#klf talking

[krislgfox]

If you get this, answer w/ three random facts about yourself and send it to the last seven blogs in your notifs. anon or not, doesn’t matter, let’s get to know the person behind the blog!

Ohohoh, first time get this myself, but okie :D

Well, hmmmm

I have increased anxiety

I have a sweet thot

I'm a touchstarve person

That's all I suppose :D

Tags: @steffani-milligan, @sebastiannarrator, @thefriendlyneighborhoodidiot, @lilia-arts, @alinoriandklox, @artismeyou-12, @furineta and @/anyone who wants! :D

[kl-silly-fox]

I found your alternate account mwehehe >:]

Well, I didn't hide it tho :]

[autism-disco]

magical john drag king is exactly what alan moore meant about the ideaspace this absolutely existed in our collective consciousness as a human species

[hoodienanami]

i made this post but the truth is there really was only ever one inheritor of the sex pistols throne. the only other act who swept through britain on a tidal wave of situationist politics, baffling publicity stunts, and genuine disdain for the entire music industry and then took the money and ran by blowing all of that money on another ridiculous publicity stunt that made everyone very angry

will everyone pls rise for the other rock n roll swindlers: the KLF

In March 1994, members of the anarchist band Chumbawamba expressed their respect for the KLF. Vocalist and percussionist Alice Nutter referred to the KLF as "real situationists" categorising them as political musicians alongside the Sex Pistols and Public Enemy. Dunst Bruce lauded the K Foundation, concluding "I think the things the KLF do are fantastic. I'm a vegetarian but I wish they'd sawn an elephant's legs off at the BRIT Awards."

its interesting to me how in the 90s the four inheritors of the sex pistols' throne (nirvana, manic street preachers, oasis, and green day) all zeroed in on one aspect of what made the sex pistols so great making it so that we have four separate bands that each completely embody a different aspect of the sex pistols' ethos

theres nirvana with the voice of a lost and forgotten generation of hopeless kids 'no future' aspect, manic street preachers with the situationist britain sucks but its my home incoherent leftist politics, oasis with the middle fingers up to the establishment fuck all the middle class art students you will make room for me even if i have to force you attitude, and green day with the for 19 year olds by 19 year olds adolescent angst

[norepetitivebeats]

The KLF: Beyond The Band That Burnt £1,000,000 I New British Canon

If you’ve heard of the KLF, you probably know them as a band that burnt a million pounds. But that is only the conclusion to their story. The journey that led them to the Isle of Jura on that fateful August morning in 1994 is even more fascinating.

A journey that includes getting sued by ABBA, gaining a number one single in the guise of a talking car, pioneering at least one genre of dance music and becoming one of the most successful singles bands of the early 90s. They were two men compelled by the forces of chaos to spread as much confusion as possible and they transformed that into a pop career. This is New British Canon and this is the Story of The KLF.

[2n2n]

really loving the JP responses to this chapter, like (paraphrasing a buncha random things I've seen...) "Tsukasa is so perfect and ruthless and amazing, a full-on mouth kiss no less" "sensei really means business..." "this is the official magazine? (this isn't a doujinshi...)" "I looked at the magazine, and the image is the same as it was last night (so I didn't dream it...)" "sensei is not messing around" "I'm getting really scared of how Nene will react. Will I spend a whole month feeling that? Amazing. Amazing. Amazing. That's amazing." "Both in love with and aghast at Tsukasa in the scene" "What a bright smile on Tsukasa's face! So cute!" "it makes me smile to think Tsukasa saved his first kiss, so him and Amane could be matching" ""It's amazing that Tsukasa combines explanations and mental attacks (unconciously/unintentionally) to his brother at every turn. After the last time he saw Nene, this is what he does … amazing. amazing …" ""thanks for the refreshing (?) NTR kiss, Tsukasa-kun! I baked a pound cake with lemon and yogurt to commemorate the NTR kiss."

perhaps funniest people being like "you don't want to commit or anything, right, Amane? you don't have to do that if you don't want to. You're not in a relationship, right? So, now, who kissed the girl you have no intention of going out with? That's the real question" "I hope that only Nene will notice and sympathize with Tsukasa as a sad person, while Amane will not notice anything and be useless" ""You talked about all the erotic things you could do with the clockkeeper's power before! You were saying 'you could do it as much as you want'! How do you feel now? HEY, hey, hey, how do you feel? You don't have to answer, I can tell by looking at you.""

The people out there are not pulling any punches either, the response is so amazing, my god, AMANE IS BEING TAKEN TO TASK!!! everyone is laughing at him g klf;jfdklgjdkgl

[glitterbunny12]

Yellow Always Turns to Blue

He came on a soft summer day

When the sun was shining and the wind was whispering in your ear.

Yellow

I’ve never felt yellow

Yellow was a new experience

Yellow made me feel good

Yellow was the sunshine on a cloudy day

Yellow was a sunflower, the ones that they always talked about

Yellow lit up my world

But you have to be careful with yellow

Because yellow never stays

And yellow turns into blue

It’s a funny thing we’re talking about blue

His eyes were blue

But not blue like the sky

Blue like the baby breath flowers

The kind of eyes you could get lost in

The kind you could stare at for forever

Simply because they were his eyes

But that’s the problem with blue

Because blue is the type you write poetry about

But not the sweet, fall in love kind

The poetry you write about him is heartbreaking

The kind you read and it shatters your heart

You feel every ache, every pain

Every word that you read you feel it inside your bones

The soul crushing kind

He is the reason you write poetry

My heart aches for him

I want to hold him until i find myself disappearing into him

My heart is conflicted

I want to hate him

I swear i want to hate him but i can’t

His laugh is too contagious

His smile is soft and sweet

His words are heart melting

His hands could make your body feel things you never thought you could feel before

He was yellow

He was new

It turned to blue

He is the reason you write poetry

-KLF

[kl-silly-fox]

DT!Oren such a good dad ¡w¡

Another what if question with Ellen, I can't stop srry ><

So, how would DT!Duo react if they found out that Ellen, may or may not, is down bad for earthling? • v •

(They sure will be disappointed ><)

WHEEZE- Well that a crazy question.(/vpos). So obviously DT!Simon would try his best to make his son accept that they should not go against the elders rules and try convinced him to stop this nonesense and all.bro would manipulate and brainwash them (someone needs to stop him.) luckly that's where DT!Oren come. Unlike DT!Simon he won't freak out cuz he was in that situation before(ı said that he ruin his relationship with Pinki himself.he did love her.) so he would pull Ellen somewhere only two of them will be and probably sit somewhere talk to him about it.He would try to understand why Ellen think he feel like it or do he really wanna go this way and all.Not like he want him to go this way but at least he would accept and if possible want to help him.

•

In that case

DT!Simon:Disappointed

DT!Oren:He understand and accept it(it's surprising he isn't disappointed.But he knows how love works)

[nicklloydnow]

“I would say, when I commenced this work I wanted specifically to talk about the Boroughs, to talk about my family's history there and to talk about the general history of the place. But obviously, as I started to discuss these things, I started to realise you can't really talk about the Boroughs without talking about poverty, and you can't really talk about poverty without talking about wealth and economics. All of these things expanded and, yes you're right, when I started this book in 2006, 2005, I had no idea what kind of world it would be when I finished it and yet, you can only trust your instincts that the thing you're doing will be timely. Indeed, after the financial collapse of 2008, with the introduction of austerity as a buzzword by which most of Europe appeared to be governed, I realised that this was going to have considerable relevance. Considering the position of the Boroughs as an area of particular deprivation — I believe it's still in the top 2 percentile in terms of deprivation in the UK — I realised that this was a kind of condition that recent policies have almost universalised. I've put in an interview I did with one of the local papers; for a long while people were reluctant to visit the Boroughs, but in our current economic climate it seems as though the Boroughs will be coming to visit them, wherever they are.

This is a thing that does seem incredibly timely, but then a lot of things have them about them. You just do these things and there is something eerie about the way they seem to be catching intimations from the future, but you more or less have to ignore that and get along with the work.

(…)

Well, I was just thinking, I have said in the past that the boundary between fact and fiction does seem incredibly porous. I think of when lain Sinclair brought out Down River, which was a kind of curse upon the Thatcher regime, and she had been out of office for two months by the time it came out, prompting the late, and very great Angela Carter to say in a review that it was a tremendous book, but in terms of being a prophet, Jain Sinclair scored "about as high as his idol, William Blake". Iain actually wrote her a letter thanking her for the review, but taking issue with her over the point of prophecy. He was saying, it's not really the job of the prophet to actually predict the future; it's more the job of prophets to make that future happen.

I'm not sure myself, I'm not sure if we sometimes get into what's coming up, or whether it is the other way round; that our ideas get out of us and actually escape to make that future. Anyone's guess, I can say.

(…)

Having had more time to think about that, I would say that something happened to, us as a culture, in the early to mid-1990s. This is something very well expressed in my friend John Higgs' book about the KLF - it's called The KLF: Chaos, Magic & The Band Who Burned A Million Quid. It's a brilliant insight into what was happening during that time, and I'm not just saying that because it does have a very beautiful and windswept image of me in it somewhere. Jimmy and Bill were terrific. John is pointing out in his book that when they left that dead sheep on the steps of the Brit Awards and announced the KLF had left the music industry and deleted their back catalogue — which, incidentally, cost them a great deal more than a million quid — this was around about 1990. That was signalling the end of rave and dance, yes it would still trail on for a while after that but it was pretty much over.

So, as a culture, we waited until there would be another counter-culture, another movement, following the pattern that was established after the Second World War; that there's always a new music movement, a new culture, a new counter culture, every few years; a new way of dressing, a new sound. 1990, we waited and we waited and in 1995 we got Britpop, which was not any kind of authentic musical movement, it was something imposed from the top down and was already a sort of regurgitation of the British pop bands of the 1960s and the 1970s, and just in time for Tony Blair, and New Labour and Noel Gallagher shaking Blair's hand in Downing St. And we haven't had a counter-culture since then, it seems like we're no longer allowed them and I am starting to think that counter-culture is an inseparable part of culture, that's the way it works.

Last November we had a day of counterculture up at the local college which was called Under The Austerity, The Beach. We had various people, Francesca Martinez, Robin Ince, Grace Petrie, Josie Long, Scroobius Pip, me and Melinda, and talking with Scroobius Pip about counter-culture, he said that counter cultures always fail, which is true. The thing is, counter cultures are assimilated by the prevailing culture, but obviously if you assimilate anything, if you eat anything, it's going to have an effect upon you, and if you can make a counter culture that is either toxic enough or psychedelic enough, then the prevailing culture is going to be altered by ingesting it. And I think this is the way that culture works, this is the way it changes, and renews itself.

(…)

I would say that where we are now, 2016, is more or less where were in 1916. At that juncture of the 20th century, the modern world was about to happen. There was the First World War, arguably the first modern war, where you had prototypical tanks alongside bows and arrows. In Lost Girls, me and Melinda incorporated Stravinsky's Rite of Spring which was completely changing our perception of music, at the same time Einstein was completely changing our perception of physics, you had the modernist writers starting around then, Eliot writing about a broken country during World War 1, Joyce — all of these people, they emerged around then. I would hope that there is where we are in our current culture because it seems to me, that after skipping hurriedly through the 1950S, 60s and 70s, with our automotive tail fins that looked like rocket ships, with our science fiction, we were kind of hurrying through those decades trying to get to this promised, Jetsons future and then, around 1990-95, when the internet was starting to become a reality, we suddenly realised that we had arrived, and this was now the future and we froze.

As a culture, we froze, we had no idea what would be appropriate to this new era that we found ourselves on the brink of. So culturally, we decided, it seems to me, to mark time. We marched upon the spot. We started recycling the culture of the previous era that we were most comfortable with. Obviously that's a sweeping generalization, there's always committed artists and musicians and writers who are trying to break into new territory, of course there are, but the dominant mainstream of culture seems to be paralysed and anxiously repeating itself because it can't think of what else to do; it can't think of a culture that would be adequate to this new century.

I'd say that in cultural terms, the 21st century hasn't started yet. We are hopefully seeing its beginnings in this current period of turbulence that we're going through, just as they were going through a considerable period of turbulence a century ago.

(…)

I assumed that, say, having done something like Watchmen, this would suggest to the other people working in the industry that, yes, there were different possibilities for comics, yes there were all of these storytelling techniques that could be exploited; genuinely new ways of conducting a comic story, I naively assumed that if you set an example that there'll be lots of people who will respond to that and will start doing brilliant exciting stories of their own. But throughout the mainstream industry, it seems like a work like Watchmen - which was intended, like Marvelman laka Miracleman] before it, to be critical of the superhero genre — what the majority of publishers seem to have taken from that was: violent and more sexually explicit comics sell better. More depressing comics sell better. Comics that are more difficult to understand sell better, as long as they're violent and grim and more sexually explicit. And this seems to have become the default position of comics since these times, which I don't think has helped the industry or the genre a great deal.

At the point I was getting out of the mainstream industry, ten years ago or more, I was saying that comics, seemingly, had become a kind of pumpkin patch to grow movie franchises. People weren't doing things for the medium itself, they weren't trying to explore the medium, they were more interested in coming up with a character or a concept that might translate to the movies and make them a lot of money. That is a blight which is not just contained within comics, that is one that applies to pretty much all of culture. All of culture seems to think that it has to realise itself upon multiple platforms, as I believe the phrase is, which ends up with movies that are trying to be lunchboxes.

(…)

In one of the text pieces there are references that tie in characters from Homicide: Life On The Streets, The Wire and Jules Verne's Baltimore Gun Club. But in Jerusalem, the reference was made, not just because I was a fan of The Wire, but because I could see similarities. That, if you're talking about an impoverished community, which David Simon and me both were, then if you're intelligent you realise how big the story is in these little, neglected areas, how much space you need to tell that story competently, without editing out any of the most interesting stuff. You need something that is the length of Jerusalem or the length of The Wire. Something that's at least 60 hours long, in terms of time spent immersed in it.

When we unpack these places, these impoverished and disenfranchised places, it's always a surprise how much is in there.”

[artcalledwind]

Stop Pressing Me Homie Stop pressing I snap The pressure homie Desire- SisterMachineGun Spaceman - Babylon Zoo Let me talk to the lady Need sometime by With me and her by Herself I writing as I eat you Walls not needed present The groupe I won’t be like thee Trump Not, know knots Tragedy for You - Front242 Outside wolves upon prey I know been listening for a long time Preservation of a human race Relay, connect, industrial Catastrophe I writing as I eat you Just preserve Reserve For future breathing None benched Stop pretending me slowly Stop pressing me homie Lords of Acid gave before a rave I Must increase I must I must You Kook I writing as I eat you 4 into it Ready ur self listening MOLG - Suicide King KLF - What Time Is Love COIL - Windowpane Sto p P. Ressing M.E. Depressions Crators Left UR Bombs For the richest of treasure’s I writing as I eat you You industries of industrials Geared in sync My You Tube Tumblr-Ed It’s a genre generations Not smoking by a front tire Vanishing Cream - The Hunger Grunge AIC - Nutshell So industrial declined Stop pressing me Homie I writing as I eat you I (ate) eight you up Last grudge don’t count Bring pliers & lubricants Grabbin’ at the wind Grabbin’ at the wind Leave the hinges

Have you by the doors

(Added a sometime afterwards)

Don’t bolt me down

[krislgfox]

For your safety please avoid goldenstrwbrry! They've been casually exposing minors to NSFW & paraphilia over Discord for months now. Block and move on, do NOT interact as they will attempt to rope you in closer. Please trust me. I've seen this happen before. I don't want anyone to experience what we did.

I was thinking about it a lot, and well.. Do u have any proofs, like photos or smth? I don't want to seem rude okay? Just, it hard to trust an anon who doesn't really show any proofs and ask to block some1, like I'm not that kind of person who believes blindly, okay? Just show me proof, if u have ones, and (maybe) I'll think about it

And @goldenstrwbrry ur opinion about that? If u don't want to answer that, it's okay, I just don't want to not inform you about such thing and just want to hear what u think

(I have a strong feeling that I'll start a drama here, which I don't want to happen so pls, if u want to start drama, anywhere but not here, okay?)

[kl-silly-fox]

Prb 😔☝

Two creepy face ig

.

.

.

Fun fact about horror Nico! ><

No matter how u look at him, he will always stare right at u, no matter which angle, he will still stare. He can't control it + since he's basically a spirit/ghost he's quite transparent so he can stare at u even from behind

Also that's👆 a Survival Instinct au related doodle of Nico n his staring problem, in the au his face is basically just stuck sometimes like this

( @spiderlilyforlife srry for the tag, just wanted to show u this ><)

[my-chaos-radio]

Release: March 4, 1991

Lyrics:

This is Radio Freedom

KLF, a-ha, a-ha, a-ha, a-ha

KLF is gonna rock ya (are you ready?)

(Ancients of Mu Mu) A-ha, a-ha, a-ha, a-ha

(Here we go, ancients of Mu Mu)

KLF is gonna rock ya (are you ready?)

(Ancients of Mu Mu) KLF, KLF is gonna rock ya

KLF (are you ready?)

(Ancients of Mu Mu)

Eternal

KLF is gonna rock ya 'cause you have to

Move to the flow of the P.D. Blaster

Bass ballistics, I'm gonna kick this hard

And you can catch it

Down with the crew-crew, talking 'bout the Mu Mu

Justified Ancient Liberation Zulu

Got to teach and everything you learn

Will point to the fact that time is eternal

It's 3 A.M., 3 A.M.

It's 3 A.M. Eternal (eternal)

KLF is gonna rock ya

(Are you ready?)

(Ancients of Mu Mu) A-ha, a-ha, a-ha, a-ha

Eternal (here we go)

(Ancients of Mu Mu)

KLF (are you ready?)

(Ancients of Mu Mu) A-ha, a-ha, a-ha, a-ha

Eternal

Sample city through Trancentral

Basic face kick elemental

Swings brings new technology

The 'K' the 'L' the 'F' and the ology

Da Force coming down with mayhem

Looking at my watch time 3 A.M.

Got to see that everywhere I turn

Will point to the fact that time is eternal

It's 3 A.M., 3 A.M.

It's 3 A.M. Eternal (eternal)

A-ha, a-ha, a-ha, a-ha

Eternal

KLF, a-ha, a-ha, a-ha, a-ha

KLF, a-ha, a-ha

KLF is gonna rock ya (are you ready?)

(Ancients of Mu Mu) A-ha, a-ha, a-ha, a-ha

(Here we go, ancients of Mu Mu)

KLF is gonna rock ya (are you ready?)

(Ancients of Mu Mu) KLF, KLF is gonna rock ya

A-ha, a-ha, a-ha, a-ha

Eternal (here we go)

(Ancients of Mu Mu)

KLF (are you ready?)

(Ancients of Mu Mu) A-ha, a-ha, a-ha, a-ha

Eternal (here we go)

A-ha, a-ha, a-ha, a-ha

Eternal (here we go, here we go)

(Ancients of Mu Mu, are you ready? Are you ready?)

Got to see that everywhere I turn

Will point to the fact that time is eternal (ancients of Mu Mu)

Eternal (here we go)

Songwriter:

KLF

Ladies and Gentlemen

The KLF have now left the building

James Francis Cauty / William Ernest Drummond

SongFacts:

"3 a.m. Eternal" is a song by British acid house group the KLF, taken from their fourth and final studio album, The White Room (1991). Numerous versions of the song were released as singles between 1989 and 1992. In January 1991, an acid house pop version of the song became an international top ten hit single, reaching number-one on the UK Singles Chart, number two on the UK Dance Singles Chart and number five on the US Billboard Hot 100, and leading to the KLF becoming the internationally biggest-selling singles band of 1991.

The following year, when the KLF accepted an invitation to perform at the 1992 BRIT Awards ceremony, they caused controversy with a succession of anti-establishment gestures that included a duet performance of "3 a.m. Eternal" with the crust punk band Extreme Noise Terror, during which KLF co-founder Bill Drummond fired machine-gun blanks over the audience of music industry luminaries. A studio-produced version of this song was issued as a limited edition mail order 7-inch single, the final release by the KLF and their independent record label, KLF Communications. Q Magazine ranked "3 a.m. Eternal" number 150 in their list of the "1001 Best Songs Ever" in 2003.

There are two video versions for the SSL video. The American version includes an opening with a travel through the mythical "Land of Mu Mu" where the KLF are performing inside a pyramid scenery with singers in a stadium. The European version shows the KLF vehicle (the police cruiser used in their Timelords incarnation) voyage around London with rapper Ricardo da Force singing in the backseat and a rave showing in the background. The video received heavy rotation on MTV Europe.

[the-birth-of-art]

X vs Y (music edition)

Preemptive admission this is complete and utter nonsense, so please (please) take the prompts below with a Gibraltar-sized grain of salt.

Who do you prefer?

The Cure / Depeche Mode

Echo & the Bunnymen / Psychedelic Furs

Ministry / Nine Inch Nails

Grateful Dead / Jefferson Airplane

Peter Gabriel Genesis / Phil Collins Genesis

Phish / Dave Matthews Band

Sex Pistols / The Clash

The Beatles / Rolling Stones

Led Zeppelin / Black Sabbath

Tupac / Notorious B.I.G.

King Crimson / Yes

Elliott Smith / Nick Drake

Joni Mitchell / Kate Bush

Rezillos / Pretenders

Taylor Swift / The National

Willie Nelson / Waylon Jennings

Pink Floyd / Radiohead

Primus / Red Hot Chili Peppers

INXS / U2

Rancid / Green Day

Dolly Parton / Loretta Lynn

Muddy Waters / Howlin’ Wolf

Ludwig van Beethoven / Wolfgang Amadeus Mozart

Sleater-Kinney / Bikini Kill

Beastie Boys / Run-D.M.C.

Replacements / Hüsker Dü

Pavement / Yo La Tengo

Neil Young / Bob Dylan

New Order / Joy Division

The Who / The Kinks

Dinosaur Jr. / My Bloody Valentine

Talking Heads / Television

Philip Glass / Steve Reich

The Orb / The KLF

Lady Gaga / Madonna

N’Sync / Backstreet Boys

Briney Spears / Christina Augilera

Oasis / Blur

early Leonard Cohen / early Tom Waits

Ray Charles / Sam Cooke

Chemical Brothers / Fatboy Slim

Buck Owens / Merle Haggard

late Tom Waits / late Leonard Cohen

Johann Sebastian Bach / a really good orgasm

Prince / a really good orgasm somehow due to Prince

Jerry Jeff Walker / Doug Sahm

Randy Newman / Steely Dan

Nirvana / Pearl jam

Simon & Garfunkel / Paul Simon

Los Lobos / X

[c-40]

A-T-3 055 Strawberry Switchblade - Trees And Flowers

Come on spring! I thought Strawberry Switchblade were brilliant when I was a kid, the edgy name, the makeup, and the bows the polka-dots, and the music was really good. I think they sound as good today as they ever have

Jill Bryson and Rose McDowall were part of the Glasgow punk scene. According to wikipedia, a fanzine called Strawberry Switchblade (named after a title of a song by founding member of Orange Juice James Kirk) was being talked about as promo for an Orange Juice flexi-disc but it never materialised (Orange Juice were originally on Postcard Records that had a distinctive aesthetic) so James Kirk gave the girls the name

In 1982 they recorded two sessions for The BBC, one for John Peel and another for Kid Jenson, James Kirk played bass on these sessions and Shahid Sarwar from The Recognitions played drums

Bill Drummond and David Balfe heard theses sessions and signed them to their publishing company Zoo Music (Zoo Records folded in 1982, Zoo, Big In Japan, Teardrops Explodes, KLF, starting the Food label are among many many stories that have been told many times before). Balfe would manageStrawberry Switchblade

Trees And Flowers is their debut single, it was written by Bryson about her anxiety disorder, agoraphobia, and features Aztec Camera's Roddy Frame on guitar. The rhythm section were former members of Madness, Mark Bedford and Daniel Woodgate, who would later be part of (Strawberry Switchblade wannabees) Voice of the Beehive

The demo version is up on youtube, I think it's wonderful so here it is. At the time they were an all woman 4-piece. Bryson and McDowall were joined by friends Janis Goodlet (bass) and Carole McGowan (drums)

the b-side is Go Away

[kl-silly-fox]

Bro just built like that, nothing can help it, he just a chihuahua at this point > v <

Fun fact about Max for u ><

This bro does NOT know how to open doors right so he always break them ><

(Actually he knows how to open them, he just refuse to do it right)

I love this little dork 😭🤍