid Brass, the Liverpool Dockers and Gimpo;[62] a performance at which "Two elderly gentlemen, reeking of Dettol, caused havoc in their motorised wheelchairs. These old reprobates, bearing a grandfatherly resemblance to messrs Cauty and Drummond, claimed to have just been asked along." The song performed at the Barbican ? "Fuck the Millennium" (a remix of "What Time Is Love?" featuring Acid Brass and incorporating elements of the hymn "Eternal Father, Strong to Save") ? was also released as single. These activities were accompanied by the usual full page press adverts, this time asking readers "***k The Millennium: Yes/No?" with a telephone number provided for voting. At the same time, Drummond and Cauty were also K2 Plant Hire, with plans to build a "People's Pyramid" from used house bricks; this plan never reached fruition.
As of 2010, Drummond continues to work as a writer and conceptual artist, with occasional appearances on radio and television. Cauty has been involved in several post-KLF projects including the music and conceptual art collective Blacksmoke and, more recently, numerous creative projects with the aquarium and the L-13 Light Industrial Workshop based in Clerkenwell, London.
KLF Communications.
The Pyramid Blaster - the logo of KLF Communications.
From their very earliest releases as The Justified Ancients of Mu Mu until their retirement in 1992, the music of Bill Drummond and Jimmy Cauty was independently released in their home country (the UK). Their debut releases - the single "All You Need Is Love" and the album 1987 - were released under the label name "The Sound Of Mu(sic)". However, by the end of 1987 Drummond and Cauty had renamed their label to "KLF Communications" and, in October 1987, the first of many "information sheets" (self written missives from The KLF to fans and the media) was sent out by the label.
KLF Communications releases were distributed by Rough Trade Distribution (a spinoff of Rough Trade Records) in the South East of England, and across the wider UK by the Cartel. As Drummond and Cauty explained, "The Cartel is, as the name implies, a group of independent distributors across the country who work in conjunction with each other providing a solid network of distribution without stepping on each other's toes. We are distributed by the Cartel." When Rough Trade Distribution collapsed in 1991 it was reported that they owed KLF Communications £500,000. (In the same feature it was reported that Drummond wished to sign Ian McCulloch to the label, but this never happened.) Plugging (the promotion to TV and radio) was handled by longtime associate Scott Piering.
Outside the UK, KLF releases were issued under licence by local labels. In the USA, the licensees were Wax Trax (the Chill Out album[70]), TVT (early releases including The History of The JAMs a.k.a. The Timelords), and Arista Records (The White Room and singles.
The KLF Communications catalogue remains deleted in the United Kingdom.
*

A17.Inglish BCEnc. Blauwe Kaas Encyclopedie, Duaal Hermeneuties Kollegium.

Inglish Site.17.
*
TO THE THRISE HO-
NOVRABLE AND EVER LY-
VING VERTVES OF SYR PHILLIP
SYDNEY KNIGHT, SYR JAMES JESUS SINGLETON, SYR CANARIS, SYR LAVRENTI BERIA ; AND TO THE
RIGHT HONORABLE AND OTHERS WHAT-
SOEVER, WHO LIVING LOVED THEM,
AND BEING DEAD GIVE THEM
THEIRE DVE.
***
In the beginning there is darkness. The screen erupts in blue, then a cascade of thick, white hexadecimal numbers and cracked language, ?UnusedStk? and ?AllocMem.? Black screen cedes to blue to white and a pair of scales appear, crossed by a sword, both images drawn in the jagged, bitmapped graphics of Windows 1.0-era clip-art?light grey and yellow on a background of light cyan. Blue text proclaims, ?God on tap!?
*
Introduction.
Yes i am getting a little Mobi-Literate(ML) by experimenting literary on my Mobile Phone. Peoplecall it Typographical Laziness(TL).
The first accidental entries for the this part of this encyclopedia.
*
This is TempleOS V2.17, the welcome screen explains, a ?Public Domain Operating System? produced by Trivial Solutions of Las Vegas, Nevada. It greets the user with a riot of 16-color, scrolling, blinking text; depending on your frame of reference, it might recall ?DESQview, the ?Commodore 64, or a host of early DOS-based graphical user interfaces. In style if not in specifics, it evokes a particular era, a time when the then-new concept of ?personal computing? necessarily meant programming and tinkering and breaking things.
*
Index.
81."Justified.
82.Epigenetics.
83.Psycholinguistics/psychology of language.
*
81."Justified And Ancient" and The KLF.
The KLF (also known as The Justified Ancients of Mu Mu, The Timelords and other names) were one of the seminal bands of the British acid house movement during the late 1980s and early 1990s.
Beginning in 1987, Bill Drummond (alias King Boy D) and Jimmy Cauty (alias Rockman Rock) released hip hop-inspired and sample-heavy records as The Justified Ancients of Mu Mu, and on one occasion (the British number one hit single "Doctorin' the Tardis") as The Timelords. The KLF released a series of international hits on their own KLF Communications record label, and became the biggest-selling singles act in the world for 1991. The duo also published a cynical book, The Manual (How to Have a Number One the Easy Way), and worked on a road movie called The White Room.
From the outset, they adopted the philosophy espoused by esoteric novel series The Illuminatus! Trilogy, gaining notoriety for various anarchic situationist manifestations, including the defacement of billboard adverts, the posting of prominent cryptic advertisements in NME magazine and the mainstream press, and highly distinctive and unusual performances on Top of the Pops. Their most notorious performance was a collaboration with Extreme Noise Terror at the February 1992 BRIT Awards, where they fired machine gun blanks into the audience and dumped a dead sheep at the aftershow party. This performance announced The KLF's departure from the music business, and in May 1992 the duo deleted their entire back catalogue.
With The KLF's profits, Drummond and Cauty established the K Foundation and sought to subvert the art world, staging an alternative art award for the worst artist of the year and burning one million pounds sterling. Drummond and Cauty remained true to their word of May 1992?the KLF Communications catalogue remains deleted in the UK, but The White Room is still being pressed in the US by Arista. They have released a small number of new tracks since then, as the K Foundation, The One World Orchestra and most recently, in 1997, as 2K.
"Justified & Ancient" is a song by British band the KLF (Bill Drummond and Jimmy Cauty) which featured on their 1991 album The White Room but with origins dating back to the duo's debut album, 1987 (What the Fuck Is Going On?).
The song is best known for its remake that was released in November 1991 as a pop-house single subtitled "Stand by The JAMs", with verses featuring the vocals of American country music singer Tammy Wynette. This version was an international hit, reaching #2 on both the UK Singles Chart, and the U.S. dance charts, #11 on the U.S. Billboard Hot 100, and hitting #1 in 18 countries.
Despite its success, "Justified & Ancient (Stand by the JAMs)" was the final release by the KLF through retail channels as well the second-to-last altogether release from the KLF (the last release being the mail-order only "3 a.m. Eternal") before Drummond and Cauty quit the music business and retired the KLF name.
"Justified And Ancient"
All bound for Mu Mu Land
All bound for Mu Mu Land
(hey)
(hey hey)
All bound for Mu Mu Land (justified)
(hey hey)
All bound for Mu Mu Land
(Bring the beat back!)_
They're Justified, and they're Ancient,
And they like to roam the land.
(just roll it from the top)
They're Justified, and they're Ancient,
I hope you understand.
(to the bridge, to the bridge, to the bridge now)
They called me up in Tennessee
They said "Tammy, stand by The Jams"
But if you don't like what they're going to do,
You better not stop them 'cause they're coming through
(bring the beat back)_
(Hey hey)
All bound for Mu Mu Land (justified)
(Hey hey)
All bound for Mu Mu Land (justified)
(Ancients of Mu Mu)_
Mu Mu Land
Mu Mu Land
All bound for Mu Mu Land_
They're Justified, and they're Ancient,
And they drive an ice cream van.
(just roll it from the top)
They're Justified and they're Ancient,
With still no master plan.
(to the bridge, to the bridge, to the bridge now)
The last train left an hour ago,
They were singing "All aboard"
All bound for Mu Mu Land,
Then someone starting screaming "Turn up the Strobe"
(bring the beat back)_
(Hey hey)
All bound for Mu Mu Land (justified)
(Hey hey)
All bound for Mu Mu Land (Ancients of Mu Mu)
(Bring the beat back)_
Justified and Ancient, Ancient and a-justified,
Rocking to the rhythm in their ice cream van
with the plan and the key to
enter into Mu Mu
Vibes from the tribes of the Jams_
I know where the beat is at,
'cos I know what time it is
Bring home a dime,
Make mine a "99"_
New style, meanwhile, always on a mission while
Fishing in the rivers of life
Fishing in the rivers of life (hoi)
Fishing in the rivers of life (hoi)
Fishing in the rivers
Fishing in the rivers
Fishing in the rivers of life (hoi)_
Voo-va-voolie
Za-shi-va-zom
Voo-va-voolie
(Bring the beat back)_
(Hey hey)
All bound for Mu Mu Land (justified)
(Hey hey)
All bound for Mu Mu Land (Ancients of Mu Mu)_
They have travelled the world
With the ice cream van
Their voyage, the bottom of time
They have entered the place
with the Mu Mu mate
And their children so pride
Mine as a "99"
(Bring the beat back)_
Mu Mu Land (Ancients of Mu Mu)
Mu Mu Land (Ancients of Mu Mu)
All bound for Mu Mu Land_
Mu Mu Land (Ancients of Mu Mu)
Mu Mu Land (Ancients of Mu Mu)
All bound for Mu Mu Land_
Mu Mu Land
Mu Mu Land
All bound for Mu Mu Land_
The title "Justified & Ancient" refers to the KLF's pseudonym and earlier incarnation, "The Justified Ancients of Mu Mu" (The JAMs). The JAMs took their name from a fictional subversive cult from the 1970s conspiratorial novels The Illuminatus! Trilogy. Just as the fictional JAMs made it their remit to propagate chaos and confusion, so too did the real JAMs and the KLF. Their attempts to subvert the music industry and other establishments were frequent, unconcealed and controversial. The song "Justified & Ancient" is a statement of identity and rebellious intent. Moreover, it deliberately understates this intent. In contrast to the provocative and abrasive lyrics of the JAMs' album 1987 (What the Fuck Is Going On?), on which "Justified & Ancient" first appeared, the song has a soft and innocuous tune, and quaint lyrics:
"We don't want to upset the apple-cart (Kallisti), and we don't want to cause any harm, but if you don't like what we're going to do, you'd better not stop us 'cause we're coming through."
The words and music of "Justified & Ancient" feature several times in the work of The KLF and The JAMs, including their first album and their last full-release single.
The melody and one repeated lyrical verse of the song first appeared as part of "Hey Hey We Are Not The Monkees" from The JAMs' debut album, 1987: What The Fuck Is Going On?. All of the album's most prominent characteristics are notably absent in this part of "Hey Hey...", which has female vocals (as opposed to the rapping of The JAMs' Scottish co-founder Bill Drummond), inoffensive lyrics, and it is free from plagiarised samples of other artists' recordings. Also in contrast, "Hey Hey" itself begins with a minute's worth of typical human sexual intercourse noises, arranged as a rhythm. It progresses into a cryptic and bleak spoken verse from Drummond and descends into a cacophony of samples from "The Monkees Theme". An abrupt cut takes the track into the gentle "Justified & Ancient" vocal line, which is syncopated similarly to African music and is at first a cappella.
In 1990, the recording re-appeared on The KLF's ambient album, Chill Out, in a part of the composition titled "Justified & Ancient Seems a Long Time Ago". This time the song provides a complement rather than a contrast to the mood of the album, which is passive and contains various authentic ethnic sounds.
In March 1991, a full song called "Justified & Ancient" appeared on The KLF's album The White Room. Sung by Black Steel, the song begins and ends the album. This version retains the lyrics and melody, adds an additional verse, and full song structure and instrumentation is present, in an arrangement akin to a lullaby. Where the song starts the album, it is interrupted at the point "...they're coming through" by urgent "Mu Mu!" samples and blazing machine guns that open the house track "What Time Is Love?". At the end of the mellower second half of the album, the song is presented in its entirety.
In 1986, Bill Drummond was an established figure within the British music industry, having co-founded Zoo Records, played guitar in the Liverpool band Big in Japan, and worked as manager of Echo & the Bunnymen and The Teardrop Explodes. On 21 July of that year, he resigned from his position as an A&R man at record label WEA, citing that he was nearly 33? years old (33? revolutions per minute being significant to Drummond as the speed at which a vinyl LP revolves), and that it was "time for a revolution in my life. There is a mountain to climb the hard way, and I want to see the world from the top". He released a well-received solo LP, The Man, judged by reviewers as "tastefully understated," a "touching if idiosyncratic biographical statement" encapsulating "his bizarrely sage ruminations", and "a work of humble genius: the best kind".
Artist and musician Jimmy Cauty was, in 1986, the guitarist in the commercially unsuccessful three-piece Brilliant[10]?an act that Drummond had signed to WEA Records and managed. Cauty and Drummond shared an interest in the esoteric conspiracy novels The Illuminatus! Trilogy, and, in particular, their theme of Discordianism, a form of post-modern anarchism. As an art student in Liverpool, Drummond had been involved with the set design for the first stage production of The Illuminatus! Trilogy, a 12-hour performance which opened in Liverpool on 23 November 1976.
Re-reading Illuminatus! in late 1986, and influenced by hip-hop, Drummond felt inspired to react against what he perceived to be the stagnant soundscape of popular music. Recalling that moment in a later radio interview, Drummond said that the plan came to him in an instant: he would form a hip-hop band with former colleague Jimmy Cauty, and they would be called The Justified Ancients of Mu Mu.
It was New Year's Day ... 1987. I was at home with my parents, I was going for a walk in the morning, it was, like, bright blue sky, and I thought "I'm going to make a hip-hop record. Who can I make a hip-hop record with?". I wasn't brave enough to go and do it myself, 'cause, although I can play the guitar, and I can knock out a few things on the piano, I knew nothing, personally, about the technology. And, I thought, I knew [Jimmy], I knew he was a like spirit, we share similar tastes and backgrounds in music and things. So I phoned him up that day and said "Let's form a band called The Justified Ancients of Mu-Mu". And he knew exactly, to coin a phrase, "where I was coming from". And within a week we had recorded our first single which was called "All You Need Is Love".?
The Justified Ancients of Mu Mu
Early in 1987, Drummond and Cauty's collaborations began. They assumed alter egos?King Boy D and Rockman Rock respectively?and they adopted the name The Justified Ancients of Mu Mu (The JAMs), after the fictional conspiratorial group "The Justified Ancients of Mummu" from The Illuminatus! Trilogy. In those novels, the JAMs are what the Illuminati (a political organisation which seeks to impose order and control upon society) call a group of Discordians who have infiltrated the Illuminati in order to feed them false information. As The Justified Ancients of Mu Mu, Drummond and Cauty chose to interpret the principles of the fictional JAMs in the context of music production in the corporate music world.[citation needed] Shrouded in the mystique provided by their disguised identities and the cultish Illuminatus!, they mirrored the Discordians' gleeful political tactics of causing chaos and confusion by bringing a direct, humorous but nevertheless revolutionary approach to making records, often attracting attention in unconventional ways. The JAMs' primary instrument was the digital sampler with which they would plagiarise the history of popular music, cutting chunks from existing works and pasting them into new contexts, underpinned by rudimentary beatbox rhythms and overlaid with Drummond's raps, of social commentary, esoteric metaphors and mockery. (This technique is rather similar to that used by The Residents on their album Meet the Residents).
The JAMs' debut studio single "All You Need Is Love" dealt with the media coverage given to AIDS, sampling heavily from The Beatles' "All You Need Is Love" and Samantha Fox's "Touch Me (I Want Your Body)". Although it was declined by distributors fearful of prosecution, and threatened with lawsuits, copies of the one-sided white label 12" were sent to the music press; it received positive reviews and was made "single of the week" in Sounds. A later piece in the same magazine called The JAMs "the hottest, most exhilarating band this year.... It's hard to understand what it feels like to come across something you believe to be totally new; I have never been so wholeheartedly convinced that a band are so good and exciting."
The JAMs re-edited and re-released "All You Need Is Love" in May 1987, removing or doctoring the most antagonistic samples; lyrics from the song appeared as promotional graffiti, defacing selected billboards. The re-release rewarded The JAMs not just with further praise (including NME´s "single of the week") but also with the funds necessary to record their debut album. The album, 1987 (What the Fuck Is Going On?), was released in June 1987. Included was a song called "The Queen and I", which sampled large portions of the ABBA single "Dancing Queen". The recording came to the attention of ABBA's management and, after a legal showdown with ABBA and the Mechanical-Copyright Protection Society, the 1987 album was forcibly withdrawn from sale. Drummond and Cauty travelled to Sweden in hope of meeting ABBA and coming to some agreement, taking an NME journalist and photographer with them, along with most of the remaining copies of the LP. They failed to meet ABBA, so disposed of the copies by burning most of them in a field and throwing the rest overboard on the North Sea ferry trip home. In a December 1987 interview, Cauty maintained that they "felt that what [they]'d done was artistically justified."
Two new singles followed 1987, on The JAMs' "KLF Communications" independent record label. Both reflected a shift towards house rhythms. According to NME, The JAMs' choice of samples for the first of these, "Whitney Joins The JAMs" saw them leaving behind their strategy of "collision course" to "move straight onto the art of super selective theft". The song uses samples of the Mission: Impossible and Shaft themes alongside Whitney Houston's "I Wanna Dance With Somebody". Ironically, Drummond has claimed that The KLF were later offered the job of producing or remixing a new Whitney Houston album as an inducement from her record label boss (Clive Davis of Arista Records) to sign with them. Drummond turned the job down, but nonetheless The KLF signed with Arista as their American distributors. The second single in this sequence?Drummond and Cauty's third and final single of 1987?was "Down Town", a dance record built around a gospel choir and "Downtown" by 1960s star Petula Clark. These early works were later collected on the compilation album Shag Times.
A second album, Who Killed The JAMs?, was released in early 1988. Who Killed The JAMs? was a rather less haphazard affair than 1987, earning the duo at least one five-star review (from Sounds Magazine, who called it "a masterpiece of pathos".)
The Timelords.
In 1988, Drummond and Cauty became "Time Boy" and "Lord Rock", and released a 'novelty' pop single, "Doctorin' the Tardis" as The Timelords. The song is predominantly a mash-up of the Doctor Who theme music, "Block Buster!" by The Sweet and Gary Glitter's "Rock and Roll (Part Two)", with sparse vocals inspired by The Daleks and Harry Enfield's "Loadsamoney" character. "Doctorin' the Tardis" reached number one in the UK Singles Chart on 12 June, and charted highly in Australia and New Zealand.
Also credited on the record was "Ford Timelord", Cauty's 1968 Ford Galaxie American police car (claimed to have been used in the film Superman IV filmed in the UK). Drummond and Cauty declared that the car had spoken to them, giving its name as Ford Timelord, and advising the duo to become "The Timelords".
Drummond and Cauty would later portray the song as the result of a deliberate effort to write a number one hit single. However, in interviews with Snub TV and BBC Radio 1, Drummond said that the truth was that they had intended to make a house record using the Dr Who theme. After Cauty had laid down a basic track, Drummond observed that their house idea wasn't working and what they actually had was a Glitter beat. Sensing the opportunity to make a commercial pop record they abandoned all notions of underground credibility and went instead for the lowest common denominator. According to the British music press, the result was "rancid", "pure, unadulterated agony" and "excruciating" and?in something of a backhanded compliment from the normally supportive Sounds Magazine?"a record so noxious that a top ten place can be its only destiny". They were right: the record went on to sell over one million copies. A single of The Timelords' remixes of the song was released: "Gary Joins The JAMs" featured original vocal contributions from Glitter himself, who also appeared on Top of the Pops to promote the song with The Timelords.
The Timelords released one other product, a 1989 book called The Manual (How to Have a Number One the Easy Way), a tongue-in-cheek but nonetheless insightful step-by-step guide to achieving a number one hit single with little money or talent.
The KLF.
By the time the JAMs' single "Whitney Joins The JAMs" was released in September 1987, their record label had been renamed "KLF Communications" (from the earlier "The Sound of Mu(sic)"). However, the duo's first release as The KLF was not until March 1988, with the single "Burn the Bastards"/"Burn the Beat" (KLF 002). Although the Justified Ancients of Mu Mu name was not yet retired, most future Drummond and Cauty releases would go under the name "The KLF".
The name change accompanied a change in Drummond and Cauty's musical direction. Said Drummond (as 'King Boy D') in January 1988, "We might put out a couple of 12" records under the name The K.L.F., these will be rap free just pure dance music, so don't expect to see them reviewed in the music papers". King Boy D also claimed that he and Rockman Rock were "pissed off at [them]selves" for letting "people expect us to lead some sort of crusade for sampling". In 1990 he recalled that "We wanted to make [as The KLF] something that was ... pure dance music, without any reference points, without any nod to the history of rock and roll. It was the type of music that by early '87 was really exciting me ... [although] we weren't able to get our first KLF records out until late '88".
The 12" records subsequently released in 1988 and 1989 by The KLF were indeed rap free and house-oriented; remixes of some of The JAMs tracks, and new singles, the largely instrumental acid house anthems "What Time Is Love?" and "3 a.m. Eternal", the first incarnations of later international chart successes. The KLF described these new tracks as "Pure Trance". In 1989, The KLF appeared at the Helter Skelter rave in Oxfordshire. "They wooed the crowd", wrote Scotland on Sunday some years later, "by pelting them with... £1,000 worth of Scottish pound notes which each bore the message 'Children we love you'".
Also in 1989, The KLF embarked upon the creation of a road movie and soundtrack album, both titled The White Room, funded by the profits of "Doctorin' The Tardis". Neither the film nor its soundtrack were formally released, although bootleg copies of both exist. The soundtrack album contained pop-house versions of some of the "pure trance" singles, as well as new songs, most of which would appear (albeit in radically reworked form) on the version of the album which was eventually released to mainstream success. A single from the original album was released, however: "Kylie Said to Jason", an electropop record featuring references to Todd Terry, Rolf Harris, Skippy the Bush Kangaroo and BBC comedy programme The Good Life. In reference to that song, Drummond and Cauty noted that they had worn "Pet Shop Boys infatuations brazenly on [their] sleeves".
The film project was fraught with difficulties and setbacks, including dwindling funds. "Kylie Said to Jason", which Drummond and Cauty were hoping could "rescue them from the jaws of bankruptcy", flopped commercially, failing even to make the UK top 100. In consequence, The White Room film project was put on hold, and The KLF abandoned the musical direction of the soundtrack and single. Meanwhile, "What Time Is Love?" was generating acclaim within the underground clubs of continental Europe; according to KLF Communications, "The KLF were being feted by all the 'right' DJs". This prompted Drummond and Cauty to pursue the acid house tone of their Pure Trance series. A further Pure Trance release, "Last Train to Trancentral", followed. At this time, Cauty had co-founded The Orb as an ambient side-project with Alex Paterson. Cauty and Paterson DJ-ed at the monthly "Land Of Oz" house night in London, and The KLF's seminal 1990 "ambient house" LP Chill Out was born partly from these sessions.  The ambient album Space and The KLF's ambient video Waiting were also released in 1990, as was a heavier, more industrial sounding dance track, "It's Grim Up North", under The JAMs' moniker.
In 1990 The KLF launched a series of singles with an upbeat pop-house sound which they dubbed "Stadium House". Songs from The White Room soundtrack were re-recorded with.....
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82.Epigenetics.
In biology, epigenetics is the study of cellular and physiological trait variations that are not caused by changes in the DNA sequence; epigenetics describes the study of dynamic alterations in the transcriptional potential of a cell. These alterations may or may not be heritable, although the use of the term epigenetic to describe processes that are not heritable is controversial. Unlike genetics based on changes to the DNA sequence (the genotype), the changes in gene expression or cellular phenotype of epigenetics have other causes, thus use of the term epi- (Greek: ???- over, outside of, around) -genetics.
The term also refers to the changes themselves: functionally relevant changes to the genome that do not involve a change in the nucleotide sequence. Examples of mechanisms that produce such changes are DNA methylation and histone modification, each of which alters how genes are expressed without altering the underlying DNA sequence. Gene expression can be controlled through the action of repressor proteins that attach to silencer regions of the DNA. These epigenetic changes may last through cell divisions for the duration of the cell's life, and may also last for multiple generations even though they do not involve changes in the underlying DNA sequence of the organism; instead, non-genetic factors cause the organism's genes to behave (or "express themselves") differently.
One example of an epigenetic change in eukaryotic biology is the process of cellular differentiation. During morphogenesis, totipotent stem cells become the various pluripotent cell lines of the embryo, which in turn become fully differentiated cells. In other words, as a single fertilized egg cell ? the zygote ? continues to divide, the resulting daughter cells change into all the different cell types in an organism, including neurons, muscle cells, epithelium, endothelium of blood vessels, etc., by activating some genes while inhibiting the expression of others.
Historical usage.
Epigenetics (as in "epigenetic landscape") was coined by C. H. Waddington in 1942 as a portmanteau of the words epigenesis and genetics. Epigenesis is an old word that has more recently been used (see preformationism for historical background) to describe the differentiation of cells from their initial totipotent state in embryonic development. When Waddington coined the term the physical nature of genes and their role in heredity was not known; he used it as a conceptual model of how genes might interact with their surroundings to produce a phenotype; he used the phrase "epigenetic landscape" as a metaphor for biological development. Waddington held that cell fates were established in development much like a marble rolls down to the point of lowest local elevation. Waddington suggested visualising increasing irreversibility of cell type differentiation as ridges rising between the valleys where the marbles (cells) are travelling. In recent times Waddington's notion of the epigenetic landscape has been rigorously formalized in the context of the systems dynamics state approach to the study of cell-fate.
The term "epigenetics" has also been used in developmental psychology to describe psychological development as the result of an ongoing, bi-directional interchange between heredity and the environment. Interactivist ideas of development have been discussed in various forms and under various names throughout the 19th and 20th centuries. An early version was proposed, among the founding statements in embryology, by Karl Ernst von Baer and popularized by Ernst Haeckel. A radical epigenetic view (physiological epigenesis) was developed by Paul Wintrebert. Another variation, probabilistic epigenesis, was presented by Gilbert Gottlieb in 2003. This view encompasses all of the possible developing factors on an organism and how they not only influence the organism and each other but how the organism also influences its own development.
The developmental psychologist Erik Erikson used the term epigenetic principle in his book Identity: Youth and Crisis (1968), and used it to encompass the notion that we develop through an unfolding of our personality in predetermined stages, and that our environment and surrounding culture influence how we progress through these stages. This biological unfolding in relation to our socio-cultural settings is done in stages of psychosocial development, where "progress through each stage is in part determined by our success, or lack of success, in all the previous stages."
Contemporary usage.
Epigenetic mechanisms.
Robin Holliday defined epigenetics as "the study of the mechanisms of temporal and spatial control of gene activity during the development of complex organisms." Thus epigenetic can be used to describe anything other than DNA sequence that influences the development of an organism.
The more recent usage of the word in science has a stricter definition. It is, as defined by Arthur Riggs and colleagues, "the study of mitotically and/or meiotically heritable changes in gene function that cannot be explained by changes in DNA sequence." The Greek prefix epi- in epigenetics implies features that are "on top of" or "in addition to" genetics; thus epigenetic traits exist on top of or in addition to the traditional molecular basis for inheritance.
The term "epigenetics", however, has been used to describe processes which have not been demonstrated to be heritable such as histone modification; there are therefore attempts to redefine it in broader terms that would avoid the constraints of requiring heritability. For example, Sir Adrian Bird defined epigenetics as "the structural adaptation of chromosomal regions so as to register, signal or perpetuate altered activity states." This definition would be inclusive of transient modifications associated with DNA repair or cell-cycle phases as well as stable changes maintained across multiple cell generations, but exclude others such as templating of membrane architecture and prions unless they impinge on chromosome function. Such redefinitions however are not universally accepted and are still subject to dispute. The NIH "Roadmap Epigenomics Project," ongoing as of 2013, uses the following definition: "...For purposes of this program, epigenetics refers to both heritable changes in gene activity and expression (in the progeny of cells or of individuals) and also stable, long-term alterations in the transcriptional potential of a cell that are not necessarily heritable."
In 2008, a consensus definition of the epigenetic trait, "stably heritable phenotype resulting from changes in a chromosome without alterations in the DNA sequence", was made at a Cold Spring Harbor meeting.
The similarity of the word to "genetics" has generated many parallel usages. The "epigenome" is a parallel to the word "genome", referring to the overall epigenetic state of a cell, and epigenomics refers to more global analyses of epigenetic changes across the entire genome. The phrase "genetic code" has also been adapted?the "epigenetic code" has been used to describe the set of epigenetic features that create different phenotypes in different cells. Taken to its extreme, the "epigenetic code" could represent the total state of the cell, with the position of each molecule accounted for in an epigenomic map, a diagrammatic representation of the gene expression, DNA methylation and histone modification status of a particular genomic region. More typically, the term is used in reference to systematic efforts to measure specific, relevant forms of epigenetic information such as the histone code or DNA methylation patterns.
Epigenetic changes can modify the activation of certain genes, but not the sequence of DNA. Additionally, the chromatin proteins associated with DNA may be activated or silenced. This is why the differentiated cells in a multicellular organism express only the genes that are necessary for their own activity. Epigenetic changes are preserved when cells divide. Most epigenetic changes only occur within the course of one individual organism's lifetime, but, if gene inactivation occurs in a sperm or egg cell that results in fertilization, then some epigenetic changes can be transferred to the next generation. This raises the question of whether or not epigenetic changes in an organism can alter the basic structure of its DNA (see Evolution, below), a form of Lamarckism.
Specific epigenetic processes include paramutation, bookmarking, imprinting, gene silencing, X chromosome inactivation, position effect, reprogramming, transvection, maternal effects, the progress of carcinogenesis, many effects of teratogens, regulation of histone modifications and heterochromatin, and technical limitations affecting parthenogenesis and cloning.
DNA damage can also cause epigenetic changes. DNA damages are very frequent, occurring on average about 10,000 times a day per cell of the human body (see DNA damage (naturally occurring)). These damages are largely repaired, but at the site of a DNA repair, epigenetic changes can remain. In particular, a double strand break in DNA can initiate unprogrammed epigenetic gene silencing both by causing DNA methylation as well as by promoting silencing types of histone modifications (chromatin remodeling) (see next section). In addition, the enzyme Parp1 (poly(ADP)-ribose polymerase) and its product poly(ADP)-ribose (PAR) accumulate at sites of DNA damage as part of a repair process. This accumulation, in turn, directs recruitment and activation of the chromatin remodeling protein ALC1 that can cause nucleosome remodeling. Nucleosome remodeling has been found to cause, for instance, epigenetic silencing of DNA repair gene MLH1. DNA damaging chemicals, such as benzene, hydroquinone, styrene, carbon tetrachloride and trichloroethylene, cause considerable hypomethylation of DNA, some through the activation of oxidative stress pathways.
Foods are known to alter the epigenetics of rats on different diets. Some food components epigenetically increase the levels of DNA repair enzymes such as MGMT and MLH1 and p53. Other food components can reduce DNA damage, such as soy isoflavones and bilberry anthocyanins.
Epigenetic research uses a wide range of molecular biologic techniques to further our understanding of epigenetic phenomena, including chromatin immunoprecipitation (together with its large-scale variants ChIP-on-chip and ChIP-Seq), fluorescent in situ hybridization, methylation-sensitive restriction enzymes, DNA adenine methyltransferase identification (DamID) and bisulfite sequencing. Furthermore, the use of bioinformatic methods is playing an increasing role (computational epigenetics).
Computer simulations and molecular dynamics approaches revealed the atomistic motions associated with the molecular recognition of the histone tail through an allosteric mechanism.
Several types of epigenetic inheritance systems may play a role in what has become known as cell memory, note however that not all of these are universally accepted to be examples of epigenetics.
DNA methylation and chromatin remodeling.
Because DNA methylation and chromatin remodeling play such a central role in many types of epigenic inheritance, the word "epigenetics" is sometimes used as a synonym for these processes. However, this can be misleading. Chromatin remodeling is not always inherited, and not all epigenetic inheritance involves chromatin remodeling.
DNA associates with histone proteins to form chromatin.
Because the phenotype of a cell or individual is affected by which of its genes are transcribed, heritable transcription states can give rise to epigenetic effects. There are several layers of regulation of gene expression. One way that genes are regulated is through the remodeling of chromatin. Chromatin is the complex of DNA and the histone proteins with which it associates. If the way that DNA is wrapped around the histones changes, gene expression can change as well. Chromatin remodeling is accomplished through two main mechanisms:
The first way is post translational modification of the amino acids that make up histone proteins. Histone proteins are made up of long chains of amino acids. If the amino acids that are in the chain are changed, the shape of the histone might be modified. DNA is not completely unwound during replication. It is possible, then, that the modified histones may be carried into each new copy of the DNA. Once there, these histones may act as templates, initiating the surrounding new histones to be shaped in the new manner. By altering the shape of the histones around them, these modified histones would ensure that a lineage-specific transcription program is maintained after cell division.
The second way is the addition of methyl groups to the DNA, mostly at CpG sites, to convert cytosine to 5-methylcytosine. 5-Methylcytosine performs much like a regular cytosine, pairing with a guanine in double-stranded DNA. However, some areas of the genome are methylated more heavily than others, and highly methylated areas tend to be less transcriptionally active, through a mechanism not fully understood. Methylation of cytosines can also persist from the germ line of one of the parents into the zygote, marking the chromosome as being inherited from one parent or the other (genetic imprinting).
Mechanisms of heritability of histone state are not well understood; however, much is known about the mechanism of heritability of DNA methylation state during cell division and differentiation. Heritability of methylation state depends on certain enzymes (such as DNMT1) that have a higher affinity for 5-methylcytosine than for cytosine. If this enzyme reaches a "hemimethylated" portion of DNA (where 5-methylcytosine is in only one of the two DNA strands) the enzyme will methylate the other half.
Although histone modifications occur throughout the entire sequence, the unstructured N-termini of histones (called histone tails) are particularly highly modified. These modifications include acetylation, methylation, ubiquitylation, phosphorylation, sumoylation, ribosylation and citrullination. Acetylation is the most highly studied of these modifications. For example, acetylation of the K14 and K9 lysines of the tail of histone H3 by histone acetyltransferase enzymes (HATs) is generally related to transcriptional competence.
One mode of thinking is that this tendency of acetylation to be associated with "active" transcription is biophysical in nature. Because it normally has a positively charged nitrogen at its end, lysine can bind the negatively charged phosphates of the DNA backbone. The acetylation event converts the positively charged amine group on the side chain into a neutral amide linkage. This removes the positive charge, thus loosening the DNA from the histone. When this occurs, complexes like SWI/SNF and other transcriptional factors can bind to the DNA and allow transcription to occur. This is the "cis" model of epigenetic function. In other words, changes to the histone tails have a direct effect on the DNA itself.
Another model of epigenetic function is the "trans" model. In this model, changes to the histone tails act indirectly on the DNA. For example, lysine acetylation may create a binding site for chromatin-modifying enzymes (or transcription machinery as well). This chromatin remodeler can then cause changes to the state of the chromatin. Indeed, a bromodomain ? a protein domain that specifically binds acetyl-lysine ? is found in many enzymes that help activate transcription, including the SWI/SNF complex. It may be that acetylation acts in this and the previous way to aid in transcriptional activation.
The idea that modifications act as docking modules for related factors is borne out by histone methylation as well. Methylation of lysine 9 of histone H3 has long been associated with constitutively transcriptionally silent chromatin (constitutive heterochromatin). It has been determined that a chromodomain (a domain that specifically binds methyl-lysine) in the transcriptionally repressive protein HP1 recruits HP1 to K9 methylated regions. One example that seems to refute this biophysical model for methylation is that tri-methylation of histone H3 at lysine 4 is strongly associated with (and required for full) transcriptional activation. Tri-methylation in this case would introduce a fixed positive charge on the tail.
It has been shown that the histone lysine methyltransferase (KMT) is responsible for this methylation activity in the pattern of histones H3 & H4. This enzyme utilizes a catalytically active site called the SET domain (Suppressor of variegation, Enhancer of zeste, Trithorax). The SET domain is a 130-amino acid sequence involved in modulating gene activities. This domain has been demonstrated to bind to the histone tail and causes the methylation of the histone.
Differing histone modifications are likely to function in differing ways; acetylation at one position is likely to function differently from acetylation at another position. Also, multiple modifications may occur at the same time, and these modifications may work together to change the behavior of the nucleosome. The idea that multiple dynamic modifications regulate gene transcription in a systematic and reproducible way is called the histone code, although the idea that histone state can be read linearly as a digital information carrier has been largely debunked. One of the best-understood systems that orchestrates chromatin-based silencing is the SIR protein based silencing of the yeast hidden mating type loci HML and HMR.
DNA methylation frequently occurs in repeated sequences, and helps to suppress the expression and mobility of 'transposable elements': Because 5-methylcytosine can be spontaneously deaminated (replacing nitrogen by oxygen) to thymidine, CpG sites are frequently mutated and become rare in the genome, except at CpG islands where they remain unmethylated. Epigenetic changes of this type thus have the potential to direct increased frequencies of permanent genetic mutation. DNA methylation patterns are known to be established and modified in response to environmental factors by a complex interplay of at least three independent DNA methyltransferases, DNMT1, DNMT3A, and DNMT3B, the loss of any of which is lethal in mice. DNMT1 is the most abundant methyltransferase in somatic cells, localizes to replication foci, has a 10?40-fold preference for hemimethylated DNA and interacts with the proliferating cell nuclear antigen (PCNA).
By preferentially modifying hemimethylated DNA, DNMT1 transfers patterns of methylation to a newly synthesized strand after DNA replication, and therefore is often referred to as the ?maintenance' methyltransferase. DNMT1 is essential for proper embryonic development, imprinting and X-inactivation. To emphasize the difference of this molecular mechanism of inheritance from the canonical Watson-Crick base-pairing mechanism of transmission of genetic information, the term 'Epigenetic templating' was introduced. Furthermore, in addition to the maintenance and transmission of methylated DNA states, the same principle could work in the maintenance and transmission of histone modifications and even cytoplasmic (structural) heritable states.
Histones H3 and H4 can also be manipulated through demethylation using histone lysine demethylase (KDM). This recently identified enzyme has a catalytically active site called the Jumonji domain (JmjC). The demethylation occurs when JmjC utilizes multiple cofactors to hydroxylate the methyl group, thereby removing it. JmjC is capable of demethylating mono-, di-, and tri-methylated substrates.
Chromosomal regions can adopt stable and heritable alternative states resulting in bistable gene expression without changes to the DNA sequence. Epigenetic control is often associated with alternative covalent modifications of histones. The stability and heritability of states of larger chromosomal regions are suggested to involve positive feedback where modified nucleosomes recruit enzymes that similarly modify nearby nucleosomes. A simplified stochastic model for this type of epigenetics is found here.
It has been suggested that chromatin-based transcriptional regulation could be mediated by the effect of small RNAs. Small interfering RNAs can modulate transcriptional gene expression via epigenetic modulation of targeted promoters.
RNA transcripts and their encoded proteins
Sometimes a gene, after being turned on, transcribes a product that (directly or indirectly) maintains the activity of that gene. For example, Hnf4 and MyoD enhance the transcription of many liver- and muscle-specific genes, respectively, including their own, through the transcription factor activity of the proteins they encode. RNA signalling includes differential recruitment of a hierarchy of generic chromatin modifying complexes and DNA methyltransferases to specific loci by RNAs during differentiation and development. Other epigenetic changes are mediated by the production of different splice forms of RNA, or by formation of double-stranded RNA (RNAi). Descendants of the cell in which the gene was turned on will inherit this activity, even if the original stimulus for gene-activation is no longer present. These genes are often turned on or off by signal transduction, although in some systems where syncytia or gap junctions are important, RNA may spread directly to other cells or nuclei by diffusion. A large amount of RNA and protein is contributed to the zygote by the mother during oogenesis or via nurse cells, resulting in maternal effect phenotypes. A smaller quantity of sperm RNA is transmitted from the father, but there is recent evidence that this epigenetic information can lead to visible changes in several generations of offspring.
MicroRNAs.
MicroRNAs (miRNAs) are members of non-coding RNAs that range in size from 17 to 25 nucleotides. miRNAs regulate a large variety of biological functions in plants and animals. So far, in 2013, about 2000 miRNAs have been discovered in humans and these can be found online in an miRNA database. Each miRNA expressed in a cell may target about 100 to 200 messenger RNAs that it downregulates. Most of the downregulation of mRNAs occurs by causing the decay of the targeted mRNA, while some downregulation occurs at the level of translation into protein.
It appears that about 60% of human protein coding genes are regulated by miRNAs.[63] Many miRNAs are epigenetically regulated. About 50% of miRNA genes are associated with CpG islands, that may be repressed by epigenetic methylation. Transcription from methylated CpG islands is strongly and heritably repressed. Other miRNAs are epigenetically regulated by either histone modifications or by combined DNA methylation and histone modification.
mRNA.
In 2011, it was demonstrated that the methylation of mRNA plays a critical role in human energy homeostasis. The obesity-associated FTO gene is shown to be able to demethylate N6-methyladenosine in RNA.
sRNAs.
sRNAs are small (50?250 nucleotides), highly structured, non-coding RNA fragments found in bacteria. They control gene expression including virulence genes in pathogens and are viewed as new targets in the fight against drug-resistant bacteria. They play an important role in many biological processes, binding to mRNA and protein targets in prokaryotes. Their phylogenetic analyses, for example through sRNA?mRNA target interactions or protein binding properties, are used to build comprehensive databases. sRNA-gene maps based on their targets in microbial genomes are also constructed.
Prions.
Prions are infectious forms of proteins. In general, proteins fold into discrete units that perform distinct cellular functions, but some proteins are also capable of forming an infectious conformational state known as a prion. Although often viewed in the context of infectious disease, prions are more loosely defined by their ability to catalytically convert other native state versions of the same protein to an infectious conformational state. It is in this latter sense that they can be viewed as epigenetic agents capable of inducing a phenotypic change without a modification of the genome.
Fungal prions are considered by some to be epigenetic because the infectious phenotype caused by the prion can be inherited without modification of the genome. PSI+ and URE3, discovered in yeast in 1965 and 1971, are the two best studied of this type of prion. Prions can have a phenotypic effect through the sequestration of protein in aggregates, thereby reducing that protein's activity. In PSI+ cells, the loss of the Sup35 protein (which is involved in termination of translation) causes ribosomes to have a higher rate of read-through of stop codons, an effect that results in suppression of nonsense mutations in other genes. The ability of Sup35 to form prions may be a conserved trait. It could confer an adaptive advantage by giving cells the ability to switch into a PSI+ state and express dormant genetic features normally terminated by stop codon mutations.
Structural inheritance systems.
In ciliates such as Tetrahymena and Paramecium, genetically identical cells show heritable differences in the patterns of ciliary rows on their cell surface. Experimentally altered patterns can be transmitted to daughter cells. It seems existing structures act as templates for new structures. The mechanisms of such inheritance are unclear, but reasons exist to assume that multicellular organisms also use existing cell structures to assemble new ones.
Development.
Somatic epigenetic inheritance through epigenetic modifications, particularly through DNA methylation and chromatin remodeling, is very important in the development of multicellular eukaryotic organisms. The genome sequence is static (with some notable exceptions), but cells differentiate into many different types, which perform different functions, and respond differently to the environment and intercellular signalling. Thus, as individuals develop, morphogens activate or silence genes in an epigenetically heritable fashion, giving cells a memory. In mammals, most cells terminally differentiate, with only stem cells retaining the ability to differentiate into several cell types ("totipotency" and "multipotency"). In mammals, some stem cells continue producing new differentiated cells throughout life, such as in neurogenesis, but mammals are not able to respond to loss of some tissues, for example, the inability to regenerate limbs, which some other animals are capable of. Unlike animals, plant cells do not terminally differentiate, remaining totipotent with the ability to give rise to a new individual plant. While plants do utilise many of the same epigenetic mechanisms as animals, such as chromatin remodeling, it has been hypothesised that some kinds of plant cells do not use or require "cellular memories", resetting their gene expression patterns using positional information from the environment and surrounding cells to determine their fate.
Epigenetics can be divided into predetermined and probabilistic epigenesis. Predetermined epigenesis is a unidirectional movement from structural development in DNA to the functional maturation of the protein. "Predetermined" here means that development is scripted and predictable. Probabilistic epigenesis on the other hand is a bidirectional structure-function development with experiences and external molding development.
Medicine.
Epigenetics has many and varied potential medical applications as it tends to be multidimensional in nature.
Congenital genetic disease is well understood and it is clear that epigenetics can play a role, for example, in the case of Angelman syndrome and Prader-Willi syndrome. These are normal genetic diseases caused by gene deletions or inactivation of the genes, but are unusually common because individuals are essentially hemizygous because of genomic imprinting, and therefore a single gene knock out is sufficient to cause the disease, where most cases would require both copies to be knocked out.
Evolution.
Epigenetics can impact evolution when epigenetic changes are heritable. A sequestered germ line or Weismann barrier is specific to animals, and epigenetic inheritance is more common in plants and microbes. Eva Jablonka and Marion Lamb have argued that these effects may require enhancements to the standard conceptual framework of the modern evolutionary synthesis. Other evolutionary biologists have incorporated epigenetic