text:
Douglas Adams

Douglas Noel Adams (11 March 1952 – 11 May 2001) was an English author, humourist, and screenwriter, best known for The Hitchhiker's Guide to the Galaxy (HHGTTG). Originally a 1978 BBC radio comedy, The Hitchhiker's Guide to the Galaxy developed into a "trilogy" of five books that sold more than 15 million copies in his lifetime. It was further developed into a television series, several stage plays, comics, a video game, and a 2005 feature film. Adams's contribution to UK radio is commemorated in The Radio Academy's Hall of Fame.

Adams also wrote Dirk Gently's Holistic Detective Agency (1987) and The Long Dark Tea-Time of the Soul (1988), and co-wrote The Meaning of Liff (1983), The Deeper Meaning of Liff (1990) and Last Chance to See (1990). He wrote two stories for the television series Doctor Who, co-wrote City of Death (1979), and served as script editor for its seventeenth season. He co-wrote the sketch "Patient Abuse" for the final episode of Monty Python's Flying Circus. A posthumous collection of his selected works, including the first publication of his final (unfinished) novel, was published as The Salmon of Doubt in 2002.

Adams was a self-proclaimed "radical atheist", an advocate for environmentalism and conservation, and a lover of fast cars, technological innovation, and the Apple Macintosh.

Early life
Adams was born in Cambridge, England, on 11 March 1952 to Christopher Douglas Adams (1927–1985), a management consultant and computer salesman, former probation officer and lecturer on probationary group therapy techniques, and nurse Janet (1927–2016), née Donovan. The family moved a few months after his birth to the East End of London, where his sister, Susan, was born three years later. His parents divorced in 1957; Douglas, Susan and their mother moved then to an RSPCA animal shelter in Brentwood, Essex, run by his maternal grandparents. Each parent remarried, giving Adams four half-siblings. A great-grandfather was the playwright Benjamin Franklin Wedekind.

Education
Adams attended Primrose Hill Primary School in Brentwood. At the age of nine, he passed the entrance exam for Brentwood School. He attended the prep school from 1959 to 1964, then the main school until December 1970. Adams was 6 ft tall by the age of 12, and stopped growing at 6 ft. His form master, Frank Halford, said that Adams's height had made him stand out and that he had been self-conscious about it. His ability to write stories made him well known in the school. Adams became the only student ever to be awarded a ten out of ten by Halford for creative writing – something he remembered for the rest of his life, particularly when facing writer's block.

Some of his earliest writing was published at the school, such as a report on its photography club in The Brentwoodian in 1962, or spoof reviews in the school magazine Broadsheet, edited by Paul Neil Milne Johnstone, who later became a character in The Hitchhiker's Guide. Adams also designed the cover of one issue of the Broadsheet, and had a letter and short story published in The Eagle, the boys' comic, in 1965. A poem entitled "A Dissertation on the task of writing a poem on a candle and an account of some of the difficulties thereto pertaining" written by Adams in January 1970 at the age of 17, was discovered in a cupboard at the school in early 2014.

On the strength of an essay on religious poetry that discussed the Beatles and William Blake, Adams was awarded an Exhibition in English at St John's College, Cambridge (where his father had likewise been a student), going up in 1971. He wanted to join the Footlights, an invitation-only student comedy club that has acted as a hothouse for comic talent. He was not elected immediately as he had hoped, and started to write and perform in revues with Will Adams (no relation) and Martin Smith; they formed a group called "Adams-Smith-Adams". He became a member of the Footlights by 1973. Despite doing very little work – he recalled having completed three essays in three years – he graduated in 1974 with a 2:2 in English literature.

Writing
After leaving university, Adams moved back to London, determined to break into TV and radio as a writer. An edited version of the Footlights Revue appeared on BBC2 television in 1974. A version of the Revue performed live in London's West End led to Adams being discovered by Monty Python's Graham Chapman. The two formed a brief writing partnership, earning Adams a writing credit in episode 45 of Monty Python for a sketch called "Patient Abuse". The pair also co-wrote the "Marilyn Monroe" sketch that appeared on the soundtrack album of Monty Python and the Holy Grail. Adams is one of only two people other than the original Python members to get a writing credit (the other being Neil Innes).

Adams had two brief appearances in the fourth series of Monty Python's Flying Circus. At the beginning of episode 42, "The Light Entertainment War", Adams is in a surgeon's mask (as Dr. Emile Koning, according to on-screen captions), pulling on gloves, while Michael Palin narrates a sketch that introduces one person after another but never gets started. At the beginning of episode 44, "Mr. Neutron", Adams is dressed in a pepper-pot outfit and loads a missile onto a cart driven by Terry Jones, who is calling for scrap metal ("Any old iron..."). The two episodes were broadcast in November 1974. Adams and Chapman also attempted non-Python projects, including Out of the Trees.

At this point, Adams's career stalled; his writing style was unsuited to the then-current style of radio and TV comedy. To make ends meet, he took a series of odd jobs, including as a hospital porter, barn builder, and chicken shed cleaner. He was employed as a bodyguard by a Qatari family, who had made their fortune in oil.

During this time, Adams continued to write and submit sketches, though few were accepted. In 1976, his career had a brief improvement when he wrote and performed Unpleasantness at Brodie's Close at the Edinburgh Fringe festival. By Christmas, work had dried up again, and a depressed Adams moved to live with his mother. The lack of writing work hit him hard, and low confidence became a feature of Adams's life: "I have terrible periods of lack of confidence [...] I briefly did therapy, but after a while I realised it was like a farmer complaining about the weather. You can't fix the weather – you just have to get on with it."

Some of Adams's early radio work included sketches for The Burkiss Way in 1977 and The News Huddlines. He also wrote, again with Chapman, the 20 February 1977 episode of Doctor on the Go, a sequel to the Doctor in the House television comedy series. After the first radio series of The Hitchhiker's Guide became successful, Adams was made a BBC radio producer, working on Week Ending and a pantomime called Black Cinderella Two Goes East. He left after six months to become the script editor for Doctor Who.

In 1979, Adams and John Lloyd wrote scripts for two half-hour episodes of Doctor Snuggles: "The Remarkable Fidgety River" and "The Great Disappearing Mystery" (episodes eight and twelve). John Lloyd was also co-author of two episodes from the original Hitchhiker radio series ("Fit the Fifth" and "Fit the Sixth", also known as "Episode Five" and "Episode Six"), as well as The Meaning of Liff and The Deeper Meaning of Liff.

Work on Doctor Who
Adams sent the script for the HHGG pilot radio programme to the Doctor Who production office in 1978, and was commissioned to write The Pirate Planet. He had also previously attempted to submit a potential film script, called Doctor Who and the Krikkitmen, which later became his novel Life, the Universe and Everything (which in turn became the third Hitchhiker's Guide radio series). Adams then went on to serve as script editor on the show for its 17th season in 1979. Altogether, he wrote three Doctor Who serials starring Tom Baker as the Fourth Doctor:

 * The Pirate Planet (the second serial in the Key to Time arc, in season 16)
 * City of Death (with producer Graham Williams, from an original storyline by writer David Fisher. It was transmitted under the pseudonym "David Agnew")
 * Shada (only partially filmed; not televised due to industry disputes, but was later completed using animation for the unfinished scenes and broadcast as "Doctor Who: The Lost Episode" on BBC America 19 July 2018)

The episodes authored by Adams are some of the few that were not originally novelised, as Adams would not allow anyone else to write them and asked for a higher price than the publishers were willing to pay. Shada was later adapted as a novel by Gareth Roberts in 2012 and City of Death and The Pirate Planet by James Goss in 2015 and 2017 respectively.

Elements of Shada and City of Death were reused in Adams's later novel Dirk Gently's Holistic Detective Agency, in particular, the character of Professor Chronotis. Big Finish Productions eventually remade Shada as an audio play starring Paul McGann as the Doctor. Accompanied by partially animated illustrations, it was webcast on the BBC website in 2003, and subsequently released as a two-CD set later that year. An omnibus edition of this version was broadcast on the digital radio station BBC7 on 10 December 2005.

In the Doctor Who 2012 Christmas episode "The Snowmen", writer Steven Moffat was inspired by a storyline that Adams pitched called The Doctor Retires.

The Hitchhiker's Guide to the Galaxy
The Hitchhiker's Guide to the Galaxy was a concept for a science-fiction comedy radio series pitched by Adams and radio producer Simon Brett to BBC Radio 4 in 1977. Adams came up with an outline for a pilot episode, as well as a few other stories (reprinted in Neil Gaiman's book Don't Panic: The Official Hitchhiker's Guide to the Galaxy Companion) that could be used in the series.

According to Adams, the idea for the title occurred to him while he lay drunk in a field in Innsbruck, Austria, gazing at the stars. He was carrying a copy of the Hitch-hiker's Guide to Europe, and it occurred to him that "somebody ought to write a Hitchhiker's Guide to the Galaxy".

Despite the original outline, Adams was said to make up the stories as he wrote. He turned to John Lloyd for help with the final two episodes of the first series. Lloyd contributed bits from an unpublished science fiction book of his own, called GiGax. Very little of Lloyd's material survived in later adaptations of Hitchhiker's, such as the novels and the TV series. The TV series was based on the first six radio episodes, and sections contributed by Lloyd were largely re-written.

BBC Radio 4 broadcast the first radio series weekly in the UK starting 8 March 1978, lasting until April. The series was distributed in the United States by National Public Radio. Following the success of the first series, another episode was recorded and broadcast, which was commonly known as the Christmas Episode. A second series of five episodes was broadcast one per night, during the week of 21–25 January 1980.

While working on the radio series (and with simultaneous projects such as The Pirate Planet) Adams developed problems keeping to writing deadlines that got worse as he published novels. Adams was never a prolific writer and usually had to be forced by others to do any writing. This included being locked in a hotel suite with his editor for three weeks to ensure that So Long, and Thanks for All the Fish was completed. He was quoted as saying, "I love deadlines. I love the whooshing noise they make as they go by." Despite the difficulty with deadlines, Adams wrote five novels in the series, published in 1979, 1980, 1982, 1984, and 1992.

The books formed the basis for other adaptations, such as three-part comic book adaptations for each of the first three books, an interactive text-adventure computer game, and a photo-illustrated edition, published in 1994. This latter edition featured a 42 Puzzle designed by Adams, which was later incorporated into paperback covers of the first four Hitchhiker's novels (the paperback for the fifth re-used the artwork from the hardback edition).

In 1980, Adams began attempts to turn the first Hitchhiker's novel into a film, making several trips to Los Angeles, and working with Hollywood studios and potential producers. The next year, the radio series became the basis for a BBC television mini-series broadcast in six parts. When he died in 2001 in California, he had been trying again to get the film project started with Disney, which had bought the rights in 1998. The screenplay got a posthumous re-write by Karey Kirkpatrick, and the resulting film was released in 2005.

Radio producer Dirk Maggs had consulted with Adams, first in 1993, and later in 1997 and 2000 about creating a third radio series, based on the third novel in the Hitchhiker's series. They also discussed the possibilities of radio adaptations of the final two novels in the five-book "trilogy". As with the film, this project was realised only after Adams's death. The third series, The Tertiary Phase, was broadcast on BBC Radio 4 in September 2004 and was subsequently released on audio CD. With the aid of a recording of his reading of Life, the Universe and Everything and editing, Adams can be heard playing the part of Agrajag posthumously. So Long, and Thanks for All the Fish and Mostly Harmless made up the fourth and fifth radio series, respectively (on radio they were titled The Quandary Phase and The Quintessential Phase) and these were broadcast in May and June 2005, and also subsequently released on Audio CD. The last episode in the last series (with a new, "more upbeat" ending) concluded with, "The very final episode of The Hitchhiker's Guide to the Galaxy by Douglas Adams is affectionately dedicated to its author."

Dirk Gently series
Between Adams's first trip to Madagascar with Mark Carwardine in 1985, and their series of travels that formed the basis for the radio series and non-fiction book Last Chance to See, Adams wrote two other novels with a new cast of characters. Dirk Gently's Holistic Detective Agency was published in 1987, and was described by its author as "a kind of ghost-horror-detective-time-travel-romantic-comedy-epic, mainly concerned with mud, music and quantum mechanics".

A sequel, The Long Dark Tea-Time of the Soul, was published a year later. This was an entirely original work, Adams's first since So Long, and Thanks for All the Fish. After the book tour, Adams set off on his round-the-world excursion which supplied him with the material for Last Chance to See.

The Salmon of Doubt was incomplete when published posthumously.

Music
Adams played the guitar left-handed and had a collection of 24 left-handed guitars when he died (having received his first guitar in 1964). He also studied piano in the 1960s. Pink Floyd and Procol Harum had important influence on Adams's work. During his segment on music discussion programme Private Passions, Adams remarked that he "would have loved to have been a rock musician".

Pink Floyd
Adams's official biography shares its name with the song "Wish You Were Here" by Pink Floyd. The opening section of "Shine On You Crazy Diamond" was featured in a section of the third episode of the original 1978 Hitchhiker's Guide to the Galaxy radio series (broadcast only, cut from commercial releases). Adams was friends with Pink Floyd guitarist David Gilmour and, on Adams's 42nd birthday, he was invited to make a guest appearance at Pink Floyd's concert of 28 October 1994 at Earls Court in London, playing guitar on the songs "Brain Damage" and "Eclipse". Adams chose the name for Pink Floyd's 1994 album, The Division Bell, by picking the words from the lyrics to one of its tracks, "High Hopes". Pink Floyd and the song "Set the Controls for the Heart of the Sun" in particular, inspired Adams to create the rock band Disaster Area who appear in The Restaurant at the End of the Universe, who planned to crash a space ship into a nearby star as a stunt during a concert. Gilmour also performed at Adams's memorial service in 2001, and what would have been Adams's 60th birthday party in 2012.

Computer games and projects
Adams created an interactive fiction version of HHGG with Steve Meretzky from Infocom in 1984. In 1986 he participated in a week-long brainstorming session with the Lucasfilm Games team for the game Labyrinth. Later he was also involved in creating Bureaucracy as a parody of events in his own life.

Adams was a founder-director and Chief Fantasist of The Digital Village, a digital media and Internet company with which he created Starship Titanic, a Codie award-winning and BAFTA-nominated adventure game, which was published in 1998 by Simon & Schuster. Terry Jones wrote the accompanying book, entitled Douglas Adams' Starship Titanic, since Adams was too busy with the computer game to do both. In April 1999, Adams initiated the h2g2 collaborative writing project, an experimental attempt at making The Hitchhiker's Guide to the Galaxy a reality, and at harnessing the collective brainpower of the internet community. It was hosted by BBC Online from 2001 to 2011.

In 1990, Adams wrote and presented a television documentary programme Hyperland which featured Tom Baker as a "software agent" (similar to the assistant pictured in Apple's Knowledge Navigator video of future concepts from 1987), and interviews with Ted Nelson, the co-inventor of hypertext and the person who coined the term. Adams was an early adopter and advocate of hypertext.

Atheism and views on religion
Adams described himself as a "radical atheist", adding "radical" for emphasis so he would not be asked if he meant agnostic. He told American Atheists that this conveyed the fact that he really meant it. He imagined a sentient puddle who wakes up one morning and thinks, "This is an interesting world I find myself in – an interesting hole I find myself in – fits me rather neatly, doesn't it? In fact it fits me staggeringly well, must have been made to have me in it!" to express his disbelief in the fine-tuned universe argument for God.

He remained fascinated by religion because of its effect on human affairs. "I love to keep poking and prodding at it. I've thought about it so much over the years that that fascination is bound to spill over into my writing."

The evolutionary biologist and atheist Richard Dawkins invited Adams to participate in his 1991 Royal Institution Christmas Lectures, where Dawkins calls Adams from the audience to read a passage from The Restaurant at the End of the Universe which satirises the absurdity of the thought that any one species would exist on Earth merely to serve as a meal to another species, such as humans. Dawkins also uses Adams's influence to exemplify arguments for non-belief in his 2006 book The God Delusion. Dawkins dedicated the book to Adams, whom he jokingly called "possibly [my] only convert" to atheism and wrote on his death that "Science has lost a friend, literature has lost a luminary, the mountain gorilla and the black rhino have lost a gallant defender."

Environmental activism
Adams was also an environmental activist who campaigned on behalf of endangered species. This activism included the production of the non-fiction radio series Last Chance to See, in which he and naturalist Mark Carwardine visited rare species such as the kākāpō and baiji, and the publication of a tie-in book of the same name. In 1992, this was made into a CD-ROM combination of audiobook, e-book and picture slide show.

Adams and Mark Carwardine contributed the 'Meeting a Gorilla' passage from Last Chance to See to the book The Great Ape Project. This book, edited by Paola Cavalieri and Peter Singer, launched a wider-scale project in 1993, which calls for the extension of moral equality to include all great apes, human and non-human.

In 1994, Adams participated in a climb of Mount Kilimanjaro while wearing a rhino suit for the British charity organisation Save the Rhino International. Puppeteer William Todd-Jones, who had originally worn the suit in the London Marathon to raise money and bring awareness to the group, also participated in the climb wearing a rhino suit; Adams wore the suit while travelling to the mountain before the climb began. About £100,000 was raised through that event, benefiting schools in Kenya and a black rhinoceros preservation programme in Tanzania. Adams was also an active supporter of the Dian Fossey Gorilla Fund.

Since 2003, Save the Rhino has held an annual Douglas Adams Memorial Lecture around the time of his birthday to raise money for environmental campaigns.

Technology and innovation
Adams bought his first word processor in 1982, having considered one as early as 1979. His first purchase was a Nexu. In 1983, when he and Jane Belson went to Los Angeles, he bought a DEC Rainbow. Upon their return to England, Adams bought an Apricot, then a BBC Micro and a Tandy 1000. In Last Chance to See, Adams mentions his Cambridge Z88, which he had taken to Zaire on a quest to find the northern white rhinoceros.

Adams's posthumously published work, The Salmon of Doubt, features several articles by him on the subject of technology, including reprints of articles that originally ran in MacUser, and in The Independent on Sunday. In these, Adams claims that one of the first computers he ever saw was a Commodore PET, and that he had "adored" his Apple Macintosh ("or rather my family of however many Macintoshes it is that I've recklessly accumulated over the years") since he first saw one at Infocom's offices in Boston in 1984.

Adams was a Macintosh user from the time they first came out in 1984 until his death in 2001. He was the first person to buy a Mac in Europe, the second being Stephen Fry. Adams was also an "Apple Master", celebrities whom Apple made into spokespeople for its products (others included John Cleese and Gregory Hines). Adams's contributions included a rock video that he created using the first version of iMovie with footage featuring his daughter Polly. The video was available on Adams's .Mac homepage. Adams installed and started using the first release of Mac OS X in the weeks leading up to his death. His last post to his own forum was in praise of Mac OS X and the possibilities of its Cocoa programming framework. He said it was "awesome...", which was also the last word he wrote on his site.

Adams used email to correspond with Steve Meretzky in the early 1980s, during their collaboration on Infocom's version of The Hitchhiker's Guide to the Galaxy. While living in New Mexico in 1993 he set up another e-mail address and began posting to his own USENET newsgroup, alt.fan.douglas-adams, and occasionally, when his computer was acting up, to the comp.sys.mac hierarchy. Challenges to the authenticity of his messages later led Adams to set up a message forum on his own website to avoid the issue. In 1996, Adams was a keynote speaker at the Microsoft Professional Developers Conference (PDC) where he described the personal computer as being a modelling device. The video of his keynote speech is archived on Channel 9. Adams was also a keynote speaker for the April 2001 Embedded Systems Conference in San Francisco, one of the major technical conferences on embedded system engineering.

Personal life
Adams moved to Upper Street, Islington, in 1981 and to Duncan Terrace, a few minutes' walk away, in the late 1980s.

In the early 1980s, Adams had an affair with novelist Sally Emerson, who was separated from her husband at that time. Adams later dedicated his book Life, the Universe and Everything to Emerson. In 1981, Emerson returned to her husband, Peter Stothard, a contemporary of Adams at Brentwood School, and later editor of The Times. Adams was soon introduced by friends to Jane Belson, with whom he later became romantically involved. Belson was the "lady barrister" mentioned in the jacket-flap biography printed in his books during the mid-1980s ("He [Adams] lives in Islington with a lady barrister and an Apple Macintosh"). The two lived in Los Angeles together during 1983, while Adams worked on an early screenplay adaptation of Hitchhiker's. When the deal fell through, they moved back to London, and after several separations ("He is currently not certain where he lives, or with whom") and a broken engagement, they married on 25 November 1991.

Adams and Belson had one daughter together, Polly Jane Rocket Adams, born on 22 June 1994, shortly after Adams turned 42. In 1999, the family moved from London to Santa Barbara, California, where they lived until his death. Following the funeral, Jane Belson and Polly Adams returned to London. Belson died on 7 September 2011 of cancer, aged 59.

Death and legacy
Adams died of a heart attack due to undiagnosed coronary artery disease on 11 May 2001, aged 49, after resting from his regular workout at a private gym in Montecito, California. His funeral was held on 16 May in Santa Barbara. His ashes were placed in Highgate Cemetery in north London in June 2002. A memorial service was held on 17 September 2001 at St Martin-in-the-Fields church, Trafalgar Square, London. This became the first church service broadcast live on the web by the BBC.

Two days before Adams died, the Minor Planet Center announced the naming of asteroid 18610 Arthurdent, named after The Hitchhiker's Guide to the Galaxy protagonist. In 2005, the asteroid 25924 Douglasadams was named in his memory.

In May 2002, The Salmon of Doubt was published, containing many short stories, essays, and letters, as well as eulogies from Richard Dawkins, Stephen Fry (in the UK edition), Christopher Cerf (in the US edition), and Terry Jones (in the US paperback edition). It also includes eleven chapters of his unfinished novel, The Salmon of Doubt, which was originally intended to become a new Dirk Gently novel, but might have later become the sixth Hitchhiker novel.

Other events after Adams's death included a webcast production of Shada, allowing the complete story to be told, radio dramatisations of the final three books in the Hitchhiker's series, and the completion of the film adaptation of The Hitchhiker's Guide to the Galaxy. The film, released in 2005, posthumously credits Adams as a producer, and several design elements – including a head-shaped planet seen near the end of the film – incorporated Adams's features.

A 12-part radio series based on the Dirk Gently novels was announced in 2007.

BBC Radio 4 also commissioned a third Dirk Gently radio series based on the incomplete chapters of The Salmon of Doubt, and written by Kim Fuller; but this was dropped in favour of a BBC TV series based on the two completed novels. A sixth Hitchhiker novel, And Another Thing..., by Artemis Fowl author Eoin Colfer, was released on 12 October 2009 (the 30th anniversary of the first book), published with the support of Adams's estate. A BBC Radio 4 Book at Bedtime adaptation and an audio book soon followed.

On 25 May 2001, two weeks after Adams's death, his fans organised a tribute known as Towel Day, which has been observed every year since then.

An Apple Macintosh SE/30 once owned by Adams can be seen on display at The Centre for Computing History in Cambridge.

In 2018, John Lloyd presented an hour-long episode of the BBC Radio Four documentary Archive on 4, discussing Adams' private papers, which are held at St John's College, Cambridge. The episode is available online.

Travessa Douglas Adams, a street at -27.58939°N, -48.66222°W in São José, Santa Catarina, Brazil is named in Adams's honour.

In March 2021, Unbound announced a crowdfunder for 42: the wildly improbable ideas of Douglas Adams, on the 20th anniversary of his death, a book based on Adams's papers, edited by Kevin Jon Davies.

The annual Douglas Adams Memorial Lectures began in 2003.

Articles

 * Herbert, R. (1980). "The Hitchhiker's Guide to the Galaxy (Book Review)". Library Journal, 105(16), 1982.
 * Adams, J., & Brown, R. (1981). "The Hitchhiker's Guide to the Galaxy (Book Review)". School Library Journal, 27(5), 74.
 * Nickerson, S. L. (1982). "The Restaurant at the End of the Universe (Book)". Library Journal, 107(4), 476.
 * Nickerson, S. L. (1982). "Life, the Universe, and Everything (Book)". Library Journal, 107(18), 2007.
 * Morner, C. (1982). "The Restaurant at the End of the Universe (Book Review)". School Library Journal, 28(8), 87.
 * Morner, C. (1983). "Life, the Universe and Everything (Book Review)". School Library Journal, 29(6), 93.
 * Shorb, B. (1985). "So Long, and Thanks for All the Fish (Book)". School Library Journal, 31(6), 90.
 * "The Long Dark Tea-Time of the Soul (Book)" (1989). Atlantic (02769077), 263(4), 99.
 * Hoffert, B., & Quinn, J. (1990). "Last Chance To See (Book)". Library Journal, 115(16), 77.
 * Reed, S. S., & Cook, I. I. (1991). "Dances with ". People, 35(19), 79.
 * "Last Chance to See (Book)" (1991). Science News, 139(8), 126.
 * Field, M. M., & Steinberg, S. S. (1991). "Douglas Adams". Publishers Weekly, 238(6), 62.
 * Dieter, W. (1991). "Last Chance to See (Book)". Smithsonian, 22(3), 140.
 * Dykhuis, R. (1991). "Last Chance To See (Book)". Library Journal, 116(1), 140.
 * Beatty, J. (1991). "Good Show (Book)". Atlantic (02769077), 267(3), 131.
 * "A guide to the future" (1992). Maclean's, 106(44), 51.
 * Zinsser, J. (1993). "Audio reviews: Fiction". Publishers Weekly, 240(9), 24.
 * Taylor, B., & Annichiarico, M. (1993). Audio reviews. Library Journal, 118(2), 132.
 * Good reads (1995). NetGuide, 2(4), 109.
 * Stone, B. (1998). The unsinkable starship. Newsweek, 131(15), 78.
 * Gaslin, G. (2001). Galaxy Quest. Entertainment Weekly (599), 79.
 * "So long, and thanks for all the fish" (2001). The Economist, 359(8222), 79.
 * Geier, T., & Raftery, B. M. (2001). "Legacy". Entertainment Weekly (597), 11.
 * "Passages" (2001). Maclean's, 114(21), 13.
 * "Don't panic! Douglas Adams to keynote Embedded show" (2001). Embedded Systems Programming, 14(3), 10.
 * Ehrenman, G. (2001). "World Wide Weird". InternetWeek, (862), 15.
 * Zaleski, J. (2002). "The Salmon of Doubt (Book)". Publishers Weekly, 249(15), 43.
 * Mort, J. (2002). "The Salmon of Doubt (Book)". Booklist, 98(16), 1386.
 * Lewis, D. L. (2002). "Last Time Round The Galaxy". Quadrant Magazine, 46(9), 84.
 * Burns, A. (2002). "The Salmon of Doubt (Book)". Library Journal, 127(15), 111.
 * Burns, A., & Rhodes, B. (2002). "The Restaurant at the End of the Universe (Book)". Library Journal, 127(19), 118.
 * Kaveney, R. (2002). "A cheerful whale". [[Times Literary SUpplement|TLS (5173), 23.
 * Pearl, N., & Welch, R. (2003). "The Hitchhiker's Guide To The Galaxy (Book)". Library Journal, 128(11), 124.
 * "Preying on composite materials" (2003). R&D Magazine, 45(6), 44.
 * Webb, N. (2003). "The Berkeley Hotel hostage". The Bookseller (5069), 25.
 * "The author who toured the universe" (2003). The Bookseller (5060), 35.
 * Osmond, A. (2005). "Only human". Sight & Sound, 15(5), 12–15.
 * "Culture vulture" (2005). Times Educational Supplement, (4640), 19.
 * Maughan, S. (2005). "Audio Bestsellers/Fiction". Publishers Weekly, 252(30), 17.
 * "Hitchhiker At The Science Museum" (2005). In Britain, 14(10), 9.
 * Rea, A. (2005). The Adams asteroids. New Scientist, 185(2488), 31.
 * "Most Improbable Adventure" (2005). Popular Mechanics, 182(5), 32.
 * "The Hitchhiker's Guide To The Galaxy: The Tertiary Phase" (2005). Publishers Weekly, 252(14), 21.
 * Bartelt, K. R. (2005). "Wish You Were Here: The Official Biography of Douglas Adams". Library Journal, 130(4), 86.
 * Larsen, D. (2005). "I was a teenage android". New Zealand Listener, 198(3390), 37–38.
 * Tanner, J. C. (2005). "Simplicity: it's hard". Telecom Asia, 16(6), 6.
 * Nielsen Bookscan Charts (2005). The Bookseller, (5175), 18–21.
 * "Buena Vista launches regional site to push Hitchhiker's movie" (2005). New Media Age, 9.
 * "Shynola bring Beckland to life" (2005). Creative Review, 25(3), 24–26.
 * Carwardine, M. (15 September 2007). "The baiji: So long and thanks for all the fish". New Scientist. pp. 50–53.
 * Czarniawska, B. (2008). "Accounting and gender across times and places: An excursion into fiction". Accounting, Organizations & Society, 33(1), 33–47.
 * Pope, M. (2008). "Life, the Universe, Religion and Science". Issues (82), 31–34.
 * Bearne, S. (2008). "BBC builds site to trail Last Chance To See TV series". New Media Age, 08.
 * "Arrow to reissue Adams" (2008). The Bookseller (5352), 14.
 * Page, B. (2008). "Colfer is new Hitchhiker". The Bookseller (5350), 7.
 * "I've got a perfect puzzle for you" (2009). The Bookseller (5404), 42.
 * "Mostly Harmless..." (2009). The Bookseller (5374), 46.
 * "Penguin and PanMac hitch a ride together" (2009). The Bookseller (5373), 6.
 * "Adams, Douglas". Britannica Biographies [serial online]. October 2010;:1
 * "Douglas (Noël) Adams (1952–2001)". Hutchinson's Biography Database [serial online]. July 2011;:1
 * "My life in books" (2011). Times Educational Supplement (4940), 27.

Other

 * , established by him, and still operated by The Digital Village
 * Douglas Adams speech at Digital Biota 2 (1998) (The audio of the speech)
 * Guardian Books "Author Page", with profile and links to further articles.
 * Douglas Adams & his Computer article about his Mac IIfx
 * BBC2 Omnibus tribute to Adams, presented by Kirsty Wark, 4 August 2001
 * Mueller, Rick and Greengrass, Joel (2002). Life, The Universe and Douglas Adams, documentary.
 * Simpson, M. J. (2001). The Pocket Essential Hitchhiker's Guide. ISBN 1-903047-40-4. Updated April 2005, ISBN 1-904048-46-3
 * Special edition of BBC Bookclub featuring Douglas Adams, first broadcast 2 January 2000 on BBC Radio 4
 * Special edition of BBC Bookclub featuring Douglas Adams, first broadcast 2 January 2000 on BBC Radio 4

title: Douglas Adams


text:
Drum and bass

Drum and bass (commonly abbreviated as DnB, D&B, or D'n'B) is a genre of electronic dance music characterised by fast breakbeats (typically 165–185 beats per minute ) with heavy bass and sub-bass lines, samples, and synthesizers. The genre grew out of the UK's jungle scene in the 1990s.

The popularity of drum and bass at its commercial peak ran parallel to several other UK dance styles. A major influence was the original Jamaican dub and reggae sound that influenced jungle's bass-heavy sound. Another feature of the style is the complex syncopation of the drum tracks' breakbeat. Drum and bass subgenres include breakcore, ragga jungle, hardstep, darkstep, techstep, neurofunk, ambient drum and bass, liquid funk (also known as liquid drum and bass), jump up, drumfunk, sambass, and drill 'n' bass. Drum and bass has been influenced by many other genres like hip hop, big beat, dubstep, house, trip hop, ambient music, techno, jazz, rock and pop.

Drum and bass is dominated by a relatively small group of record labels. Major international music labels had shown very little interest in the drum and bass scene until BMG Rights Management acquired RAM in February 2016. Since then, the genre has seen a significant growth in exposure. Whilst the origin of drum and bass music is in the UK, the genre has evolved considerably with many other prominent fanbases located all over the world.

History
In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to new genres in the rave scene including breakbeat hardcore, darkcore, and hardcore jungle, which combined sampled syncopated beats, or breakbeats, and other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes. From as early as 1991, tracks were beginning to strip away some of the heavier sampling and "hardcore noises" and create more bassline and breakbeat led tracks. Some tracks increasingly took their influence from reggae and this style would become known as hardcore jungle (later to become simply jungle), whilst darkcore (with producers such as Goldie, Doc Scott, 4hero, and 2 Bad Mice) were experimenting with sounds and creating a blueprint for drum and bass, especially noticeable by late 1993.

By 1994, jungle had begun to gain mainstream popularity, and fans of the music (often referred to as junglists) became a more recognisable part of youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, jungle also inherited associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London. By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.

As the genre became generally more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance (circa 1995–1997). It also began to split into recognisable subgenres such as hardstep, jump up, ragga, techstep, and what was known at the time as intelligent. As more melodic and often jazz-influenced subgenres of drum and bass called atmospheric or intelligent (Blame and Blu Mar Ten) and jazzstep (4Hero, Roni Size) gained mainstream appeal, additional subgenres emerged including techstep in 1996, drawing influence from techno.

The emergence of related styles such as liquid funk brought a wave of new artists (Carlito & Addiction, Solid State/DJ Dextrous, Subject 13 and Fellowship being amongst the early pioneers to champion the sound) incorporating new ideas and techniques, supporting continual evolution of the genre. , drum and bass makes frequent appearances in mainstream media and popular culture including in television, as well as being a major reference point for subsequent genres such as grime and dubstep, and producing successful artists including Chase & Status, Netsky, Metrik, and Pendulum.

Purple Sneakers described a "drum n' bass Renaissance" occurring at the time of their articles publication in 2023.

Pitchfork noted a "rising zoomer affinity" for the genre in the 2020s.

Musical features
Drum and bass incorporates a number of scenes and styles, from the highly electronic, industrial sounds of techstep to the use of conventional, acoustic instrumentation that characterise the more jazz-influenced end of the spectrum. The sounds of drum and bass are extremely varied due to the range of influences behind the music. Drum and bass could at one time be defined as a strictly electronic musical genre, with the only "live" element being the DJ's selection and mixing of records during a set. "Live" drum and bass using electric, electronic and acoustic instruments played by musicians on stage emerged over the ensuing years of the genre's development.

Influences
A very obvious and strong influence on jungle and drum and bass, thanks to the British African-Caribbean sound system scene, is the original Jamaican dub and reggae sound, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music. This influence has lessened with time, but is still evident, with many tracks containing ragga vocals.

As a musical style built around funk or syncopated rock and roll breaks, James Brown, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Billie Holiday, Aretha Franklin, Otis Redding, the Supremes, the Commodores, Jerry Lee Lewis, and even Michael Jackson acted as funk influences on the music. Jazz pioneer Miles Davis has been named as a possible influence. Blues artists such as Lead Belly, Robert Johnson, Charlie Patton, Muddy Waters and B. B. King have also been cited by producers as inspirations. Even modern avant-garde composers such as Henryk Gorecki have received mention. One of the most influential tracks in drum and bass history was "Amen Brother" by The Winstons, which contains a drum solo that has since become known as the "Amen break", which, after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.

Kevin Saunderson released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s, which were hugely influential in drum and bass. One of his more famous basslines (Reese – "Just Want Another Chance", Incognito Records, 1988) was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991–1992. Another Detroit artist who was important to the scene was Carl Craig. The sampled-up jazz break on Craig's Bug in the Bassbin was also influential on the newly emerging sound. DJs at the Heaven nightclub on "Rage" nights used to play it as fast as their Technics record decks would go, pitching it up in the process.

By the late 1980s and early 1990s, the tradition of breakbeat use in hip hop production had influenced the sound of breakbeat hardcore, which in turn led to the emergence of jungle, drum and bass, and other genres that shared the same use of broken beats. Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. Grandmaster Flash, Roger Troutman, Afrika Bambaata, Run DMC, Mac Dre, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr. Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.

Clearly, drum and bass has been influenced by other music genres, though influences from sources external to the electronic dance music scene perhaps lessened following the shifts from jungle to drum and bass, and through to so-called "intelligent drum and bass" and techstep. It still remains a fusion music style.

Some tracks are illegally remixed and released on white label (technically bootleg), often to acclaim. For example, DJ Zinc's remix of Fugees' "Ready or Not", also known as "Fugee Or Not", was eventually released with the Fugees' permission after talk of legal action, though ironically, the Fugees' version infringed Enya's copyright to an earlier song. White labels, along with dubplates, played an important part in drum and bass musical culture.

Sampling
The Amen break was synonymous with early drum and bass productions but other samples have had a significant impact, including the Apache, Funky Drummer, "Soul Pride", "Scorpio" and "Think (About It)" breaks. Early pioneers often used Akai samplers and sequencers on the Atari ST to create their tracks.

Synthesis

Of equal importance is the TR-808 kick drum, an artificially down-pitched or elongated bass drum sound sampled from Roland's classic TR-808 drum machine, and a sound which has been subject to an enormous amount of experimentation over the years.

Rhythm composition
Many drum and bass tracks have featured more than one sampled breakbeat in them and a technique of switching between two breaks after each bar developed. A more recent commonly used break is the "Tramen", which combines the Amen break, a James Brown funk breakbeat ("Tighten Up" or "Samurai" break) and an Alex Reece drum and bass breakbeat.

The relatively fast drum beat forms a canvas on which a producer can create tracks to appeal to almost any taste and often will form only a background to the other elements of the music. Syncopated breakbeats remain the most distinctive element as without these a high-tempo 4/4 dance track could be classified as techno or gabber.

The complex syncopation of the drum tracks' breakbeat is another facet of production on which producers can spend a very large amount of time. The Amen break is generally acknowledged to have been the most-used (and often considered the most powerful) break in drum and bass.

Bass elements
The genre places great importance on the bassline, in this case a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common.

Atmospheric elements
Atmospheric pads and samples may be added over the fundamental drum and bass to provide different feels. These have included "light" elements such as ambient pads as found in ambient electronica and samples of jazz and world musics, or "dark" elements such as dissonant pads and sci-fi samples to induce anxiety in the dancer.

Vocal and melodic elements
Old-school DnB usually included an MC providing vocals. Some styles (such as jazz-influenced DnB) also include melodic instruments soloing over the music.

Tempo
Drum and bass is usually between 160 and 180 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks, which maintain a slower pace at around 130–140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155–165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170–180 range. Recently, some producers have started to once again produce tracks with slower tempos (that is, in the 150-170 bpm range), but the mid-170s tempo is still a hallmark of the drum and bass sound.

A track combining the same elements (broken beat, bass, production techniques) as a drum and bass track, but with a slower tempo (say 140 BPM), might not be drum and bass, but instead may qualify as a drum and bass-influenced breakbeat track.

Drop
Many mixing points begin or end with a "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognisable build section and breakdown. Sometimes, the drop is used to switch between tracks, layering components of different tracks, as the two records may be simply ambient breakdowns at this point. Some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" the record by spinning it back and restarting it at the build. The drop is often a key point from the point of view of the dance floor, since the drum breaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to begin dancing.

Live performance

Drum and bass exhibits a full frequency response which can sometimes only be fully appreciated on sound systems which can handle very low frequencies, including sub-bass frequencies that are often felt more than heard. As befits its name, the bass element of the music is particularly pronounced, with the comparatively sparse arrangements of drum and bass tracks allowing room for basslines that are deeper than most other forms of dance music. Drum and bass tracks are meticulously designed to create a hard-hitting emotional impact, with the drums complementing the bass to deliver a pulsating, powerful experience. Consequently, drum and bass parties are often advertised as featuring uncommonly loud and bass-heavy sound systems.

There are however many albums specifically designed for personal listening. The DJ mix is a particularly popular form of release, with a popular DJ or producer mixing live, or on a computer, a variety of tracks for personal listening. Additionally, there are many albums containing unmixed tracks, suited for home or car listening.

DJ performance
Although this practice has declined in popularity, DJs are often accompanied by one or more MCs, drawing on the genre's roots in hip hop and reggae/ragga.

MCs do not generally receive the same level of recognition as producer/DJs, and some events are specifically marketed as being MC-free. There are relatively few well-known drum and bass MCs, mainly based in London and Bristol, including Stevie Hyper D (deceased), the Ragga Twins, Dynamite MC, Skibadee(deceased) and MC Tali.

Live instrument performance

Many musicians have adapted drum and bass to live performances, which feature instruments such as drums (acoustic or electronic), samplers, synthesizers, turntables, bass (either upright or electric) and guitars (acoustic or electric). Samplers have also been used live by assigning samples to a specific drum pad or key on drum pads or synthesizers. MCs are frequently featured in live performances.

Subgenres
Smaller scenes within the drum and bass community have developed and the scene as a whole has become much more fractured into specific subgenres, which have been grouped into "light" (influenced by ambient, jazz, and world music) and "heavy" (influenced by industrial music, sci-fi, and anxiety) styles, including:

Mainstream drum and bass

 * Jump-up, appearing in the mid-1990s, employs heavy and energetic drum and bass, characterised by robotic and heavy bass sounds. It also is generally less serious and contains more humour than other subgenres.
 * Drumstep or halftime is a combination of drum and bass and dubstep, where the beat structure is half time, while the remaining elements still adhere to the usual sub-bass and tempo of drum and bass.
 * Drill 'n' bass (also known as fungle and spunk jazz) consists of very complex and chopped up rhythms, rapid and irregularly syncopated basslines and often ambient elements similar to earlier subgenres of IDM (like ambient techno). The subgenre was developed by names like Squarepusher, Luke Vibert (known as Plug) and Aphex Twin.

Light drum and bass

 * Intelligent drum & bass or intelligent jungle is a smoother style, influenced by ambient music, chillout, jazz and soul music. It was pioneered by such artists as Omni Trio, Peshay, William Orbit, Seba, Blu Mar Ten, Deep Blue, Photek, LTJ Bukem and his label Good Looking Records, and the label Moving Shadow.
 * Jazzstep, jazzy jungle, jazz & bass or drum & jazz demonstrates heavy influence by jazz and trip hop. It uses typical jazz scales, rhythms and instrumentation. It was pioneered by artists such as Alex Reece and LTJ Bukem, and was also utilized in DJ sets by early trip hop producers and DJs such as Kruder & Dorfmeister, Nightmares on Wax, Kid Loco, Thievery Corporation, and Mr. Scruff.
 * Liquid drum and bass (or simply "liquid") draws heavily on harmonic and melodic grooves
 * Sambass, a Brazilian drum and bass style, incorporates elements from samba, bossa nova and other Latin music styles. Pioneered by artists such as DJ Marky.

Heavy drum and bass

 * Darkstep is characterised by fast drums and a general dark mood, drawing influences from dark ambient, industrial and hardcore music.
 * Techstep is characterised by sci-fi soundscapes and samples from science fiction culture. Pioneered by artists such as Bad Company UK, Ed Rush, Optical, Dom & Roland, and the label Moving Shadow.
 * Neurofunk or neuro is the progression from techstep incorporating more elements from jazz and funk.
 * Hardstep is a harder style which uses gritty basslines and heavy yet simple electronic melodies.
 * Metal & bass or bass metal is a style which specifically uses heavy metal guitar riffs. Pioneered by artists such as Concord Dawn, Counterstrike, Zardonic, Dirtyphonics, Pendulum and others.
 * Crossbreed is the amalgamation of industrial hardcore and drum and bass often combined with influences of metal and breakcore. It emerged in the mid-2000s, pioneered by record labels such as Prspct Recordings, Yellow Stripe and Future Sickness Records. Notable artists include Switch Technique, Gancher & Ruin, Cooh, Counterstrike, Katharsys, Sinister Souls and Lucy Furr.

Atmospheric drum and bass

 * Modern atmospheric drum and bass is characterised by large, ambient pads and synths, and hard hitting drum breaks. It hit a peak in the early 2020's following the emergence of popular artist within the genre, Sewerslvt (now known as Cynthoni). It often utilizes pop culture art elements and samples.

Genres influenced by drum and bass
Born around the same time as jungle, breakcore and digital hardcore share many of the elements of drum and bass and to the uninitiated, tracks from the extreme end of drum and bass may sound identical to breakcore thanks to speed, complexity, impact and maximum sonic density combined with musical experimentation. German drum and bass DJ The Panacea is also one of the leading digital hardcore artists. Raggacore resembles a faster version of the ragga-influenced jungle music of the 1990s, similar to breakcore but with more friendly dancehall beats (dancehall itself being a very important influence on drum and bass). Darkcore, a direct influence on drum and bass, was combined with influences of drum and bass itself leading to the creation of darkstep. There is considerable crossover from the extreme edges of drum and bass, breakcore, darkcore, digital hardcore and raggacore with fluid boundaries.

Intelligent dance music (IDM) is a form of art music based on DnB and other electronic dance musics, exploring their boundaries using ideas from science, technology, contemporary classical music and progressive rock, often creating un-danceable, art gallery style music.

Ghettotech, a club music genre from Detroit, contains synth and basslines similar to drum and bass.

Record labels
Drum and bass is dominated by a small group of record labels. These are mainly run by DJ-producers, such as London Elektricity's Hospital Records, Andy C and Scott Bourne's RAM, Goldie's Metalheadz, Fabio and Sarah Sandy's Creative Source Records, DJ Dextrous's King of the Jungle Records, Subversive Recordings and State of the Art Recordings, Kasra's Critical Music, DJ Friction's Shogun Audio, DJ Fresh's Breakbeat Kaos, Ed Rush & Optical's Virus Recordings, Futurebound's Viper Recordings and DJ Hype, Pascal, NoCopyrightSounds and formerly DJ Zinc's True Playaz (known as Real Playaz as of 2006).

Prior to 2016, the major international music labels such as Sony Music and Universal had shown very little interest in the drum and bass scene, with the exception of some notable signings, including Pendulum's In Silico LP to Warner. Roni Size's label played a big, if not the biggest, part in the creation of drum and bass with their dark, baseline sounds. V Recordings also played a large part of the development of drum and bass.

BMG Rights Management acquired Ram Records in February 2016, making a strategic investment to help RAM Records (a London-based drum and bass record company co-owned by Andy C and his business partner Scott Bourne). RAM Records has been pushing the boundaries of drum and bass further into the mainstream with artists such as Chase and Status and Sub Focus.

Now defunct labels include Rob Playford's Moving Shadow, running from 1990 until 2007, which played a pivotal role in the nineties drum and bass scene, releasing records by artists such as Omni Trio.

Purchasing
Originally drum and bass was mostly sold in 12-inch vinyl single format. With the emergence of drum and bass into mainstream music markets, more albums, compilations and DJ mixes started to be sold on CDs. As digital music became more popular, websites focused on electronic music, such as Beatport, began to sell drum and bass in digital format.

Distributors (wholesale)
The bulk of drum and bass vinyl records and CDs are distributed globally and regionally by a relatively small number of companies such as SRD (Southern Record Distributors), ST Holdings, & Nu Urban Music Limited.

As of 11 September 2012, Nu Urban ceased trading and RSM Tenon were instructed to assist in convening statutory meetings of members and creditors to appoint a liquidator. This left many labels short on sales, as Nu Urban were one of the main distributors for the vinyl market in the drum and bass scene.

Anglosphere
Despite its roots in the UK, which is still treated as the "home" of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, New Zealand, South Africa, and the United States.

Media presence
Today, drum and bass is widely promoted using different methods such as video sharing services like YouTube and Dailymotion, blogs, radio, and television, the latter being the most uncommon method. More recently, music networking websites such as SoundCloud and Mixcloud have become powerful tools for artist recognition, providing a vast platform that enables quick responses to new tracks. Record labels have adopted the use of podcasts. Prior to the rise of the internet, drum and bass was commonly broadcast over pirate radio.

Radio
The three highest-profile radio stations playing drum and bass shows are BBC Radio 1 with The Drum and Bass Show – formerly with Friction, who was replaced with René LaVice in 2017, simulcast in the US and Canada on Sirius XM, and DJ Hype on Kiss 100 in London. Fabio and Grooverider previously held a long-standing drum and bass show on Radio 1. Radio 1 also had the One in the Jungle show.

The BBC's Black music station BBC Radio 1Xtra used to feature the genre heavily, with DJ Bailey (show axed as of 29 August 2012) and Crissy Criss (show axed as of August 2014) as its advocates. The network also organises a week-long tour of the UK each year called Xtra Bass. London pirate radio stations have been instrumental in the development of drum and bass, with stations such as Kool FM (which continues to broadcast today having done so since 1991), Origin FM, Don FM (the only drum and bass pirate to have gained a temporary legal licence), Renegade Radio 107.2FM, Rude FM, Wax FM and Eruption among the most influential.

As of 2014, despite higher profile stations such as 1Xtra scaling back their drum and bass specialist coverage, the genre has made its way into UK top 10 charts with drum and bass inspired tracks from artists such as Rudimental and Sigma. Earlier in August 2014, before Crissy Criss' show was axed, the BBC held a whole prime time evening event dedicated to showcasing drum and bass by allowing four major labels to participate.

As of November 2014, six drum & bass songs had reached the no.1 spot on the UK's top 40 chart, since the genre was first being played on the radio, around 1993. The first of these was in 2012. The fact that all six of these songs reached number 1 in only two years shows the increase in popularity and commercialisation of the genre in recent years. The artists who produced these songs are Sigma, Rudimental and DJ Fresh (all had two No.1 hits).

Internet radio
Internet radio stations, acting in the same light as pirate stations, have also been an instrumental part in promoting drum and bass music; the majority of them funded by listener and artist donations.

Drum and bass was supported by Ministry of Sound radio from the early 2000s until 2014 and later featuring Tuesday shows from labels such as Metalheadz, Fabio & Grooverider, DJ Marky, Viper Recordings, Shogun Audio and Hospital Records. From September 2014, Ministry abruptly dropped all non-mainstream genres to focus on mainstream EDM, causing disappointment amongst the fans of the D&B community.

North American radio
In Toronto since 1994, The Prophecy on 89.5 CIUT-FM with Marcus Visionary, DJ Prime and Mr. Brown, is North America's longest running jungle radio show.

Album 88.5 (Atlanta) and C89.5fm (Seattle) have shows showcasing drum and bass.

Seattle also has a long-standing electronica show known as Expansions on 90.3 FM KEXP. The rotating DJs include Kid Hops, whose shows are made up mostly of drum and bass. In Columbus, Ohio WCBE 90.5 has a two-hour electronic only showcase, All Mixed Up, Saturday nights at 10 pm. At the same time, WUFM 88.7 plays its Electronic Playground.

Tulsa, Oklahoma's rock station, 104.5 The Edge, has a two-hour show starting at 10 pm Saturday nights called Edge Essential Mix, mixed by DJ Demko, showcasing electronic and drum and bass style. While the aforementioned shows in Ohio rarely play drum and bass, the latter plays the genre with some frequency.

In Tucson, Arizona, 91.3 FM KXCI has a two-hour electronic show known as Digital Empire, Friday nights at 10 pm (MST). Resident DJ Trinidad showcases various styles of electronica, with the main focus being drum and bass, jungle and dubstep.

In Augusta, Georgia, Zarbizarre of the Cereal Killaz hosts a show called FreQuency on WHHD on Friday nights from 11 pm until 1 am, showcasing drum and bass during the second hour of the show.

Magazines
The best-known drum and bass publication was Kmag magazine (formerly called Knowledge Magazine) before it went completely online in August 2009. Although it is still live, after 20 years Kmag ceased updating their site at the end of 2014. Kmag has announced a book to celebrate their 25th anniversary to be published in December 2019. Kmag's publishing arm, Vision, published Brian Belle-Fortune's All Crews Journeys Through Jungle Drum & Bass Culture in 2004.

Other publications include the longest-running drum and bass magazine worldwide, ATM Magazine, and Austrian-based Resident. London-based DJ magazine has also been running a widely respected drum and bass reviews page since 1994, written by Alex Constantinides, which many followers refer to when seeking out new releases to investigate. In 2012 he stopped writing the reviews, and they are now contributed by Whisky Kicks.

Mainstream acceptance
The earliest mainstream drum and bass releases include Goldie's album Timeless from 1995. Other early examples include the Mercury Music Prize-winning album New Forms (1997) from Reprazent; 4hero's Mercury-nominated Two Pages from 1998; and then, in the 2000s, Pendulum's Hold Your Colour in 2005 (the best-selling drum and bass album).

In 2012, drum and bass achieved its first UK No. 1 single, "Hot Right Now", by DJ Fresh, which was one of the fastest-selling singles of 2012 at the time of release, launching the career of Rita Ora in the process.

Numerous video games (such as Hudson Soft's Bomberman Hero, Hi-Rez Studios' Tribes: Ascend, Electronic Arts' Need for Speed: Undercover, Rockstar Games' Grand Theft Auto series, and Sony's Wipeout series from Pure onward) have contained drum and bass tracks. Microsoft Studios' Forza Horizon 2, 3, 4 and 5 feature a Hospital Records radio channel dedicated to the genre.

The genre has some popularity in film soundtracks. Hive's "Ultrasonic Sound" appeared on The Matrix's soundtrack, and the E-Z Rollers' song "Walk This Land" appeared in the film Lock, Stock and Two Smoking Barrels. Ganja Kru's "Super Sharp Shooter" can be heard in the 2006 film Johnny Was.

The Channel 4 show Skins uses the genre in some episodes, notably in the first series' third episode, "Jal", where Shy FX and UK Apache's "Original Nuttah" was played in Fazer's club.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Drum and bass


text:
Donald Knuth

Donald Ervin Knuth (born January 10, 1938) is an American computer scientist and mathematician. He is a professor emeritus at Stanford University. He is the 1974 recipient of the ACM Turing Award, informally considered the Nobel Prize of computer science. Knuth has been called the "father of the analysis of algorithms".

Knuth is the author of the multi-volume work The Art of Computer Programming. He contributed to the development of the rigorous analysis of the computational complexity of algorithms and systematized formal mathematical techniques for it. In the process, he also popularized the asymptotic notation. In addition to fundamental contributions in several branches of theoretical computer science, Knuth is the creator of the TeX computer typesetting system, the related METAFONT font definition language and rendering system, and the Computer Modern family of typefaces.

As a writer and scholar, Knuth created the WEB and CWEB computer programming systems designed to encourage and facilitate literate programming, and designed the MIX/MMIX instruction set architectures. He strongly opposes the granting of software patents, and has expressed his opinion to the United States Patent and Trademark Office and European Patent Organisation.

Early life
Donald Knuth was born in Milwaukee, Wisconsin, to Ervin Henry Knuth and Louise Marie Bohning. He describes his heritage as "Midwestern Lutheran German". His father owned a small printing business and taught bookkeeping. While a student at Milwaukee Lutheran High School, Knuth thought of ingenious ways to solve problems. For example, in eighth grade, he entered a contest to find the number of words that the letters in "Ziegler's Giant Bar" could be rearranged to create; the judges had identified 2,500 such words. With time gained away from school due to a fake stomachache Knuth used an unabridged dictionary and determined whether each dictionary entry could be formed using the letters in the phrase. Using this algorithm, he identified over 4,500 words, winning the contest. As prizes, the school received a new television and enough candy bars for all of his schoolmates to eat.

Education
Knuth received a scholarship in physics to the Case Institute of Technology (now part of Case Western Reserve University) in Cleveland, Ohio, enrolling in 1956. He also joined the Beta Nu Chapter of the Theta Chi fraternity. While studying physics at Case, Knuth was introduced to the IBM 650, an early commercial computer. After reading the computer's manual, Knuth decided to rewrite the assembly and compiler code for the machine used in his school because he believed he could do it better.

In 1958, Knuth created a program to help his school's basketball team win its games. He assigned "values" to players in order to gauge their probability of scoring points, a novel approach that Newsweek and CBS Evening News later reported on.

Knuth was one of the founding editors of the Case Institute's Engineering and Science Review, which won a national award as best technical magazine in 1959. He then switched from physics to mathematics, and received two degrees from Case in 1960: his Bachelor of Science, and simultaneously a master of science by a special award of the faculty, who considered his work exceptionally outstanding.

In 1963, with mathematician Marshall Hall as his adviser, he earned a PhD in mathematics from the California Institute of Technology, with a thesis titled Finite Semifields and Projective Planes.

Early work
In 1963, after receiving his PhD, Knuth joined Caltech's faculty as an assistant professor.

Knuth accepted a commission to write a book on computer programming language compilers. While working on this project, he decided that he could not adequately treat the topic without first developing a fundamental theory of computer programming, which became The Art of Computer Programming. He originally planned to publish this as a single book, but as he developed his outline for the book, he concluded that he required six volumes, and then seven, to thoroughly cover the subject. He published the first volume in 1968.

Just before publishing the first volume of The Art of Computer Programming, Knuth left Caltech to accept employment with the Institute for Defense Analyses' Communications Research Division, then situated on the Princeton campus, which was performing mathematical research in cryptography to support the National Security Agency.

In 1967, Knuth attended a Society for Industrial and Applied Mathematics conference and someone asked what he did. At the time, computer science was partitioned into numerical analysis, artificial intelligence, and programming languages. Based on his study and The Art of Computer Programming book, Knuth decided the next time someone asked he would say, "Analysis of algorithms".

In 1969, Knuth left his position at Princeton to join the Stanford University faculty, where he became Fletcher Jones Professor of Computer Science in 1977. He became Professor of The Art of Computer Programming in 1990, and has been emeritus since 1993.

Writings
Knuth is a writer, as well as a computer scientist.

The Art of Computer Programming (TAOCP)
"'The best way to communicate from one human being to another is through story.'"

In the 1970s, Knuth called computer science "a totally new field with no real identity. And the standard of available publications was not that high. A lot of the papers coming out were quite simply wrong. ... So one of my motivations was to put straight a story that had been very badly told."

From 1972 to 1973, Knuth spent a year at the University of Oslo among people such as Ole-Johan Dahl. This is where he had originally intended to write the seventh volume in his book series, which was to deal with programming languages. But Knuth had finished only the first two volumes when he came to Oslo, and thus spent the year on the third volume, next to teaching. The third volume came out just after Knuth returned to Stanford in 1973.

By 2011, Volume 4A had been published. Concrete Mathematics: A Foundation for Computer Science 2nd ed., which originated with an expansion of the mathematical preliminaries section of Volume 1 of TAoCP, was published in 1994. In April 2020, Knuth said he anticipated that Volume 4 will have at least parts A through F. Volume 4B was published in October 2022.

Other works
Knuth is also the author of Surreal Numbers, a mathematical novelette on John Conway's set theory construction of an alternate system of numbers. Instead of simply explaining the subject, the book seeks to show the development of the mathematics. Knuth wanted the book to prepare students for doing original, creative research.

In 1995, Knuth wrote the foreword to the book A=B by Marko Petkovšek, Herbert Wilf and Doron Zeilberger. He also occasionally contributes language puzzles to Word Ways: The Journal of Recreational Linguistics.

Knuth has delved into recreational mathematics. He contributed articles to the Journal of Recreational Mathematics beginning in the 1960s, and was acknowledged as a major contributor in Joseph Madachy's Mathematics on Vacation.

Knuth also appears in a number of Numberphile and Computerphile videos on YouTube, where he discusses topics from writing Surreal Numbers to why he does not use email.

Works about his religious beliefs
In addition to his writings on computer science, Knuth, a Lutheran, is also the author of 3:16 Bible Texts Illuminated, in which he examines the Bible by a process of systematic sampling, namely an analysis of chapter 3, verse 16 of each book. Each verse is accompanied by a rendering in calligraphic art, contributed by a group of calligraphers led by Hermann Zapf. Knuth was invited to give a set of lectures at MIT on the views on religion and computer science behind his 3:16 project, resulting in another book, Things a Computer Scientist Rarely Talks About, where he published the lectures God and Computer Science.

Opinion on software patents
Knuth strongly opposes granting software patents to trivial solutions that should be obvious, but has expressed more nuanced views for nontrivial solutions such as the interior-point method of linear programming. He has expressed his disagreement directly to both the United States Patent and Trademark Office and European Patent Organisation.

Digital typesetting
In the 1970s, the publishers of TAOCP abandoned Monotype in favor of phototypesetting. Knuth became so frustrated with the inability of the latter system to approach the quality of the previous volumes, which were typeset using the older system, that he took time out to work on digital typesetting and created TeX and Metafont.

Literate programming
While developing TeX, Knuth created a new methodology of programming, which he called literate programming, because he believed that programmers should think of programs as works of literature:

"Instead of imagining that our main task is to instruct a computer what to do, let us concentrate rather on explaining to human beings what we want a computer to do."

Knuth embodied the idea of literate programming in the WEB system. The same WEB source is used to weave a TeX file, and to tangle a Pascal source file. These in their turn produce a readable description of the program and an executable binary respectively. A later iteration of the system, CWEB, replaces Pascal with C, C++, and Java.

Knuth used WEB to program TeX and METAFONT, and published both programs as books, both originally published the same year: TeX: The Program (1986); and METAFONT: The Program (1986). Around the same time, LaTeX, the now-widely adopted macro package based on TeX, was first developed by Leslie Lamport, who later published its first user manual in 1986.

Personal life
Donald Knuth married Nancy Jill Carter on 24 June 1961, while he was a graduate student at the California Institute of Technology. They have two children: John Martin Knuth and Jennifer Sierra Knuth.

Knuth gives informal lectures a few times a year at Stanford University, which he calls "Computer Musings". He was a visiting professor at the Oxford University Department of Computer Science in the United Kingdom until 2017 and an Honorary Fellow of Magdalen College.

Knuth is an organist and a composer. He and his father served as organists for Lutheran congregations. Knuth and his wife have a 16-rank organ in their home. In 2016 he completed a piece for organ, Fantasia Apocalyptica, which he calls a "translation of the Greek text of the Revelation of Saint John the Divine into music". It was premièred in Sweden on January 10, 2018.

Chinese name
Knuth's Chinese name is Gao Dena. He was given this name in 1977 by Frances Yao shortly before making a three-week trip to China. In the 1980 Chinese translation of Volume 1 of The Art of Computer Programming, Knuth explains that he embraced his Chinese name because he wanted to be known by the growing numbers of computer programmers in China at the time. In 1989, his Chinese name was placed atop the Journal of Computer Science and Technology header, which Knuth says "makes me feel close to all Chinese people although I cannot speak your language".

Health concerns
In 2006, Knuth was diagnosed with prostate cancer. He underwent surgery in December that year and said, "a little bit of radiation therapy ... as a precaution but the prognosis looks pretty good" in his video autobiography.

Humor
Knuth used to pay a finder's fee of $2.56 for any typographical errors or mistakes discovered in his books, because "256 pennies is one hexadecimal dollar", and $0.32 for "valuable suggestions". According to an article in the Massachusetts Institute of Technology's Technology Review, these Knuth reward checks are "among computerdom's most prized trophies". Knuth had to stop sending real checks in 2008 due to bank fraud, and now gives each error finder a "certificate of deposit" from a publicly listed balance in his fictitious "Bank of San Serriffe".

He once warned a correspondent, "Beware of bugs in the above code; I have only proved it correct, not tried it."

Knuth published his first "scientific" article in a school magazine in 1957 under the title "The Potrzebie System of Weights and Measures". In it, he defined the fundamental unit of length as the thickness of Mad No. 26, and named the fundamental unit of force "whatmeworry". Mad published the article in issue No. 33 (June 1957).

To demonstrate the concept of recursion, Knuth intentionally referred "Circular definition" and "Definition, circular" to each other in the index of The Art of Computer Programming, Volume 1.

The preface of Concrete Mathematics has the following paragraph:"When DEK taught Concrete Mathematics at Stanford for the first time, he explained the somewhat strange title by saying that it was his attempt to teach a math course that was hard instead of soft. He announced that, contrary to the expectations of his colleagues, he was not going to teach the Theory of Aggregates, nor Stone's Embedding Theorem, nor even the Stone–Čech compactification. (Several students from the civil engineering department got up and quietly left the room.)"

At the TUG 2010 Conference, Knuth announced a satirical XML-based successor to TeX, titled "iTeX" (, performed with a bell ringing), which would support features such as arbitrarily scaled irrational units, 3D printing, input from seismographs and heart monitors, animation, and stereophonic sound.

Awards and honors
In 1971, Knuth received the first ACM Grace Murray Hopper Award. He has received various other awards, including the Turing Award, the National Medal of Science, the John von Neumann Medal, and the Kyoto Prize.

Knuth was elected a Distinguished Fellow of the British Computer Society (DFBCS) in 1980 in recognition of his contributions to the field of computer science.

In 1990, he was awarded the one-of-a-kind academic title Professor of The Art of Computer Programming; the title has since been revised to Professor Emeritus of The Art of Computer Programming.

Knuth was elected to the National Academy of Sciences in 1975. He was also elected a member of the National Academy of Engineering in 1981 for organizing vast subject areas of computer science so that they are accessible to all segments of the computing community. In 1992, he became an associate of the French Academy of Sciences. Also that year, he retired from regular research and teaching at Stanford University in order to finish The Art of Computer Programming. He was elected a Foreign Member of the Royal Society (ForMemRS) in 2003.

Knuth was elected as a Fellow (first class of Fellows) of the Society for Industrial and Applied Mathematics in 2009 for his outstanding contributions to mathematics. He is a member of the Norwegian Academy of Science and Letters. In 2012, he became a fellow of the American Mathematical Society and a member of the American Philosophical Society. Other awards and honors include:

 * First ACM Grace Murray Hopper Award, 1971
 * Turing Award, 1974
 * Lester R. Ford Award, 1975 and 1993
 * Josiah Willard Gibbs Lecturer, 1978
 * National Medal of Science, 1979
 * Golden Plate Award of the American Academy of Achievement, 1985
 * Franklin Medal, 1988
 * John von Neumann Medal, 1995
 * Harvey Prize from the Technion, 1995
 * Kyoto Prize, 1996
 * Fellow of the Computer History Museum "for his fundamental early work in the history of computing algorithms, development of the TeX typesetting language, and for major contributions to mathematics and computer science." 1998
 * Asteroid 21656 Knuth, named in his honor in May 2001
 * Katayanagi Prize, 2010
 * BBVA Foundation Frontiers of Knowledge Award in the category of Information and Communication Technologies, 2010
 * Turing Lecture, 2011
 * Stanford University School of Engineering Hero Award, 2011
 * Flajolet Lecture Prize, 2014

Publications
A short list of his publications include:

The Art of Computer Programming:

Computers and Typesetting (all books are hardcover unless otherwise noted):

 * , x+483pp.
 * 1)  (softcover).
 * , xviii+600pp.
 * , xii+361pp.
 * 1)  (softcover).
 * , xviii+566pp.
 * , xvi+588pp.

Books of collected papers:

 * , ISBN 1-57586-382-0 (paperback)
 * , ISBN 1-57586-248-4 (paperback)
 * 1) Donald E. Knuth, Selected Papers on Design of Algorithms (Stanford, California: Center for the Study of Language and Information—CSLI Lecture Notes, no. 191), 2010. ISBN 1-57586-583-1 (cloth), ISBN 1-57586-582-3 (paperback)
 * 2) Donald E. Knuth, Selected Papers on Fun and Games (Stanford, California: Center for the Study of Language and Information—CSLI Lecture Notes, no. 192), 2011. ISBN 978-1-57586-585-0 (cloth), ISBN 978-1-57586-584-3 (paperback)
 * 3) Donald E. Knuth, Companion to the Papers of Donald Knuth (Stanford, California: Center for the Study of Language and Information—CSLI Lecture Notes, no. 202), 2011. ISBN 978-1-57586-635-2 (cloth), ISBN 978-1-57586-634-5 (paperback)
 * , ISBN 1-57586-248-4 (paperback)
 * 1) Donald E. Knuth, Selected Papers on Design of Algorithms (Stanford, California: Center for the Study of Language and Information—CSLI Lecture Notes, no. 191), 2010. ISBN 1-57586-583-1 (cloth), ISBN 1-57586-582-3 (paperback)
 * 2) Donald E. Knuth, Selected Papers on Fun and Games (Stanford, California: Center for the Study of Language and Information—CSLI Lecture Notes, no. 192), 2011. ISBN 978-1-57586-585-0 (cloth), ISBN 978-1-57586-584-3 (paperback)
 * 3) Donald E. Knuth, Companion to the Papers of Donald Knuth (Stanford, California: Center for the Study of Language and Information—CSLI Lecture Notes, no. 202), 2011. ISBN 978-1-57586-635-2 (cloth), ISBN 978-1-57586-634-5 (paperback)

Other books:

 * 1)   xiv+657 pp.
 * 2) Donald E. Knuth, The Stanford GraphBase: A Platform for Combinatorial Computing (New York, ACM Press) 1993. second paperback printing 2009. ISBN 0-321-60632-9
 * 3) Donald E. Knuth, 3:16 Bible Texts Illuminated (Madison, Wisconsin: A-R Editions), 1990. ISBN 0-89579-252-4
 * 4) Donald E. Knuth, Things a Computer Scientist Rarely Talks About (Center for the Study of Language and Information—CSLI Lecture Notes no 136), 2001. ISBN 1-57586-326-X
 * 5) Donald E. Knuth, MMIXware: A RISC Computer for the Third Millennium (Heidelberg: Springer-Verlag— Lecture Notes in Computer Science, no. 1750), 1999. viii+550pp. ISBN 978-3-540-66938-8
 * 6) Donald E. Knuth and Silvio Levy, The CWEB System of Structured Documentation (Reading, Massachusetts: Addison-Wesley), 1993. iv+227pp. ISBN 0-201-57569-8. Third printing 2001 with hypertext support, ii + 237 pp.
 * 7) Donald E. Knuth, Tracy L. Larrabee, and Paul M. Roberts, Mathematical Writing (Washington, D.C.: Mathematical Association of America), 1989. ii+115pp ISBN 978-0883850633
 * 8) Daniel H. Greene and Donald E. Knuth, Mathematics for the Analysis of Algorithms (Boston: Birkhäuser), 1990. viii+132pp. ISBN 978-0817647285
 * 9) Donald E. Knuth, Mariages Stables: et leurs relations avec d'autres problèmes combinatoires (Montréal: Les Presses de l'Université de Montréal), 1976. 106pp. ISBN 978-0840503428
 * 10) Donald E. Knuth, Stable Marriage and Its Relation to Other Combinatorial Problems: An Introduction to the Mathematical Analysis of Algorithms. ISBN 978-0821806036
 * 11) Donald E. Knuth, Axioms and Hulls (Heidelberg: Springer-Verlag—Lecture Notes in Computer Science, no. 606), 1992. ix+109pp. ISBN 3-540-55611-7
 * 1) Donald E. Knuth, Axioms and Hulls (Heidelberg: Springer-Verlag—Lecture Notes in Computer Science, no. 606), 1992. ix+109pp. ISBN 3-540-55611-7

title: Donald Knuth


text:
Dairy product

Dairy products or milk products, also known as lacticinia, are food products made from (or containing) milk. The most common dairy animals are cow, water buffalo, nanny goat, and ewe. Dairy products include common grocery store food around the world such as yogurt, cheese, milk and butter. A facility that produces dairy products is a dairy. Dairy products are consumed worldwide to varying degrees. Some people avoid some or all dairy products because of lactose intolerance, veganism, environmental concerns, other health reasons or beliefs.

Milk
Milk is produced after optional homogenization or pasteurization, in several grades after standardization of the fat level, and possible addition of the bacteria Streptococcus lactis and Leuconostoc citrovorum. Milk can be broken down into several different categories based on type of product produced, including cream, butter, cheese, infant formula, and yogurt.

Milk varies in fat content. Skim milk is milk with zero fat, while whole milk products contain fat.

Milk is an ingredient in many confectioneries. Milk can be added to chocolate to produce milk chocolate.

Butter
Butter, mostly milk fat, produced by churning cream

 * Ghee also called, clarified butter, by gentle heating of butter and removal of the solid matter
 * Smen, a fermented, clarified butter used in Moroccan cooking
 * Anhydrous milkfat (clarified butter)

Fermented
Fermented milk products include:

Yogurt
Yogurt, milk fermented by thermophilic bacteria, mainly Streptococcus salivarius ssp. thermophilus and Lactobacillus delbrueckii ssp. bulgaricus sometimes with additional bacteria, such as Lactobacillus acidophilus

Cheese
Cheese, produced by coagulating milk, separating curds from whey, and letting it ripen, generally with bacteria, and sometimes also with certain molds.

Custard

 * Custard, thickened with eggs
 * Imitation custard, thickened with starch

Frozen

 * Ice cream, slowly frozen cream, milk, flavors and emulsifying additives (dairy ice cream)
 * Gelato, slowly frozen milk and water, lesser fat than ice cream
 * Ice milk, low-fat version of ice cream
 * Frozen custard
 * Frozen yogurt, yogurt with emulsifiers

Consumption patterns worldwide
Rates of dairy consumption vary widely worldwide. High-consumption countries consume more than 150 kg per capita per year. These countries are: Argentina, Armenia, Australia, Costa Rica, most European countries, Israel, Kyrgyzstan, North America and Pakistan. Medium-consumption countries consume 30 kg to 150 kg per capita per year. These countries are: India, Iran, Japan, Kenya, Mexico, Mongolia, New Zealand, North and Southern Africa, most of the Middle East, and most of Latin America and the Caribbean. Low-consumption countries consume under 30 kg per capita per year. These countries are: Senegal, most of Central Africa, and most of East and Southeast Asia.

Lactose levels
For those with some degree of lactose intolerance, considering the amount of lactose in dairy products can be important to health.

Intolerance and health research
Dairy products may upset the digestive system in individuals with lactose intolerance or a milk allergy. People who experience lactose intolerance usually avoid milk and other lactose-containing dairy products, which may cause mild side effects, such as abdominal pain, bloating, diarrhea, gas, and nausea. Such individuals may use non-dairy milk substitutes.

Cancer
The American Institute for Cancer Research (AICR), World Cancer Research Fund International (WCRF), Cancer Council Australia (CCA) and Cancer Research UK have stated that there is strong evidence that consumption of dairy products decreases risk of colorectal cancer. The AICR, WCRF, CCA and Prostate Cancer UK have stated that there is limited but suggestive evidence that dairy products increase risk of prostate cancer. The American Cancer Society (ACS) have stated that because dairy products "may lower the risk of some cancers and possibly increase the risk of others, the ACS does not make specific recommendations on dairy food consumption for cancer prevention."

It has been suggested that consumption of insulin-like growth factor 1 (IGF-1) in dairy products could increase cancer risk, particularly prostate cancer. However, a 2018 review by the Committee on Carcinogenicity of Chemicals in Food, Consumer Products and the Environment (COC) concluded that there is "insufficient evidence to draw any firm conclusions as to whether exposure to dietary IGF-1 is associated with an increased incidence of cancer in consumers". The COC also stated it is unlikely that there would be absorption of intact IGF-1 from food by most consumers.

A 2019 review concluded that higher-quality research was needed to characterise valid associations between dairy consumption and risk of and/or cancer-related mortality. A 2021 umbrella review found strong evidence that consumption of dairy products decreases risk of colorectal cancer. Fermented dairy is associated with significantly decreased bladder cancer and colorectal cancer risk.

A 2023 review found no association between consumption of dairy products and breast cancer.

Cardiovascular disease
The American Medical Association (AMA) recommends that people replace full-fat dairy products with nonfat and low-fat dairy products. In 2017, the AMA stated that there is no high-quality clinical evidence that cheese consumption lowers the risk of cardiovascular disease. In 2021, they stated that "taken together, replacing full-fat dairy products with nonfat and low-fat dairy products and other sources of unsaturated fat shifts the composition of dietary patterns toward higher unsaturated to saturated fat ratios that are associated with better cardiovascular health".

In 2017, the National Heart Foundation of New Zealand published an umbrella review which found an "overall neutral effect of dairy on cardiovascular risk for the general population". Their position paper stated that "the evidence overall suggests dairy products can be included in a heart-healthy eating pattern and choosing reduced-fat dairy over full-fat dairy reduces risk for some, but not all, cardiovascular risk factors".

In 2019 the National Heart Foundation of Australia published a position statement on full fat dairy products, "Based on current evidence, there is not enough evidence to recommend full fat over reduced fat products or reduced fat over full fat products for the general population. For people with elevated cholesterol and those with existing coronary heart disease, reduced fat products are recommended." The position statement also noted that the "evidence for milk, yoghurt and cheese does not extend to butter, cream, ice-cream and dairy-based desserts; these products should be avoided in a heart healthy eating pattern".

Recent reviews of randomized controlled trials have found that dairy intake from cheese, milk and yogurt does not have detrimental effects on markers of cardiometabolic health.

Other
Consumption of dairy products such as low-fat and whole milk have been associated with an increased acne risk, however, there is no conclusive evidence. Fermented and low-fat dairy products are associated with a decreased risk of diabetes. Consumption of dairy products are also associated with a decreased risk of gout.

A 2023 review found that higher intake of dairy products is significantly associated with a lower risk of inflammatory bowel disease.

Avoidance on principle
Some groups avoid dairy products for non-health-related reasons. Some religions restrict or do not allow the consumption of dairy products. For example, some scholars of Jainism advocate not consuming any dairy products because dairy is perceived to involve violence against cows. Orthodox Judaism requires that meat and dairy products not be served at the same meal, served or cooked in the same utensils, or stored together, as prescribed in Deuteronomy 14:21.

Veganism is the avoidance of all animal products, including dairy products, most often due to the ethics regarding how dairy products are produced. The ethical reasons for avoiding meat and dairy products include how dairy is produced, how the animals are handled, and the environmental effect of dairy production. According to a report of the United Nations' Food and Agriculture Organization in 2010 the dairy sector accounted for 4 percent of global human-made greenhouse gas emissions.

Growing awareness of dairy products' environmental impact, specifically greenhouse gas emissions, is leading to many people reducing or avoiding dairy. In the EU, dairy is repsonsible for 27% of all diet related emissions, on average, while plant-based milks cause 2.5 - 4.5 times fewer emissions.

title: Dairy product