The White Room - Information Sheet Eight- Library of Mu
- Library of Mu record:
- Title: The White Room - Information Sheet Eight
- Date: 1990-08-00
- Journal: -
- Author: KLF Communications
- Type of resource: Official
- Status: text
- No. views: 11660
- Description: The Story Of 'The White Room'. Earliest format covered 16 pages - about 20 lines per page - and included March 1990 completist list with record mail order info and note about Space, performances, more on personal projects and possibility of a trip to West
The White Room - Information Sheet Eight
By KLF Communications (1990-08-00, -)THE WHITE ROOM
The introduction to the Motion Picture by Bill Drummond, Jimmy Cauty and Bill
Butt. Copyright 1990 KLF Communications.
Information Sheet Eight.
THE JUSTIFIED ANCIENTS OF MUMU are an organization (or disorganization) who
are at least as old as the ILLUMINATI. They represent the primeval power of
Chaos. As such they are diametrically opposed to the order that the
Illuminati try to oppress on mankind and on mankind's understanding of the
Whether the above is fact or fiction is irrelevant.
What definitely is the case is; "The Chaos versus Order War" has been raging
on, ever since Time first got it on with Space and created the Universe.
In 1987 Bill Drummond and Jimmy Cauty using the alias's Kingboy D and Rockman
Rock started to work together. They called themselves THE JUSTIFIED ANCIENTS
Whether this is fact or fiction is also irrelevant.
Drummond and Cauty's ambitions were more temporal than cosmic. They just
wanted to make records with out other people telling them how it should be
done. Humble enough horizons. But within days of their first record being
released they began to receive mail and messages from very strange sources.
The information they were getting was varied and confusing. They were being
warned not to get involved with what they could never understand. they were
being threatened. They were being congratulated in taking The War above
ground. They were being welcomed on board as "brothers in arms" in the only
war that was ever justified, I quote; "To finally separate Time from Space,
thus enabling Chaos once again to reign supreme".
Far out or what?
Much of the mail was from obvious cranks and crackpots, but then other stuff
began to happen. Stuff they don't want to talk about because of the ridicule
that it might heap on themselves.
Then in mid 1988, using a further alias, The Timelords, they had a freak
international number one hit record, "Doctor'n the Tardis". The cash from
this record funded the making of this film or at least what has been filmed
Along with all the offers coming into their solicitors office from people
wanting to license their Number One for; hit compilation albums, movie
soundtracks, and airline in flight entertainment tapes, came a contract for
a far more bizarre nature. A contract with an organization or individual
calling themselves "Eternity". The wording of this contract was that of
standard music business legal speak, but the terms discussed and the rights
required and granted were of a far stranger kind. Their solicitor (played by
himself, David Franke, in the film) advised them not to sign. They of course
From now on in, this contract will be known as The Contract.
Whether The Contract was a very clever and intricate prank by a legal minded
JAMS fan was of little concern to Drummond and Cauty. For them it was as good
a marker as anything as to what direction their free style career should take
next. David Franks understandably thought differently. His clients should
not put their names to legally binding agreements without first understanding
all of the implications of doing so.
In the first term of The Contract they, Drummond and Cauty, were required to
make an artistic representation of themselves on a journey to a place called
THE WHITE ROOM. The medium they chose to make this representation was up to
them. Where or what THE WHITE ROOM was, was never clearly defined.
Interpretation was left to their own creativity.
The remuneration they are to receive on completion of this work of art was
supposed to be access to THE "real" WHITE ROOM. Your guess is as good as
Drummond and Cauty had already been planning to stage a joint art exhibition
(they both had backgrounds in, and ambitions ahead in art). Initially their
ideas were that the journey and arrival oat THE WHITE ROOM was to be
represented on canvas and exhibited in a Cork Street Gallery.
Driving down the Marylebone Road on a wet September afternoon in 1988 in
their infamous U>S> Cop car, Cauty suggested, instead of doing the art
exhibition they should make a film. The making of a "Road Movie" had always
figured in their vague plans for the future. With money coming in from all
over the place for their Timelords record maybe now was the time. Or at least
they thought so.
They contacted their friend and associate, the film director, Bill Butt. Made
plans. Put budgets together. Worked on story boards. Six weeks from that
September afternoon they were filming in he Sierra Nevada region of Spain
(Spaghetti Western Country). The crew they were working with were the best.
Most of them had just finished working with Spielberg on his latest INDIANA
Things started to go wring immediately. The weather, guaranteed to be blue
skies of epic proportions until well after Christmas, was low and drizzly. In
filmatic terms this was disastrous. Then while they were out there business
deals started to stagger and crash. It was the money from these deals that
was to finance the completion of the picture. Of course if you talk to
anybody who tries to make a film they will tell you of the catalogue of
disasters that came between them and their reported triumphant premier.
Drummond and Cauty had no experience of this. They just felt that the Gods
were against them.
On their return to the U.K. in December 1988, they viewed all of the uncut
rushes that had been shot. They knew then that they had just thrown away the
best part of #250,000.
Serious depression. Serious reappraisal of what they were doing with their
lives. They had meetings with their accountants to asses what the damage
would be if they were to cut their losses and pull out then.
Bill Butt, the director, persuaded them to see it through.
By February 1989 they had enough funds together for them to shoot the
interior scenes and the London location shots.
Over the intervening months, between Cauty and Drummond signing The Contract
and February 1989, David Franks had become steadily more intrigued by all the
implications of the various clauses of The Contract.
Although The Contract was between The JAMS and Eternity, Eternity gave no
address, Eternity left no room for negotiation. It was a take it or leave it
deal. Drummond and Cauty had taken it.
In January 1989 David Franks believed he had found a get out clause.
Something that Drummond and Cauty would later call the LIBERATION LOOPHOLE.
It was decided by Bill Butt and the other two that the signing of the
contract and Frank's discovery of the LIBERATION LOOPHOLE should be
dramatically reconstructed, filmed and respectively used at the beginning and
the end of the film.
The rest of the film was then shot.
Drummond and Cauty buried themselves in the studio to record the sound track.
Bill Butt and editor Rob Write got to work with razor blades and Steinbeck
machine in the cutting room.
Summer '89. The film was finished. It was only a disappointingly 52 minutes'
long, but it was all there.
Some of the scenes that had been planned and shot had to be dumped. Others
that had been shot on the hop had now become vial to the shape of the film.
One of these was the dead eagle scene. Drummond had come across a beautiful
but decomposing eagle at the side of the road. Nobody else would go near it.
It stank. Drummond insisted on being filmed with it as he strode down a one
track rail line. The significance of this at the time could not be argued.
Meaningless but dramatic.
The original plan had been to tour the film as a performance piece, to show
it in larger clubs and raves and for The JAMS, now working under yet another
alias, The K.L.F. to perform the sound-track live using their computers and
keyboards, from the safety of the mixing desk.
The film looked great. It had the appearance of the real thing. It was the
real thing. It was BIG SCREEN. But would it hold peoples attention. Did it
stand up dramatically? Are two people indulging their whims enough? Clouds of
doubt gathered. Dramatic tension. What dramatic tension? Even more doubt.
Bill Butt asked the question, "Would your regular punter give a fuck whether
The JAMS made it to THE WHITE ROOM? No. They would rather see Cauty get
pumped full of lead while his pompous partner was blown to Hell as their car
hit a land mine.
JULY 1989. "KYLIE SAID TO JASON" the first new recording released by The
K.L.F. that year. It was to be from the soundtrack of the film, it was also
supposed to be a top ten record. It never made it to top 100. The JAMS were
relying on it to rescue them from the jaws of bankruptcy. As we write the
jaws are closing.
On Monday 31st of July "KYLIE SAID TO JASON" slipped from 105 to 107. Cauty
and Drummond should have been in the depths of depression. They were not.
Eight months earlier, in October 1988, As The K.L.F. they had released a 12"
single called "WHAT TINE IS LOVE". It had been totally ignored. Sold next to
no copies. The record was deleted in January 1989.
Things began to get curious. An odd fan latter from DENMARK. The none from
BELGIUM. Then an order for 2,000 copies from an ITALIAN importer. How and why
they had no idea. Every day there were more and more orders coming in from
across EUROPE. By JUNE 1989 the track was beginning to be played in "certain"
clubs and on the pirate radio stations, in and around LONDON. The K.L.F. were
being feted by all the "right" D.J.s. Although "WHAT TIME IS LOVE" was not
going to cross over into the U.K. mainstream charts it fast became the anthem
of the Summer Raves (ACID HOUSE PARTIES in tabloid speak). "KYLIE SAID TO
JASON" was pure Euro Pop with a twist. Its chart success would have destroyed
all this burgeoning club credibility (a very fickle mistress).
On that same Monday evening in JULY, as The K.L.F. they were making their
debut live performance at the London Club HEAVEN. The performance consisted
of a 15 minute version of "WHAT TIME IS LOVE". During which they splattered
their audience with polystyrene pellets fired from a giant wind machine. The
event was deemed a strange success.
Later that evening they met a young down and out, claiming to be called Micky
McElwee. For the price of a meal he unveiled to them a classic plot gone
The story that Mickey McElwee told them that night was the most shit scarring
stuff the both of them had ever heard. It was more comfortable for them to
try and accept that this character had made the whole thing up. That he was
some sort of demented JAMS fan that had finally hit skid row on the arse end
A day or so later they related the whole story to Bill Butt. It was agreed
that it could make the basis for the real plot of the film. Here was the
dramatic tension they needed.
The finished film will contain both an Inner and Outer film. The Inner film
is the original one shot in late 1988 and early 1989. The Outer film contains
the dramatically reconstructed events that according to Micky McElwee, took
place, unbeknown to Drummond and Cauty while The Inner film was being shot.
There will also be, what we will call, a Third Strand which will consists
[sic] of scenes plotting the tensions and predicaments that Drummond, Cauty
and Butt experienced while attempting to make The Inner film. All three plots
will intertwine with each other telling the one simple story. The story of
Men out of their Depth.
In The Inner film Drummond and Cauty play their alter egos KINGBOY D and
ROCKMAN ROCK. In the outer film they play themselves.
They asked PAUL McGANN if he fancied plating the role of Mickey. He was up
for it. Bit was not available until the Autumn of 1990. Bill Butt reckoned it
would cost a further #1,000,000. to finish the film.
They have six months to raise the cash.
Can they do it?
Accept the contradictions.
LONG SLEEVE T-SHIRT. Featuring KLF logo on front, pyramid
blaster on back and sleeve. In White with
Black design. Only #15.
SHAG SHAG SHAG T-SHIRT. Yellow and Black design on white short
sleeved t-shirt. Only #7.
PYRAMID PLASTER T-SHIRT. Pyramid logo on front, KLF logo on back.
Black on White short sleeved t-shirt.
KLF HAT. KLF fabric and Fun Fur Trapper Hat. Hand
Finished. Only #20.
Please make Cheques/P.O.'s Payable to KLF Communications. Add #2 per item P.
and P. send to:
P.O. Box 283
Artist Cat No. Title
THE JAMS JAMS 23 ALL YOU NEED IS LOVE? One sided 12" white
label. 500 Pressed
THE JAMS JAMS 23T ALL YOU NEED IS LOVE? First 5000 in James
Anderton picture bag.
THE JAMS JAMS 23S ALL YOU NEED IS LOVE? 7". The Me Ru Con Mix.
THE JAMS JAMS LP1 1987. WHAT THE FUCK IS GOING ON? Forced
THE JAMS JAMS CLP1 1987. WHAT THE FUCK IS GOING ON? Forced
THE JAMS JAMS 24T WHITNEY JOINS THE JAMS. One sided white label
THE JAMS JAMS 25T 1987. THE EDITS 12" [edited version of 1987.
WHAT THE FUCK IS GOING ON? without any
copyrighted samples. has instructions on how
to put the samples back in. -Dave]
DISCO 2000 D2000 I GOTTA C.D. 12"
DISCO 2000 D2001 I GOTTA C.D. 7"
THE JAMS JAMS 27 DOWNTOWN 12" One sided white label. 500
THE JAMS JAMS 27T DOWNTOWN 12"
THE JAMS JAMS 27S DOWNTOWN 7"
*THE JAMS JAMS LP2 WHO KILLED THE JAMS?
THE K.L.F. KLF 001 THE 1987 COMPLETEIST LIST. Available with Who
Killed The JAMS?
THE JAMS JAMS 26T BURN THE BASTARDS/BURN THE BEAT 5000 pressed.
*DISCO 2000 D2002 ONE LOVE NATION 12" only
THE K.L.F. KLF 002T BURN THE BASTARDS/BURN THE BEAT.
*THE TIMELORDS KLF 003T DOCTORIN' THE TARDIS 7"
*THE TIMELORDS KLF 003T DOCTORIN' THE TARDIS 12"
*THE TIMELORDS KLF 003R GARY IN THE TARDIS 12"
*THE TIMELORDS KLF 003GG GARY IN THE TARDIS 7" White Label
*THE TIMELORDS KLF 003P DOCTORIN' THE TARDIS Picture Disc
*THE K.L.F. KLF 004T WHAT TIME IS LOVE? 12"
*JAMS/KLF/T-LORDS JAMS LP3 SHAG TIMES Double compilation LP.
*JAMS/KLF/T-LORDS JAMS CD3 SHAG TIMES
*THE TIMELORDS KLF 009 THE MANUAL (HOW TO HAVE A NUMBER ONE THE EASY
WAY) A book in which The JAMS reveal the
methods anyone can use to get a Number One Hit
*DISCO 2000 D2003 UPTIGHT 7"
*DISCO 2000 D2003T UPTIGHT 12"
*THE K.L.F. KLF 004R WHAT TIME IS LOVE? 12" Primal Remix/Techno
Slam Mix/ Original Trance Mix.
THE K.L.F. KLF 004M WHAT TIME IS LOVE? The Monster Attack Mix.
White label. 3 pressed.
*THE K.L.F. KLF 010 KYLIE SAID TO JASON 7"
*THE K.L.F. KLF 010T KYLIE SAID TO JASON 12"
*THE K.L.F. KLF 010R KYLIE SAID TO JASON 12" Moody Boys Remix. 4000
pressed and released on export.
*THE K.L.F. KLF 010CD KYLIE SAID TO JASON CD Single Features the
extra track MADRUGADA ETERNA.
THE K.L.F. KLF 0101R DEEP SHIT PART 3. The illegal remix. 6
*THE K.L.F. KLF 005T 3 A.M. Eternal. 12"
*THE K.L.F. KLF 005R 3 A.M. Eternal. 12" Remixes- 7" edit/Blue
Danube Orbital/Moody Boys/3 P.M. Electro.
*VARIOUS JAMS LP4 THE "WHAT TIME IS LOVE" STORY, A compilation
of some of the Euro cover versions of "What
Time is Love".
Relax Your Body (Dr. Felix),
Italian Mix (K.L.F.S.),
Heartbeat (Liaisons D.),
No Limit Dance Mix 4'58 (Neon),
What Time Is Love Live (The KLF)
*VARIOUS JAMS CD4 THE "WHAT TIME IS LOVE" STORY. CD of above.
THE K.L.F. KLF 008R LAST TRAIN TO TRANCENTRAL. 12" Only 2000
pressed. Was available in specialist shops
*THE K.L.F. JAMS LP5 CHILL OUT
*THE K.L.F. JAMS CD5 CHILL OUT
There have been numerous records that have been scheduled for release but,
for various reasons, have never seen the light of day. These include - DEEP
SHIT (a seven inch flexi, 500 were pressed, but was never deemed "safe" to
release), LOVE TRANCE 12", TURN UP THE STROBE 12", GO TO SLEEP 12", the PURE
TRANCE L.P., the LIVE AT TRANCENTRAL L.P., and the WHITE ROOM soundtrack.
Some of these recordings may be released some day.
There are also various imports available, [imports TO the UK. (THE HISTORY OF
THE JAMS, DOCTORIN' THE TARDIS CD single) -Dave] but none of these contain
any material that is not already available in the U.K.
If you have difficulty tracking down the above, the * ones are available
direct from us at KLF Communications, P.O. Box 283. HP22 5BW. The U.K.
Add #2 per item for Post and Packaging.
7" Singles One pound Ninety Nine pence.
12" Singles Three pounds and Forty Nine pence.
L.P.s Six pounds and Ninety Nine pence, except JAMS LP4 which
is Four pounds and Ninety Nine pence.
CD singles Three pounds and Ninety Nine Pence
CD albums Ten Pounds and Ninety Nine pence, except JAMS CD4 which
is Eight pounds and Ninety Nine pence
The Manual Five pounds and Ninety Five pence
Please make cheques payable to K.L.F. Communications.
Info Sheet Seven is still available, so if you want one send a S.A.E. and
make your request known.
Other info. We hope to see The Orb album "SPACE" surface on KLF
Communications in the next few months. The K.L.F. will probably be making
some undisclosed performances and staging shadowy events but there is no
point in asking us Where, When, and Why. Drummond continues to work on his
book Zenarchy - A Case History, and Cauty on his paintings. They might both
be traveling to the Western Isles of Scotland to make some new recordings
some time in the Spring. Do not ask.
There are 3 comments for this record
You can leave a comment below.
Posted by Guest on 2007-07-31 07:56:38
Posted by Guest on 2007-11-29 07:12:32
can you get t-shirts or jumpers still thanks
Posted by Guest on 2011-11-16 08:58:06
i have just found my white label copy of All you need is love on 12" (white inner sleeve with bromide - photo - print tipped into), any value to anyone