Youtube results:
Ryan pump blast shattered glass in the classroom
Penny tried to hide in a bathroom
Homicide scream from the hand held dragon
Mental flame from the barrel claim twenty five angel, mercy
Long as the black board, splatter with his inside
Never had a chance to ride his new skateboard
Billy didn't shake, Lord, he fell silent
Died in the pantomime of cold violence
His killer didn't even blink, he couldn't think
Even when he heard the sirens kept firin'
Pupils dilated, possessed and perspirin'
He grew up admirin', thirty auts and calicos
AR-Fifteen and long barreled forty four's
So on the story goes
He went out in a blaze of glory
He went out in a front page story
He went out in a front page story
My soul can't rest today
I can't bring myself to pray
I get down on my knees
'Cause you will always be six feet under me
My soul can't rest today
And I can't bring myself to pray
I get down on my knees
'Cause you will always be six feet under me
Frank, I'm sorry you didn't get to see
Your cell phone tape, hear yourself
But to the motherfucka's who took
Frank Williams aka Fast Black, fuck you
Dear God, I've messed up again, I'm sassed up again
Vodka spillin' out my mouth onto my chin
I've slipped into the darkness of the heartless
Those barbarians carry savage weapons and they start shit
They hearts is cold as the arctic, these men motivate mobs to lynch
These monsters are men who I hang with
These monsters of then are who I bang with
Who I bang with, Crips, Bloods, BG, VL
We have created our own road to hell
We train to kill and not to feel, reactin' with a mac
But no matter who I kill I can't bring my nigga back
My niggaz dead and I can't get my fuckin' head around it
We was just smokin' blunts of the best chronic
And now I'm wearin' a t-shirt with his picture on it
Staggerin' about to vomit, consumed with vengeance
With my vengeance I am all consumed
By mid afternoon smokin' blunts in my room
To whom ever this letter may concern
When bullets strike they burn more
Than the flesh of the ones hit
You took my nigga, my heart split, it's broken
Shattered in a million pieces, help me Jesus
Help me Jesus, just help me, Jesus, thug niggaz killers
They victims was screamin', help me Jesus
My soul can't rest today
I can't bring myself to pray
I get down on my knees
'Cause you will always be six feet under me
My soul can't rest today
And I can't bring myself to pray
I get down on my knees
A savage dragon in the dark cavern mouth
A rancid below pours from it
If you are spatterd with his venomous poison
Beware and protect from his swishing tail
Kill kill the dragon
Kill kill - the beast inside
Kill kill the dragon
Victory is by my side
He thrust the sword into the dragon's guts
Pierced his heart and shut his mouth
He tasted the blood and listened to the birds
Who told him about the liars words
Kill kill the dragon
Kill kill - the beast inside
Kill kill the dragon
Victory is by my side
La sensación es de flotar
De una ventana salta sin mirar
Y mientras van creciendo alas
¿Que vas a hacer?
No es facil ser anónimo
No es facil renunciar a un temor
Pero si no lo haces pronto
¿Que vas a hacer?
CORO:
Quieres saber
Toma tiempo para pensar
Para soñar
el dia es muy especial
La sensación ya no es igual
si arrancas de tu espalda una mitad
y mientras van creciendo alas
¿Que vas a hacer?
No es facil intentar flotar
cuando no tienes donde despegar
Pero si no lo haces pronto
¿Que vas a hacer?
CORO
Jumpin' up and down and foolin' around
Is it ever any wonder that you get knocked down?
Comin' down fast gonna pass you on the right
I loved you before but now I turn in the night
Why, you never seem to try, why, you never seem to try
Moving down the way and getting lost, blackness is a place in my mind
The less that you know is the more that you learn
Is there any point in knowledge when you're old and infirm
Why, you never seem to try, why, you never seem to try
[Incomprehensible]
I've never been the type to sing all night but, aah
I've never been the type to sing all night but, aah
I've never been the type to sing all night but, aah
Sitting on your bed being balanced on your head, rolling back those fears
The loose lipped trouble dutch double on the monkey
You can see it on his face when you hear it in his voice
Why, you never seem to try, why, you never seem to try
Why, you never seem to try
I've never been the type to sing all night but, aah
I've never been the type to sing all night but, aah
I've never been the type to sing all night but, aah
I've never been the type to sing all night but, aah
[Incomprehensible]
How the West was won, it's a lie but it's made to sound like fun
How the West was won, it's a lie but it's made to sound like fun
How the West was won, it's a lie but it's made to sound like fun
You are, you are
you are a long, long train
we go away
we go away
You are, you are
you are a rail road wind
we go away
we go away
ouha - ouha - ouha - ouha ...
Tu vuoi farmi un ritratto in forma di piano...
e me lo vuoi fare in forma di treno...
ouha - ouha - ouha - ouha ...
Vuoi un titolo al quadro o alla sua imitazione...?
Un consiglio lo accetti...? E' da grande illusione....
My lords and my ladies listen a while
For a story of ages when the dragons fly
`Bout an almighty warrior thought he never can die
As he left the castle all the young maiden cry
His body was covered by shining bright skin
Armored with mytrill and a strong magic ring
A flame-shaped blade hang by his side
Covered with jewels every warriors pride
All through the times there were heroes for sale - Paid for some crimes, search a holy grail
Perfect prepared for the glorious day - But sometimes a better one crosses their way
Down on his knees no one to trust - Ashes to ashes and dust to dust
Perfect prepared for the glorious day - But sometimes a better one crosses their way
As he faced the cave darkness around
Deep from inside hear an evil sound
Careful he went close to the hole
The warriors prayer gave him a strong soul
He raised his sword higher as the dragon appears
With just one spit of fire burned away all the fears
The powerful ring not useful at all
Nothing to save him from the firewall
There`s one little thing the warrior forgot
The wrong magic ring and now he is dead
The dragon watch the man burn for a while
Then went back to sleep with a satanic smile
All through the times there were heroes for sale - Paid for some crimes, search a holy grail
Perfect prepared for the glorious day - But sometimes a better one crosses their way
Down on his knees no one to trust - Ashes to ashes and dust to dust
Perfect prepared for the glorious day - but sometimes a better one crosses their way
[Solo: Ruby, Stichler, Ruby/Stichler]
Don't tell me
A woman did this to you
Candy lies
Candy lies
Candy lies
You touched my hand
I felt a force
You called it dark
But now I'm not so sure
Just stay awhile
Stay awhile
Stay awhile
Why don't you
Stay awhile
Stay awhile
Stay awhile
Cause your wild card Boy needs playing
Don't believe the lie
Your Dragon needs slaying
Won't you lay here with me
And I will bring
Kisses for the beast
Lay here with me
Here with me
Don't tell me
A woman did this to you
Candy lies
Candy lies
Candy lies
When I look back over
Documents and pages
Ancient savageries
Christened those inflated.
Now it has come to light
The Gods they have slipped up
They forgot about the power
Of a woman's love
Just stay a while
Stay awhile
Stay awhile
Why don't you
Stay awhile
Stay awhile
Stay awhile
Cause your wild card Boy needs playing
Don't believe the lie
Your Dragon needs slaying
Won't you lay here with me
And I will bring
Kisses for the beast
Lay here with me
Here with me
Don't tell me
A woman did this to you
Candy lies
Candy lies
Candy lies
Candy lies
Forgive my
The "Ljubljana Dragon" in Ljubljana, Slovenia |
|
Mythology | Eurasian |
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Grouping | Mythology |
Similar creatures | Sirrush, Basilisk |
A dragon is a legendary creature, typically with serpentine or reptilian traits, that features in the myths of many cultures. There are two distinct cultural traditions of dragons: the European dragon, derived from European folk traditions and which is ultimately related to Greek and Middle Eastern mythologies, and the Chinese dragon, with counterparts in Japan, Korea and other East Asian countries.
The two traditions may have evolved separately, but have influenced each to a certain extent, particularly with the cross-cultural contact of recent centuries. The English word "dragon" derives from Greek δράκων (drákōn), "dragon, serpent of huge size, water-snake", which probably comes from the verb δρακεῖν (drakeîn) "to see clearly".[1]
Contents |
The word dragon entered the English language in the early 13th century from Old French dragon, which in turn comes from Latin draconem (nominative draco) meaning "huge serpent, dragon," from the Greek word δράκων, drakon (genitive drakontos, δράκοντος) "serpent, giant seafish", which is believed to have come from an earlier stem drak-, a stem of derkesthai, "to see clearly," from Proto-Indo-European derk- "to see" or "the one with the (deadly) glance." The Greek and Latin term referred to any great serpent, not necessarily mythological, and this usage was also current in English up to the 18th century.
A dragon is a mythological representation of a reptile. In antiquity, dragons were mostly envisaged as serpents, but since the Middle Ages, it has become common to depict them with legs, resembling a lizard.
Dragons are usually shown in modern times with a body like a huge lizard, or a snake with two pairs of lizard-type legs, and able to emit fire from their mouths. The European dragon has bat-type wings growing from its back. A dragon-like creature with no front legs is known as a wyvern.
The association of the serpent with a monstrous opponent overcome by a heroic deity has its roots in the mythology of the Ancient Near East, including Canaanite (Hebrew, Ugaritic), Hittite and Mesopotamian. The Chaoskampf motif entered Greek mythology and ultimately Christian mythology, although the serpent motif may already be part of prehistoric Indo-European mythology as well, based on comparative evidence of Indic and Germanic material. It has been speculated that accounts of spitting cobras may be the origin of the myths of fire-breathing dragons.[2]
Although dragons occur in many legends around the world, different cultures have varying stories about monsters that have been grouped together under the dragon label. Some dragons are said to breathe fire or to be poisonous, such as in the Old English poem Beowulf.[3] They are commonly portrayed as serpentine or reptilian, hatching from eggs and possessing typically scaly or feathered bodies. They are sometimes portrayed as having especially large eyes or watching treasure very diligently, a feature that is the origin of the word dragon (Greek drakeîn meaning "to see clearly").[4] Some myths portray them with a row of dorsal spines. European dragons are more often winged, while Chinese dragons resemble large snakes. Dragons can have a variable number of legs: none, two, four, or more when it comes to early European literature.
Dragons are often held to have major spiritual significance in various religions and cultures around the world. In many Asian cultures dragons were, and in some cultures still are, revered as representative of the primal forces of nature, religion and the universe. They are associated with wisdom—often said to be wiser than humans—and longevity. They are commonly said to possess some form of magic or other supernatural power, and are often associated with wells, rain, and rivers. In some cultures, they are also said to be capable of human speech. In some traditions dragons are said to have taught humans to talk.
Narratives about dragons often involve them being killed by a hero. This topos can be traced to the Chaoskampf of the mythology of the Ancient Near East (e.g. Hadad vs. Yam, Marduk vs. Tiamat, Teshub vs. Illuyanka, etc.; the Biblical Leviathan presumably reflects a corresponding opponent of an early version of Yahweh). The motive is continued in Greek Apollo, and the early Christian narratives about Archangel Michael and Saint George. The slaying of Vrtra by Indra in the Rigveda also belongs in this category. The theme survives into medieval legend and folklore, with dragon slayers such as Beowulf, Sigurd, Tristan, Margaret the Virgin, Heinrich von Winkelried, Dobrynya Nikitich, Skuba Dratewka/Krakus. In Biblical myth, the archetype is alluded to in the descendants of Adam crushing the head of the Serpent, and in Christian mythology, this was interpreted as corresponding to Christ as the "New Adam" crushing the Devil.
The blood of a slain dragon is depicted as either beneficient or as poisonous in medieval legend and literary fiction. In German legend, dragon blood has the power to render invincible skin or armor bathed in it, as is the case with Siegfried's skin or Ortnit's armor. In the Slavic myth, the Earth refuses it as it is so vile that Mother Earth wishes not to have it within her womb, and it remains above ground for all eternity. The blood of the dragon in Beowulfhas acidic qualities, allowing it to seep through iron. Heinrich von Winkelried dies after the blood of the dragon slain by him accidentially drips on him.
In Ancient Greece the first mention of a "dragon" is derived from the Iliad where Agamemnon is described as having a blue dragon motif on his sword belt and an emblem of a three-headed dragon on his breast plate.[5] However, the Greek word used (δράκων drákōn, genitive δράκοντοϛ drákontos) could also mean "snake". Δράκων drákōn is a form of the aorist participle active of Greek δέρκομαι dérkomai = "I see", derkeîn = "to see", and originally likely meant "that which sees", or "that which flashes or gleams" (perhaps referring to reflective scales). This is the origin of the word "dragon". (See also Hesiod's Theogony, 322.)
In 217 A.D., Flavius Philostratus (Greek: Φλάβιος Φιλόστρατος)[6] discussed dragons (δράκων, drákōn) in India in The Life of Apollonius of Tyana (II,17 and III,6–8). The Loeb Classical Library translation (by F.C. Conybeare) mentions (III,7) that “In most respects the tusks resemble the largest swine’s, but they are slighter in build and twisted, and have a point as unabraded as sharks’ teeth.”
According to a collection of books by Claudius Aelianus (Greek: Κλαύδιος Αιλιανός)[7] called On Animals, Ethiopia was inhabited by a species of dragon that hunted elephants. It could grow to a length of 180 feet and had a lifespan rivaling that of the most enduring of animals.[8]
European dragons exist in folklore and mythology among the overlapping cultures of Europe. Dragons are generally depicted as living in rivers or having an underground lair or cave.[9] They are commonly described as having hard or armoured hide, and are rarely described as flying, despite often depicted with wings.
European dragons are usually depicted as malevolent though there are exceptions (such as Y Ddraig Goch, the Red Dragon of Wales).
In Slavic mythology, the words “zmey”, "zmiy" or "zmaj" are used to describe dragons. These words are masculine forms of the Slavic word for "snake", which are normally feminine (like Russian zmeya). In Romania, there is a similar figure, derived from the Slavic dragon and named zmeu. Exclusively in Polish and Belarusian folklore, as well as in the other Slavic folklores, a dragon is also called smok (смок, цмок, smok). In South Slavic folklores, the same thing is also called lamya (ламйа, ламjа, lamja). Although quite similar to other European dragons, Slavic dragons have their peculiarities.
Russian dragons usually have heads in multiples of three. Some have heads that grow back if every single head isn't cut off. In Ukraine and Russia, a particular dragon-like creature, Zmey Gorynych, has three heads and spits fire. According to one bylina, Zmey Gorynych was killed by bogatyr Dobrynya Nikitich.
Other Russian dragons (such as Tugarin Zmeyevich) have Turkic names, probably symbolizing the Mongols and other nomadic steppe peoples. Accordingly, St George (symbolizing Christianity) killing the Dragon (symbolizing Satan) is represented on the coat of arms of Moscow. Some prehistoric structures, notably the Serpent's Wall near Kiev, have been associated with dragons.
In the early Vedic religion, Vritra (Sanskrit: वृत्र (Devanāgarī) or Vṛtra (IAST)) "the enveloper", was an Asura and also a "naga" (serpent) (Sanskrit: नाग)[10] or possibly dragon-like creature, the personification of drought and enemy of Indra. Vritra was also known in the Vedas as Ahi ("snake") (Sanskrit: अहि),[11] and he is said to have had three heads.
The Life of Apollonius of Tyana by Flavius Philostratus:[12] contains a long detailed description of India heavily infested with dragons, but this does not correspond with modern Indian belief, and likely not with Indian belief as it was in his time, whether Apollonius invented this story, or whether he believed someone else who told him it.
Aži Dahāka is the source of the modern Persian word azhdahā or ezhdehā اژده ها (Middle Persian azdahāg) meaning "dragon", often used of a dragon depicted upon a banner of war. The Persians believed that the baby of a dragon will be the same color as the mother's eyes. In Middle Persian he is called Dahāg or Bēvar-Asp, the latter meaning "[he who has] 10,000 horses." Several other dragons and dragon-like creatures, all of them malevolent, are mentioned in Zoroastrian scripture. (See Zahhāk).
In Jewish religious texts, the first mention of a dragon-like creature is in the Biblical works of Job (26:13), and Isaiah (27:1) where it is called Nachash Bare'ach, or a "Pole Serpent".[13] This is identified in the Midrash Rabba to Genesis 1:21 as Leviathan from the word Taninim (תנינים) "and God created the great sea-monsters."[14] In modern Hebrew the word Taninim is used for Crocodiles but this is a 20th century usage unconnected with the original Biblical meaning.[citation needed]
In later Biblical texts, the Book of Isaiah, the Book of Job, and Psalm 89 refer to a sea-demon called Rahab (not to be confused with Rahab, the woman of Jericho mentioned in the Book of Joshua). Isaiah 51:9 equates this Rahab with a dragon or monster. "Rahab" is the English transliteration of רהב (reb) with the several meanings: pride, a mythical sea-monster, or Egypt (as an emblematic name).[15] In the Douay-Rheims version, translated via Medieval Latin from the Vulgate, the word reb is rendered "the proud one" in Isaiah 51:9 and Job 26:12 and "the power of the sea" in Psalm 88:10 (Psalm 88 is equivalent to Psalm 89 in other versions due to different verse numbering in the Vulgate). The connection between the sea-monster and "Leviathan the serpent" is made in Isaiah 27:1.[16]
In Jewish astronomy this is also identified with the North Pole, the star Thuban which, around 4,500 years ago, was the star in the Draco constellation's "tail".[13] However this can also have been either the celestial pole or the ecliptic pole. The ancient observers noted that Draco was at the top of the celestial pole, giving the appearance that stars were "hanging" from it, and in Hebrew it is referred to as Teli, from talah (תלה) – to hang.[17] Hebrew writers from Arabic-speaking locations identified the Teli as Al Jaz'har, which is a Persian word for a "knot" or a "node" because of the intersection of the inclination of the orbit of a planet from the elliptic that forms two such nodes. In modern astronomy these are called the ascending node and the descending node, but in medieval astronomy they were referred to as "dragon's head" and "dragon's tail".[18]
The Merthyr Synagogue features a dragon on the front gable.[19]
In China, depiction of the dragon (traditional:龍;simplified:龙) can be found in artifacts from the Shang and Zhou dynasties with examples dating back to the 16th century BC.[20] Archaeologist Zhōu Chong-Fa believes that the Chinese word for dragon is an onomatopoeia of the sound thunder makes.[21] The Chinese name for dragon is pronounced "lóng" in Mandarin Chinese[20] or "lùhng" in the Cantonese.[22] Sometime after the 9th century AD, Japan adopted the Chinese dragon through the spread of Buddhism.[20] Although the indigenous name for a dragon in Japanese is tatsu (たつ?), a few of the Japanese words for dragon stem from the Chinese word for dragon, namely, "ryū" (りゅう?) or "ryō" (りょう?) (traditional:龍;simplified:竜).[20] The Vietnamese word for dragon is "rồng" (hán tự:龍) and the Korean word for dragon is "ryong" (hangul:용) (hanja:龍).
The Chinese dragon (simplified Chinese: 龙; traditional Chinese: 龍; pinyin: lóng) is the highest-ranking animal in the Chinese animal hierarchy, strongly associated at one time with the emperor and hence power and majesty (the mythical bird fenghuang was the symbol of the Chinese empress), still recognized and revered. Its origins are vague, but its "ancestors can be found on Neolithic pottery as well as Bronze Age ritual vessels."[23] Tradition has it composed of nine different animals, with nine sons, each with its own imagery and affiliations. It is the only mythological animal of the 12 animals that represent the Chinese calendar. 2012 is the Chinese year of the Water Dragon.
Japanese dragon myths amalgamate native legends with imported stories about dragons from China, Korea and India. Like these other Asian dragons, most Japanese ones are water deities associated with rainfall and bodies of water, and are typically depicted as large, wingless, serpentine creatures with clawed feet. Gould writes (1896:248),[24] the Japanese dragon is "invariably figured as possessing three claws".
Vietnamese dragons (Vietnamese: rồng or long 龍) are symbolic creatures in the folklore and mythology of Vietnam. According to an ancient creation myth, the Vietnamese people are descended from a dragon and a fairy. To Vietnamese people, the dragon brings rain, essential for agriculture. It represents the emperor, the prosperity and power of the nation. Like the Chinese dragon, the Vietnamese dragon is the symbol of yang, representing the universe, life, existence, and growth. Extant references to the Vietnamese Dragon are rare now, due to the fierce changes in history that accompanied the sinicization of the Nguyễn Dynasty.
The Javanese Dragon (Naga Jawa in Javanese) is a creature of mythology, the world serpent[disambiguation needed ] of traditional Javanese mythology. It is a derivative from the Hindu Shiva with Javanese animism. In a wayang theater story a snake (Nāga) god named Sanghyang Anantaboga or Antaboga is supposedly as a guardian deity in the bowels of the earth. The Javanese dragon is described as a figure of a giant magic snake without, and wearing a crown on his head. Sometimes the Javanese Dragon is depicted wearing earrings and a necklace of gold jewelry. Unlike the Chinese Dragon and European Dragon, the Javanese Dragon Java looks very unique and special because it wears a crown like a king and had no legs. Compare with the Chinese dragon which has four legs and horns on its head, and the European dragon which is like a giant long-necked lizard with wide wings.[25][26]
In the early 20th century sculpture of the Norwegian artist Gustav Vigeland, inspired by Medieval art, dragons are a frequent theme—as symbols of sin but also as a nature force, fighting against man.
Dragons and dragon motifs are featured in many works of modern literature, particularly within the fantasy and science fiction genres. Prominent works depicting dragons include J.R.R. Tolkien’s The Hobbit, J. K. Rowling’s Harry Potter novels, and Anne McCaffrey’s Dragonriders of Pern.
The popular role playing game system Dungeons & Dragons (D&D) makes heavy use of dragons, and has served as inspiration for many other games' dragons. Though dragons usually serve as adversaries, they can be either good or evil, with their alignment being determined by their color (species). For example, a red dragon is evil and breathes fire.
Some modern pseudo-biological accounts of dragons give them the generic name Draco, although the generic name Draco is used in real-world biology for a genus of small gliding agamid lizard. An infectious disease called Dracunculiasis, caused by infection with the Guinea worm which grows up to 3 feet (0.91 m) long before emerging from its host, also derives its name from dragons (literally "infestation with little dragons"), based on the burning pain experienced by sufferers.
Some creationists believe that dragons of mythology were actually dinosaurs, and that they died out with other creatures around the end of the ice age.[27][28]
Nile crocodiles, today very restricted in range, were in ancient times occasionally found in Southern Europe, having swum across the Mediterranean. Such wayward crocodiles may have inspired dragon myths.[9] Skeletons of whales, as well as dinosaur and mammalian fossils may have been occasionally mistaken for the bones of dragons and other mythological creatures; for example, a discovery in 300 BC in Wucheng[disambiguation needed ], Sichuan, China, was labeled as such by Chang Qu.[9][29] Adrienne Mayor has written on the subject of fossils as the inspiration for myths in her book The First Fossil Hunters,[30] and in an entry in the Encyclopedia of Geology she wrote: "Fossil remains generated a variety of geomyths speculating on the creatures' identity and cause of their destruction. Many ancient cultures, from China and India to Greece, America, and Australia, told tales of dragons, monsters, and giant heroes.."[31] In Australia, stories of such creatures may have referred to the land crocodiles, Quinkana sp., a terrestrial crocodile which grew to 5 to possibly 7 metres long, or the 4 tonne monitor lizard Varanus priscus (formerly Megalania prisca) a giant carnivorous goanna that might have grown to 7 metres, and weighed up to 1,940 kilograms, or rainbow serpents (possibly Wonambi naracoortensis) that were part of the extinct megafauna of Australia.[32] Today the Komodo monitor lizard Varanus komodoensis is known in English as the Komodo dragon.
In the book An Instinct for Dragons[33] anthropologist David E. Jones suggests a hypothesis that humans just like monkeys have inherited instinctive reactions to snakes, large cats and birds of prey. Dragons have features that are combinations of these three. An instinctive fear for these three would explain why dragons with similar features occur in stories from independent cultures on all continents. Other authors have suggested that especially under the influence of drugs or in dreams, this instinct may give rise to fantasies about dragons, snakes, spiders, etc., which would explain why these symbols are popular in drug culture.
Another explanation to the folklore dragons does however not rely on human instinct, but on the assumption that fossil remains of dinosaurs gave rise to similar speculations all over the world.[citation needed]
There is a widespread belief that earlier cartographers used the Latin phrase hic sunt dracones, i.e., "the dragons are here", or "here be dragons", to denote dangerous or unexplored territories, in imitation of the infrequent medieval practice of putting sea serpents and other mythological creatures in blank areas of maps. However the only known use of this exact phrase is in the Latin form "HC SVNT DRACONES" on the Lenox Globe (ca. 1503–07).[34]
Another map that contains dragons is the one of Bishop Olaus Magnus's. The Carta Marina map of Scandinavia (1539) has many monsters in the northern sea, as well as a winged, bipedal, predatory land animal resembling a dragon in northern Lapland.
Wikimedia Commons has media related to: Dragon |
Look up dragon in Wiktionary, the free dictionary. |
Wikiquote has a collection of quotations related to: Dragons |
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Bruce Lee | |||||||||
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File:BruceLeecard.jpg Bruce Lee |
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Chinese name | 李小龍 (Traditional) | ||||||||
Chinese name | 李小龙 (Simplified) | ||||||||
Pinyin | Lǐ Xiǎolóng (Mandarin) | ||||||||
Jyutping | Lei5 Siu2 Lung4 (Cantonese) | ||||||||
Birth name | Lee Jun-fan 李振藩 (Traditional) 李振藩 (Simplified) Lǐ Zhènfān (Mandarin) Lei5 Zan3 Faan4 (Cantonese) |
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Ancestry | Shunde, Guangdong, China | ||||||||
Origin | Hong Kong | ||||||||
Born | (1940-11-27)27 November 1940 San Francisco Chinese Hospital Chinatown, San Francisco |
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Died | 20 July 1973(1973-07-20) (aged 32) Kowloon Tong, HK [1] |
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Resting place | Seattle, Washington, USA Lakeview Cemetery |
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Occupation | Martial arts instructor, actor, philosopher, film director, screenwriter, and martial arts founder | ||||||||
Years active | 1941–73 | ||||||||
Spouse(s) | Linda Emery (1964–73) | ||||||||
Children | Brandon Lee (1965–93) Shannon Lee (born 1969) |
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Parents | Lee Hoi-chuen (1901–65) Grace Ho (1907–96) |
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Official Website | Bruce Lee Foundation Bruce Lee official website |
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Awards
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This article contains Chinese text. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Chinese characters. |
Bruce Lee (born Lee Jun-fan; 27 November 1940 – 20 July 1973) was a Chinese American[3] Hong Kong actor,[4] martial arts instructor,[5] philosopher, film director, film producer, screenwriter, and founder of the Jeet Kune Do martial arts movement. He is widely considered by many commentators, critics, media and other martial artists to be the most influential martial artist and pop culture icon of the 20th Century.[6][7][8] He is often credited with changing the way Asians were presented in American films.[6]
Lee was born in San Francisco to parents of Hong Kong heritage but was raised in Hong Kong until his late teens. Lee returned to the United States at the age of 18 to claim his U.S. citizenship and receive his higher education.[9] It was during this time that he began teaching martial arts, which soon led to film and television roles.
His Hong Kong and Hollywood-produced films elevated the traditional Hong Kong martial arts film to a new level of popularity and acclaim, and sparked a major surge of interest in Chinese martial arts in the West in the 1970s. The direction and tone of his films changed and influenced martial arts and martial arts films in Hong Kong and the rest of the world, as well.[10] He is noted for his roles in five feature-length films: Lo Wei's The Big Boss (1971) and Fist of Fury (1972); Way of the Dragon (1972), directed and written by Lee; Warner Brothers' Enter the Dragon (1973) and The Game of Death (1978), both directed by Robert Clouse.[11]
Lee became an iconic figure known throughout the world, particularly among the Chinese, as he portrayed Chinese nationalism in his films.[12] He initially trained in Wing Chun, but he later rejected well-defined martial art styles, favouring instead the use of techniques from various sources, in the spirit of his personal martial arts philosophy, which he dubbed Jeet Kune Do (The Way of the Intercepting Fist).
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Bruce Lee was born on 27 November 1940 at the Chinese Hospital in Chinatown, San Francisco. According to the Chinese zodiac Lee was born in both the hour and the year of the Dragon which in this cultural tradition is considered a strong and fortuitous omen.[13] His father, Lee Hoi-chuen, was fully Chinese, and his mother, Grace Ho (何愛瑜), was half Chinese and half Caucasian.[14] Grace was the daughter of Ho Kom-tong and the niece of Sir Robert Ho-tung, both notable Honk Kong businessmen and philanthropists.[15] Lee was the fourth child of five children: Agnes, Phoebe, Peter, and Robert. Lee and his parents returned to Hong Kong when he was three months old.[16]
Lee's Cantonese birth name was Lee Jun-fan (李振藩).[17] The name homophonically means "return again"; it was given to Lee by his mother, who felt he would return to the United States once he came of age.[18] Because of his mother's superstitious nature, she originally named him Sai-fon (細鳳), which is a feminine name meaning "small phoenix".[19] The English name "Bruce" was thought to be given by the hospital attending physician, Dr. Mary Glover.[20]
Lee had three other Chinese names: Li Yuanxin (李源鑫), a family/clan name; Li Yuanjian (李元鑒), as a student name while he was attending La Salle College, and his Chinese screen name Li Xiaolong (李小龍; Xiaolong means "little dragon"). Lee's given name Jun-fan was originally written in Chinese as 震藩, however, the Jun (震) Chinese character was identical to part of his grandfather's name, Lee Jun-biu (李震彪). Hence, the Chinese character for Jun in Lee's name was changed to the homonym 振 instead, to avoid naming taboo in Chinese tradition.
Lee's father, Lee Hoi-chuen, was one of the leading Cantonese opera and film actors at the time, and was embarking on a year-long Cantonese opera tour with his family on the eve of the Japanese invasion of Hong Kong. Lee Hoi-chuen had been touring the United States for many years and performing at numerous Chinese communities there.
Although a number of his peers decided to stay in the United States, Lee Hoi-chuen decided to go back to Hong Kong after his wife gave birth to Bruce Lee. Within months, Hong Kong was invaded and the Lees lived for three years and eight months under Japanese occupation. After the war ended, Lee Hoi-chuen resumed his acting career and became a more popular actor during Hong Kong's rebuilding years.
Lee's mother, Grace Ho, was from one of the wealthiest and most powerful clans in Hong Kong, the Ho-tungs. She was the niece of Sir Robert Ho-tung,[15][21] of Eurasian descent and patriarch of the clan. As such, the young Bruce Lee grew up in an affluent and privileged environment. Despite this advantage of his family's status, the Hong Kong neighborhood Lee grew up in became over-crowded, dangerous, and full of gang rivalries because of the mass number of people fleeing communist China to Hong Kong, :[19]
Post-war Hong Kong was a tough place to grow up. Gangs ruled the city streets and Lee was often forced to fight them. But Bruce liked a challenge and faced his adversaries head on. To his parents dismay, Bruce's street fighting continued and the violent nature of his confrontations was escalating.
After being involved in several street fights, Lee's parents decided that he needed to be trained in the martial arts. Lee's first introduction to martial arts was through his father. He learned the fundamentals of Wu-style t'ai chi ch'uan from his father.[22]
The largest influence on Lee's martial arts development was his study of Wing Chun. Lee began training in Wing Chun at the age of 13 under the Wing Chun teacher Yip Man in 1954, after losing a fight with rival gang members. Yip's regular classes generally consisted of the forms practice, chi sao (sticking hands) drills, wooden dummy techniques, and free-sparring.[23] There was no set pattern to the classes.[23] Yip tried to keep his students from fighting in the street gangs of Hong Kong by encouraging them to fight in organized competitions.[24]
After a year into his Wing Chun training, most of Yip Man's other students refused to train with Lee after they learnt of his ancestry (his mother was half Chinese and half Caucasian) as the Chinese generally were against teaching their martial arts techniques to non-Asians.[25][26] Lee's sparring partner, Hawkins Cheung states, "Probably fewer than six people in the whole Wing Chun clan were personally taught, or even partly taught, by Yip Man".[27] However, Lee showed a keen interest in Wing Chun, and continued to train privately with Yip Man and Wong Shun Leung in 1955.[28]
After attending Tak Sun School (德信學校) (a couple of blocks from his home at 218 Nathan Road, Kowloon), Lee entered the primary school division of La Salle College in 1950 or 1952 (at the age of 12). In around 1956, due to poor academic performance (or possibly poor conduct as well), he was transferred to St. Francis Xavier's College (high school) where he would be mentored by Brother Edward, a teacher and coach of the school boxing team.
In the spring of 1959, Lee got into yet another street fight and the police were called.[29] From all the way to his late teens, Lee's street fights became more frequent and included beating up the son of a feared triad family. Eventually, Lee's father decided for him to leave Hong Kong to pursue a safer and healthier avenue in the United States. His parents confirmed the police's fear that this time Lee's opponent had an organised crime background, and there was the possibility that a contract was out for his life.
The police detective came and he says "Excuse me Mr. Lee, your son is really fighting bad in school. If he gets into just one more fight I might have to put him in jail".—Robert Lee[19]
In April 1959, Lee's parents decided to send him to the United States to stay with his older sister, Agnes Lee (李秋鳳), who was already living with family friends in San Francisco.
At the age of 18, Lee returned to the United States with $100 in his pocket and the titles of 1957 High School Boxing Champion and 1958 Crown colony Cha Cha Champion of Hong Kong.[13] After living in San Francisco for several months, he moved to Seattle in 1959, to continue his high school education, where he also worked for Ruby Chow as a live-in waiter at her restaurant.
Chow's husband was a co-worker and friend of Lee's father. Lee's elder brother Peter Lee (李忠琛) would also join him in Seattle for a short stay before moving on to Minnesota to attend college. In December 1960, Lee completed his high school education and received his diploma from Edison Technical School (now Seattle Central Community College, located on Capitol Hill, Seattle).
In March 1961, Lee enrolled at the University of Washington, majoring in drama according to the university's alumni association information,[30] not in philosophy as claimed by Lee himself and many others. Lee also studied philosophy, psychology, and various other subjects.[31][32] It was at the University of Washington that he met his future wife Linda Emery, a fellow student studying to become a teacher, whom he married in August 1964.
Lee had two children with Linda Emery, Brandon Lee (1965–93) and Shannon Lee (b. 1969).
Lee began teaching martial arts in the United States in 1959. He called what he taught Jun Fan Gung Fu (literally Bruce Lee's Kung Fu). It was basically his approach to Wing Chun.[33] Lee taught friends he met in Seattle, starting with Judo practitioner Jesse Glover, who later became his first assistant instructor. Lee opened his first martial arts school, named the Lee Jun Fan Gung Fu Institute, in Seattle.
Lee dropped out of college in the spring of 1964 and moved to Oakland to live with James Yimm Lee (嚴鏡海). James Lee was twenty years senior to Bruce Lee and a well known Chinese martial artist in the area. Together, they founded the second Jun Fan martial art studio in Oakland. James Lee was also responsible for introducing Bruce Lee to Ed Parker, royalty of the U.S. martial arts world and organizer of the Long Beach International Karate Championships at which Bruce Lee was later "discovered" by Hollywood.
Jeet Kune Do originated in 1967. After filming one season of The Green Hornet, Lee found himself out of work and opened The Jun Fan Institute of Gung Fu. A controversial match with Wong Jack Man influenced Lee's philosophy about martial arts. Lee concluded that the fight had lasted too long and that he had failed to live up to his potential using his Wing Chun techniques. He took the view that traditional martial arts techniques were too rigid and formalistic to be practical in scenarios of chaotic street fighting. Lee decided to develop a system with an emphasis on "practicality, flexibility, speed, and efficiency". He started to use different methods of training such as weight training for strength, running for endurance, stretching for flexibility, and many others which he constantly adapted, including fencing and basic boxing techniques.
Lee emphasised what he called "the style of no style". This consisted of getting rid of the formalised approach which Lee claimed was indicative of traditional styles. Lee felt the system he now called Jun Fan Gung Fu was even too restrictive, and eventually evolved into a philosophy and martial art he would come to call Jeet Kune Do or the Way of the Intercepting Fist. It is a term he would later regret, because Jeet Kune Do implied specific parameters that styles connote; whereas the idea of his martial art was to exist outside of parameters and limitations.[35]
At the invitation of Ed Parker, Lee appeared in the 1964 Long Beach International Karate Championships[36] and performed repetitions of two-finger push-ups (using the thumb and the index finger of one hand) with feet at approximately a shoulder-width apart. In the same Long Beach event he also performed the "One inch punch",[37] the description of which is as follows: Lee stood upright, his right foot forward with knees bent slightly, in front of a standing, stationary partner. Lee's right arm was partly extended and his right fist approximately an inch away from the partner's chest. Without retracting his right arm, Lee then forcibly delivered the punch to his partner while largely maintaining his posture, sending the partner backwards and falling into a chair said to be placed behind the partner to prevent injury, though his partner's momentum soon caused him to fall to the floor. His volunteer was Bob Baker of Stockton, California. "I told Bruce not to do this type of demonstration again", Baker recalled. "When he punched me that last time, I had to stay home from work because the pain in my chest was unbearable".[38]
It was at the 1964 championships where Lee first met Taekwondo master Jhoon Goo Rhee. The two developed a friendship – a relationship from which they benefited as martial artists. Rhee taught Lee the side kick in detail, and Lee taught Rhee the "non-telegraphic" punch.[39]
Lee appeared at the 1967 Long Beach International Karate Championships and performed various demonstrations, including the famous "unstoppable punch" against USKA world Karate champion Vic Moore.[36] Lee told Moore that he was going to throw a straight punch to the face, and all he had to do was to try to block it. Lee took several steps back and asked if Moore was ready, when Moore nodded in affirmation, Lee glided towards him until he was within striking range. He then threw a straight punch directly at Moore's face, and stopped before impact. In eight attempts, Moore failed to block any of the punches.[40][41]
Lee defeated three-time champion British boxer Gary Elms by way of knockout in the third round in the 1958 Hong Kong Inter-School amateur Boxing Championships by using Wing Chun traps and high/low-level straight punches.[42]
The following year, Lee became a member of the "Tigers of Junction Street," and was involved in numerous gang-related street fights. "In one of his last encounters, while removing his jacket the fellow he was squaring off against sucker punched him and blackened his eye. Bruce flew into a rage and went after him, knocking him out, breaking his opponent's arm. The police were called as a result".[43] The incident took place on a Hong Kong rooftop at 10 pm on Wednesday, 29 April 1959.[44]
In 1962, Lee was challenged by a man who had been holding a grudge against Lee while the two were practicing at a YMCA in Seattle.[45] The man was described by Jesse Glover as a karate man who also had a blackbelt in judo, though Glover, who was a brown belt in judo at the time, claimed to be better than the man in judo.[45] After weeks[46] or months[47] of provocation by the man, Lee agreed to fight the man for three two-minute rounds, with the winner being the one who knocked the opponent down or out in two out of three rounds.[48] The match took place at YMCA's handball court, with Glover as the referee and Ed Hart as the time keeper.[48] Lee wore street clothes and used a Wing Chun stance while his opponent wore a gi and used a karate stance.[48] According to Glover, Lee used his right forearm to deflect an initial kick from the man and simultaneously landed a left punch to the face.[48] Lee deflected more punches using the forearm, controlling the center line and landed more punches to the man's face until he was against the wall.[48] The man attempted to grab Lee's arms, which Lee responded by a double fist punch to the face and chest, followed by a kick to the nose, which produced a nosebleed and a knockout, at which time Glover stopped the fight.[48] Taki Kamura said the fight lasted 10 seconds.[49] Ed Hart stated "the fight lasted exactly 11 seconds – I know because I was the time keeper – and Bruce had hit the guy something like 15 times and kicked him once. I thought he'd killed him".[46]
In Oakland, California in 1964 at Chinatown, Lee had a controversial private match with Wong Jack Man, a direct student of Ma Kin Fung known for his mastery of Xingyiquan, Northern Shaolin, and T'ai chi ch'uan. According to Lee, the Chinese community issued an ultimatum to him to stop teaching non-Chinese. When he refused to comply, he was challenged to a combat match with Wong. The arrangement was that if Lee lost, he would have to shut down his school; while if he won, then Lee would be free to teach Caucasians or anyone else.[43] Wong denied this, stating that he requested to fight Lee after Lee issued an open challenge during one of Lee's demonstrations at a Chinatown theatre, and that Wong himself did not discriminate against Caucasians or other non-Chinese.[50] Lee commented, "That paper had all the names of the sifu from Chinatown, but they don't scare me".[51]
Individuals known to have witnessed the match included Cadwell, James Lee (Bruce Lee's associate, no relation), and William Chen, a teacher of T'ai chi ch'uan. Wong and witness William Chen stated that the fight lasted an unusually long 20–25 minutes.[50] According to Bruce Lee, Linda Lee Cadwell, and James Yimm Lee, the fight lasted 3 minutes with a decisive victory for Lee. "The fight ensued, it was a no-holds-barred fight, it took three minutes. Bruce got this guy down to the ground and said 'do you give up?' and the man said he gave up" – Linda Lee Cadwell.[43]
Wong Jack Man published his own account of the battle in the Chinese Pacific Weekly, a Chinese-language newspaper in San Francisco, which contained another challenge to Lee for a public rematch.[50] Lee had no reciprocation to Wong's article, nor were there any further public announcements by either, but Lee had continued to teach Caucasians.
Lee's eventual celebrity put him in the path of a number of men who sought to make a name for themselves by causing a confrontation with Lee. A challenger had invaded Lee's private home in Hong Kong by trespassing into the backyard to incite Lee in combat. Lee finished the challenger violently with a kick, infuriated over the home invasion. Describing the incident, Herb Jackson states,
One time one fellow got over that wall, got into his yard and challenged him and he says 'how good are you?' And Bruce was poppin mad. He [Bruce] says 'he gets the idea, this guy, to come and invade my home, my own private home, invade it and challenge me.' He said he got so mad that he gave the hardest kick he ever gave anyone in his life.[52]
Bob Wall, USPK karate champion and Lee's co-star in Enter the Dragon, recalled one encounter that transpired after a film extra kept taunting Lee. The extra yelled that Lee was "a movie star, not a martial artist," that he "wasn't much of a fighter". Lee answered his taunts by asking him to jump down from the wall he was sitting on. Wall described Lee's opponent as "a gang-banger type of guy from Hong Kong," a "damned good martial artist," and observed that he was fast, strong, and bigger than Bruce.[53]
This kid was good. He was strong and fast, and he was really trying to punch Bruce's brains in. But Bruce just methodically took him apart.[54] Bruce kept moving so well, this kid couldn't touch him...then all of a sudden, Bruce got him and rammed his ass with the wall and swept him up, proceeding to drop him and plant his knee into his opponent's chest, locked his arm out straight, and nailed him in the face repeatedly". – Bob Wall[55]
Lee's father Lee Hoi-chuen was a famous Cantonese opera star. Because of this, Lee was introduced into films at a very young age and appeared in several films as a child. Lee had his first role as a baby who was carried onto the stage in the film Golden Gate Girl. By the time he was 18, he had appeared in twenty films.[13]
While in the United States from 1959 to 1964, Lee abandoned thoughts of a film career in favour of pursuing martial arts. However, a martial arts exhibition on Long Beach in 1964 eventually led to the invitation by William Dozier for an audition for a part in the pilot for "Number One Son". The show never aired, but Lee was invited for the role of Kato alongside Van Williams in the TV series The Green Hornet. The show lasted just one season, from 1966 to 1967. Lee also played Kato in three crossover episodes of Batman. This was followed by guest appearances in three television series: Ironside (1967), Here Come the Brides (1969), and Blondie (1969).
At the time, two of Lee's martial arts students were Hollywood script writer Stirling Silliphant and actor James Coburn. In 1969 the three worked on a script for a film called The Silent Flute, and went together on a location hunt to India. The project was not realised at the time; but the 1978 film Circle of Iron, starring David Carradine, was based on the same plot. In 2010, producer Paul Maslansky was reported to plan and receive fundings for a film based on the original script for The Silent Flute.[56] In 1969, Lee made a brief appearance in the Silliphant-penned film Marlowe where he played a henchman hired to intimidate private detective Philip Marlowe, (played by James Garner), by smashing up his office with leaping kicks and flashing punches, only to later accidentally jump off a tall building while trying to kick Marlowe off. The same year he also choreographed fight scenes for The Wrecking Crew starring Dean Martin, Sharon Tate, and featuring Chuck Norris in his first role. In 1970, he was responsible for fight choreography for A Walk in the Spring Rain starring Ingrid Bergman and Anthony Quinn, again written by Silliphant. In 1971, Lee appeared in four episodes of the television series Longstreet, written by Silliphant. Lee played the martial arts instructor of the title character Mike Longstreet (played by James Franciscus), and important aspects of his martial arts philosophy were written into the script.
According to statements made by Lee, and also by Linda Lee Cadwell after Lee's death, in 1971 Lee pitched a television series of his own tentatively titled The Warrior, discussions which were also confirmed by Warner Bros. In a 9 December 1971 television interview on The Pierre Berton Show, Lee stated that both Paramount and Warner Brothers wanted him "to be in a modernized type of a thing, and that they think the Western idea is out, whereas I want to do the Western".[57] According to Cadwell, however, Lee's concept was retooled and renamed Kung Fu, but Warner Bros. gave Lee no credit.[58] Warner Brothers states that they had for some time been developing an identical concept,[59] created by two writers and producers, Ed Spielman and Howard Friedlander. According to these sources, the reason Lee was not cast was in part because of his ethnicity, but more so because he had a thick accent.[60] The role of the Shaolin monk in the Wild West, was eventually awarded to then-non-martial-artist David Carradine. In The Pierre Berton Show interview, Lee stated he understood Warner Brothers' attitudes towards casting in the series: "They think that business wise it is a risk. I don't blame them. If the situation were reversed, and an American star were to come to Hong Kong, and I was the man with the money, I would have my own concerns as to whether the acceptance would be there".[61]
Producer Fred Weintraub had advised Lee to return to Hong Kong and make a feature film which he could showcase to executives in Hollywood.[62] Not happy with his supporting roles in the United States, Lee returned to Hong Kong. Unaware that The Green Hornet had been played to success in Hong Kong and was unofficially referred to as "The Kato Show", he was surprised to be recognised on the street as the star of the show. After negotiating with both Shaw Brothers Studio and Golden Harvest, Lee signed a film contract to star in two films produced by Golden Harvest. Lee played his first leading role in The Big Boss (1971) which proved to be an enormous box office success across Asia and catapulted him to stardom. He soon followed up with Fist of Fury (1972) which broke the box office records set previously by The Big Boss. Having finished his initial two-year contract, Lee negotiated a new deal with Golden Harvest. Lee later formed his own company, Concord Productions Inc. (協和電影公司), with Chow. For his third film, Way of the Dragon (1972), he was given complete control of the film's production as the writer, director, star, and choreographer of the fight scenes. In 1964, at a demonstration in Long Beach, California, Lee had met Karate champion Chuck Norris. In Way of the Dragon Lee introduced Norris to movie-goers as his opponent in the final death fight at the Colosseum in Rome, today considered one of Lee's most legendary fight scenes and one of the most memorable fight scenes in martial arts film history.[63] The role was originally offered to American Karate champion Joe Lewis.[64]
In late 1972, Lee began work on his fourth Golden Harvest Film, Game of Death. He began filming some scenes including his fight sequence with 7'2" American Basketball star Kareem Abdul-Jabbar, a former student. Production was stopped when Warner Brothers offered Lee the opportunity to star in Enter the Dragon, the first film to be produced jointly by Golden Harvest and Warner Bros. Filming commenced in Hong Kong in February 1973. One month into the filming, another production company, Starseas Motion Pictures, promoted Bruce Lee as a leading actor in Fist of Unicorn, although he had merely agreed to choreograph the fight sequences in the film as a favour to his long-time friend Unicorn Chan. Lee planned to sue the production company, but retained his friendship with Chan.[65] However, only a few months after the completion of Enter the Dragon, and six days before its 26 July 1973 release,[66] Lee died. Enter the Dragon would go on to become one of the year's highest grossing films and cement Lee as a martial arts legend. It was made for US$850,000 in 1973 (equivalent to $4 million adjusted for inflation as of 2007).[67] To date, Enter the Dragon has grossed over $200 million worldwide.[68] The film sparked a brief fad in martial arts, epitomised in songs such as "Kung Fu Fighting" and TV shows like Kung Fu.
Robert Clouse, the director of Enter the Dragon and Golden Harvest revived Lee's unfinished film Game of Death. Lee had shot over 100 minutes of footage, including out-takes, for Game of Death before shooting was stopped to allow him to work on Enter the Dragon. In addition to Abdul-Jabbar, George Lazenby, Hapkido master Ji Han-Jae and another of Lee's students, Dan Inosanto, were also to appear in the film, which was to culminate in Lee's character, Hai Tien (clad in the now-famous yellow track suit) taking on a series of different challengers on each floor as they make their way through a five-level pagoda. In a controversial move, Robert Clouse finished the film using a look-alike and archive footage of Lee from his other films with a new storyline and cast, which was released in 1978. However, the cobbled-together film contained only fifteen minutes of actual footage of Lee (he had printed many unsuccessful takes)[69] while the rest had a Lee look-alike, Kim Tai Chung, and Yuen Biao as stunt double. The unused footage Lee had filmed was recovered 22 years later and included in the documentary Bruce Lee: A Warrior's Journey.[70]
Apart from Game of Death, other future film projects were planned to feature Lee at the time. In 1972, after the success of The Big Boss and Fist of Fury, a third film was planned by Raymond Chow at Golden Harvest to be directed by Lo Wei, titled Yellow-Faced Tiger. However, at the time, Lee decided to direct and produce his own script for Way of the Dragon instead. Although Lee had formed a production company with Raymond Chow, a period film was also planned from September–November 1973 with the competing Shaw Brothers Studio, to be directed by either Chor Yuen or Cheng Kang, and written by Yi Kang and Chang Cheh, titled The Seven Sons of the Jade Dragon.[71] Lee had also worked on several scripts himself. A tape containing a recording of Lee narrating the basic storyline to a film tentatively titled Southern Fist/Northern Leg exists, showing some similarities with the canned script for The Silent Flute (Circle of Iron).[72] Another script had the title Green Bamboo Warrior, set in San Francisco, planned to co-star Bolo Yeung and to be produced by Andrew Vajna who later went on to produce First Blood.[65] Photo shoot costume tests were also organized for some of these planned film projects.
Lee was renowned for his physical fitness and vigorous, dedicated fitness regimen to become as strong as he possibly could.
After his match with Wong Jack Man in 1965, Lee changed his approach toward martial arts training. Lee felt that many martial artists of his time did not spend enough time on physical conditioning. Lee included all elements of total fitness—muscular strength, muscular endurance, cardiovascular endurance, and flexibility. He tried traditional bodybuilding techniques to build bulky muscles or mass. However, Lee was careful to admonish that mental and spiritual preparation was fundamental to the success of physical training in martial arts skills. In Tao of Jeet Kune Do, he wrote
Training is one of the most neglected phases of athletics. Too much time is given to the development of skill and too little to the development of the individual for participation. ... JKD, ultimately is not a matter of petty techniques but of highly developed spirituality and physique.[73]
The weight training program that Lee used during a stay in Hong Kong in 1965 placed heavy emphasis on his arms. At that time he could perform single biceps curls at a weight of 70 to 80 lb (about 32 to 36 kg) for three sets of eight repetitions, along with other forms of exercises, such as squats, push-ups, reverse curls, concentration curls, French presses, and both wrist curls and reverse wrist curls.[74] The repetitions he performed were 6 to 12 reps (at the time). While this method of training targeted his fast and slow twitch muscles, it later resulted in weight gain or muscle mass, placing Lee a little over 160 lb (about 72 kg). Lee was documented as having well over 2,500 books in his own personal library, and eventually concluded that "A stronger muscle, is a bigger muscle", a conclusion he later disputed.[75] Bruce forever experimented with his training routines to maximise his physical abilities and push the human body to its limits. He employed many different routines and exercises including skipping rope, which served his training and bodybuilding purposes effectively.[76]
Lee believed that the abdominal muscles were one of the most important muscle groups for a martial artist, since virtually every movement requires some degree of abdominal work. Mito Uyehara recalled that "Bruce always felt that if your stomach was not developed, then you had no business doing any hard sparring". According to Linda Lee Cadwell, even when not training, Lee would frequently perform sit ups and other abdominal exercises in domestic living throughout the day, such as during watching TV. She said of Lee, "Bruce was a fanatic about ab training. He was always doing sit-ups, crunches, Roman chair movements, leg raises and V-ups".[77]
Lee trained from 7 am to 9 am, including stomach, flexibility, and running, and from 11 am to 12 pm he would weight train and cycle. A typical exercise for Lee would be to run a distance of two to six miles in 15 to 45 minutes, in which he would vary speed in 3–5 minute intervals. Lee would ride the equivalent of 10 miles (about 16 kilometres) in 45 minutes on a stationary bike.[78][79]
Lee would sometimes exercise with the jump rope and put in 800 jumps after cycling. Lee would also do exercises to toughen the skin on his fists, including thrusting his hands into buckets of harsh rocks and gravel. He would do over 500 repetitions of this on a given day.[80] An article of the S. China Post writes "When a doctor warned him not to inflict too much violence on his body, Bruce dismissed his words. 'the human brain can subjugate anything, even real pain' —Bruce Lee".[81]
Lee's phenomenal fitness allowed him to perform numerous exceptional physical feats:[82][83]
According to Linda Lee Cadwell, soon after he moved to the United States, Lee started to take nutrition seriously and developed an interest in health foods, high-protein drinks and vitamin and mineral supplements. He later concluded that in order to achieve a high-performance body, one could not fuel it with a diet of junk food, and with "the wrong fuel" one's body would perform sluggishly or sloppily.[91] Lee also avoided baked goods and refined flour, describing them as providing calories which did nothing for his body.[92]
Lee consumed green vegetables and fruit every day. He always preferred to eat Chinese or other Asian food because he loved the variety that it had. Some of Lee's favorite Chinese dishes were beef in oyster sauce, tofu and steak and liver.[93] He also became a heavy advocate of dietary supplements, including Vitamin C, Lecithin granules, bee pollen, Shilajit, Vitamin E, rose hips (liquid form), wheat germ oil, Acerola – C and B-Folia.[94]
Lee disliked dairy food although he felt that for building muscle he must consume milk. As a result he only ate dairy as part of cereals and protein drinks, usually using powdered milk instead of fresh milk. Lee's diet included protein drinks; he always tried to consume one or two daily, but discontinued drinking them later on in his life. They typically included non-instant powdered milk which is reported to have a higher concentration of calcium than other forms of powdered milk, eggs, wheat germ, peanut butter, banana, brewers yeast for its B vitamins, and Inositol and Lecithin supplements.[95] Linda Lee recalls Bruce Lee's waist fluctuated between 26 and 28 inches (66 to 71 centimetres). "He also drank his own juice concoctions made from vegetables and fruits, apples, celery, carrots and so on, prepared in an electric blender", she said.[citation needed]
According to Lee, the size of portions and number of meals were just as important. He would usually consume four or five smaller meals a day rather than a couple of large meals, and would boost his metabolism by eating small healthy snacks such as fruits throughout the day.[95] Fruit and vegetables provided him with the richest source of carbohydrates; he was particularly keen on carrots which would make up one half of the contents of the drink, with the remaining being split between the other fruits and vegetables. The reason why Lee was so keen on juicing vegetables and fruits is that he believed it allowed the body to assimilate many nutrients more easily. The enzymes in the juiced vegetables acting as organic catalysts which increase the metabolism and absorption of nutrients. Given that most of these enzymes are destroyed when vegetables are cooked, Lee would try to consume them raw.[96]
Lee often consumed a drink of royal jelly and ginseng as they contain B-complex vitamins, including a high concentration of vitamin B5 (pantothenic acid) and vitamin B6 (pyridoxine), acetylcholine, hormones, and eighteen amino acids which allow for a quick energy boost.[96] In traditional Chinese medicine, ginseng is also said to improve circulation, increase blood supply, allow quicker recovery times after exhaustion and stimulating the body.[97] In addition, Lee regularly drank black tea, often with honey or with milk and sugar.[98]
Lee is best known as a martial artist, but he also studied drama and philosophy while a student at the University of Washington. He was well-read and had an extensive library. His own books on martial arts and fighting philosophy are known for their philosophical assertions, both inside and outside of martial arts circles. His eclectic philosophy often mirrored his fighting beliefs, though he was quick to claim that his martial arts were solely a metaphor for such teachings. He believed that any knowledge ultimately led to self-knowledge, and said that his chosen method of self-expression was martial arts.[99] His influences include Taoism, Jiddu Krishnamurti, and Buddhism.[100] On the other hand, Lee's philosophy was very much in opposition to the conservative world view advocated by Confucianism.[101] John Little states that Lee was an atheist. When asked in 1972 about his religious affiliation, he replied, "none whatsoever".[102] Also in 1972, he was asked if he believed in God, and he responded, "To be perfectly frank, I really do not".[99]
The following quotations reflect his fighting philosophy.
Lee’s erudition expanded in any field that required pure human expression. Aside from martial arts and philosophy which focus on the physical aspect; and self consciousness for truths and principles[110] . He also wrote poetry that reflected his emotion and a stage in his life collectively[111] . Many forms of art remain concordant with the artist creating them. Lee’s principal of self-expression was applied to his poetry as well. His daughter Shannon Lee said “He did write poetry, he was really the consonant artist”[112] .His poetic works originally handwritten on paper, later on edited and published. John Little being the major author (editor), for Bruce Lee’s works. Linda Lee Cadwell (Bruce Lee’s wife) shared her husbands notes, poems and experiences with followers. She mentioned “Lee’s poems are, by American standards, rather dark-reflecting the deeper, less exposed recesses of the human psyche”[113] . Most of Bruce Lee’s poems are categorized as anti-poetry or fall into a paradox. The mood in his poems show the side of the man that can be compared with other poets such as Robert Frost, one of many well known poets expressing himself with dark poetic works. The paradox taken from the Yin and Yang symbol in martial arts, also integrated in his poetry. His martial arts, and philosophy contribute a great part to his poetry. The free verse form of Lee’s poetry reflect his famous quote “Be formless... shapeless, like water.” [114]
Bruce Lee’s poems:
On 10 May 1973, Lee collapsed in Golden Harvest studios while doing dubbing work for the movie Enter the Dragon. Suffering from seizures and headaches, he was immediately rushed to Hong Kong Baptist Hospital where doctors diagnosed cerebral edema. They were able to reduce the swelling through the administration of mannitol. These same symptoms that occurred in his first collapse were later repeated on the day of his death.[136]
On 20 July 1973, Lee was in Hong Kong, to have dinner with former James Bond star George Lazenby, with whom he intended to make a film. According to Lee's wife Linda, Lee met producer Raymond Chow at 2 pm at home to discuss the making of the film Game of Death. They worked until 4 pm and then drove together to the home of Lee's colleague Betty Ting Pei, a Taiwanese actress. The three went over the script at Ting's home, and then Chow left to attend a dinner meeting.[137][138]
Later Lee complained of a headache, and Ting gave him an analgesic (painkiller), Equagesic, which contained both aspirin and the muscle relaxant meprobamate. Around 7:30 pm, he went to lie down for a nap. When Lee did not turn up for dinner, Chow came to the apartment but could not wake Lee up. A doctor was summoned, who spent ten minutes attempting to revive him before sending him by ambulance to Queen Elizabeth Hospital. Lee was dead by the time he reached the hospital.[139]
There was no visible external injury; however, according to autopsy reports, his brain had swollen considerably, from 1,400 to 1,575 grams (a 13% increase). Lee was 32 years old. The only substance found during the autopsy was Equagesic. On 15 October 2005, Chow stated in an interview that Lee died from an allergic reaction to the muscle relaxant (meprobamate) in Equagesic, which he described as a common ingredient in painkillers. When the doctors announced Lee's death officially, it was ruled a "death by misadventure".[140][141]
Don Langford, Lee's personal physician in Hong Kong, had treated Lee during his first collapse. Controversy erupted when he stated, "Equagesic was not at all involved in Bruce's first collapse".[142]
Donald Teare, a forensic scientist recommended by Scotland Yard who had overseen over 1,000 autopsies, was assigned to the Lee case. His conclusion was "death by misadventure" caused by an acute cerebral edema due to a reaction to compounds present in the combination medication Equagesic.[143]
The preliminary opinion of Peter Wu, the neurosurgeon who saved Lee's life during his first seizure, was that the cause of death should have been attributed to either a reaction to cannabis or Equagesic. However, Wu later backed off from this position, stating that:
Lee's wife Linda returned to her hometown of Seattle, and had him buried at lot 276 of Lakeview Cemetery.[144] Pallbearers at his funeral on 31 July 1973 included Taky Kimura, Steve McQueen, James Coburn, Chuck Norris, George Lazenby, Dan Inosanto, Peter Chin, and Lee's brother Robert.
Lee's iconic status and untimely demise fed many theories about his death, including murder involving the triads and a supposed curse on him and his family.[145] Black Belt magazine in 1985 carried the speculation that the death of Bruce Lee in 1973 may have been caused by "a delayed reaction to a Dim Mak strike he received several weeks prior to his collapse".
Bruce Lee personally certified only three instructors. Taky Kimura, James Yimm Lee, and Dan Inosanto. Inosanto holds the 3rd rank (Instructor) directly from Bruce Lee in Jeet Kune Do, Jun Fan Gung Fu, and Bruce Lee's Tao of Chinese Gung Fu. Taky Kimura holds a 5th rank in Jun Fan Gung Fu. James Yimm Lee held a 3rd rank in Jun Fan Gung Fu. Ted Wong holds 2nd rank in Jeet Kune Do certified directly by Bruce Lee and was later promoted to Instructor under Dan Inosanto; feeling that Bruce would have wanted to promote him. Other Jeet Kune Do instructors since Lee's death have been certified directly by Dan Inosanto, some with remaining Bruce Lee signed certificates.
James Yimm Lee, a close friend of Lee, died without certifying additional students apart from Gary Dill who studied Jeet Kune Do under James and received permission via a personal letter from him in 1972 to pass on his learning of JKD to others. Taky Kimura, to date, has certified only one person in Jun Fan Gung Fu: his son Andy Kimura. Dan Inosanto continued to teach and certify select students in Jeet Kune Do for over 30 years, making it possible for thousands of martial arts practitioners to trace their training lineage back to Bruce Lee. Prior to his death, Lee told his then only two living instructors Kimura and Inosanto (James Yimm Lee had died in 1972) to dismantle his schools.
Both Taky Kimura and Dan Inosanto were allowed to teach small classes thereafter, under the guideline "keep the numbers low, but the quality high". Bruce also instructed several World Karate Champions including Chuck Norris, Joe Lewis, and Mike Stone. Between the three of them, during their training with Bruce they won every karate championship in the United States.[146]
In Japan, Junichi Okada is a certified Japanese instructor in Jeet Kune Do.[147]
There are a number of stories (perhaps apocryphal) surrounding Lee that are still repeated in Hong Kong culture. One is that his early 70s interview on the TVB show Enjoy Yourself Tonight cleared the busy streets of Hong Kong as everyone was watching the interview at home.
On 6 January 2009, it was announced that Bruce's Hong Kong home (41 Cumberland Road, Kowloon, Hong Kong) will be preserved and transformed into a tourist site by philanthropist Yu Pang-lin.[148][149]
Bruce Lee was named by Time Magazine as one of the 100 most influential people of the 20th century.[6]
Lee was trained in Wu Tai Chi Chuan (also known as Ng-ga) and Jing Mo Tam Tui for the twelve sets. Lee was trained in the martial arts Choy Li Fut, Western Boxing, Épée fencing, Judo, Praying Mantis Kung-fu, Hsing-I, and Jujitsu.
When Bruce arrived in the US he (already) had training in Wu Style Tai Chi, sometimes in Hong Kong called Ng-ga. And he had of course training in western boxing. He had training in fencing from his brother, that's Epee, that goes from toe to head. He had training obviously in Wing Chun. And the other area was the training he had received in Buk Pie, or Tam Toi, he was twelve sets in Tam Toi. And I believe he had traded with a Choy Li Fut man.—Danny Inosanto[150]
Lineage in Wing Chun / Jeet Kune Do | |
Wing Chun teacher | Yip Man (葉問) |
Other instructors | Wong Shun Leung (黃惇樑) |
Sparring partner and friend | Hawkins Cheung |
Bruce Lee (李小龍) Founder of Jeet Kune Do |
|
Instructors personally certified by Bruce Lee to teach Jeet Kune Do | Taky Kimura James Yimm Lee Dan Inosanto |
Notable students of Jun Fan/Gung Fu/Jeet Kune Do | Brandon Lee Jesse Glover Steve Golden Larry Hartsell Dan Inosanto Yori Nakamura Peter Nguyen Taky Kimura Richard Bustillo Jerry Poteet Ted Wong James Yimm Lee Rusty Stevens Chuck Norris[151] Kareem Abdul-Jabbar James Coburn Joe Lewis Roman Polanski Lee Marvin Stirling Silliphant Steve McQueen Mike Stone |
For a complete list of Bruce Lee's filmography see
Year | Film | Role | Notes |
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1969 | Marlowe | Winslow Wong | |
1971 | The Big Boss | Cheng Chao-an | Also known as Fists of Fury |
1972 | Fist of Fury | Chen Zhen | Also known as The Chinese Connection |
The Way of the Dragon | Tang Lung | Also known as Return of the Dragon | |
1973 | Enter the Dragon | Lee | Released posthumously |
1978 | Game of Death | Billy Lo | Released posthumously |
1981 | Game of Death II | Billy Lo | Released posthumously (Stock footage) |
Year | Series | Role | Notes |
---|---|---|---|
1966 | The Green Hornet | Kato | 26 episodes, 1966–1967 |
Batman | Kato | 3 episodes, 1966–1967 | |
1967 | Ironside | Leon Soo | Episode: "Tagged for Murder" |
1969 | Blondie | Karate Instructor | Episode: "Pick on Someone Your Own Size" |
Here Come the Brides | Lin | Episode: "Marriage Chinese Style" | |
1970 | Enjoy Yourself Tonight | Himself | 2 episodes, 1970–1972 (Hong Kong) |
1971 | Longstreet | Li Tsung | 4 episodes, 1971 |
The Pierre Berton Show | Himself | Interview |
Wikimedia Commons has media related to: Bruce Lee |
Wikiquote has a collection of quotations related to: Bruce Lee |
Persondata | |
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Name | Lee, Bruce |
Alternative names | |
Short description | Martial artist |
Date of birth | 27 November 1940 |
Place of birth | San Francisco, United States |
Date of death | 20 July 1973 |
Place of death | Hong Kong |
David Arkenstone | |
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Born | (1952-07-01) July 1, 1952 (age 59) Chicago, Illinois, USA |
Genres | New Age, Celtic folk music, Trance, Ambient |
Instruments | Guitar, mandolin, drums, percussion, flutes, fretless bass, piano, keyboards, DAW |
Years active | 1987–present |
Labels | Narada (1987–present) |
Website | David Arkenstone.com |
David Arkenstone is an American New Age musician. His music is primarily instrumental, with occasional vocalizations. He was born in Chicago, Illinois on July 1, 1952. He has three children—Quillon, Dashiell and Valinor—with his first wife, Julie.[1][2] His second wife was Diane Arkenstone, also a musician.[3]
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After moving from Chicago to California at the age of ten,[4] he was involved in various high school bands playing guitars and keyboards, playing baseball in his spare time. He studied music in college and started a progressive rock band named after himself, but he soon discovered the music of Kitaro and was heavily influenced by it. Arkenstone was influenced by writers such as J. R. R. Tolkien and Ian Fleming, and grew up listening to bands like Emerson, Lake & Palmer, Deep Purple and Yes, as well as listening to classical music.[1]
Arkenstone went solo and found his own sound in New Age music. Arkenstone says that has been greatly aided by technology: "Technology has produced some wonderful tools for making music. The computer allows me to fully orchestrate my pieces and really fine tune them."[5] His music is primarily instrumental. His albums, often fantasy themed, often come packaged with literature and art. He worked with fantasy novel writer Mercedes Lackey on a few of his albums.[6] Arkenstone and his ex-wife, Diane, created their own record label called Neo Pacifica. In addition to releasing their own music on the label, they have included other bands such as Earth Trybe, Enaid, and the Marquis Ensemble.[1]
He has also composed music for television; channels such as the History Channel, the Discovery Channel and NBC Sports include his music. He has also written music for trailers and film soundtracks, including the independent film PRISM,[7] as well as computer game soundtracks such as World of Warcraft, Lands of Lore 2 and 3, Blade Runner, Earth and Beyond, and Emperor: Battle for Dune; he also features on 20 Years of Narada Piano.
Arkenstone earned three Grammy nominations for his work: In the Wake of the Wind in 1992,[8] Citizen of the World in 2000,[9] and Atlantis in 2004.[10]
Arkenstone has learned to play a large variety of musical instruments including the bouzouki, mandolin, guitar, bass guitar, harp, cello, flute, electronic keyboards, piano, Turkish saz, pennywhistle, melodica and pan pipes. He also plays drums and percussion and has performed some vocalizations on his albums.[1]
Arkenstone is also involved in the band Troika; their sound is similar to his solo work. The band members like to remain anonymous, although the compositions are credited to Arkenstone.
His theme "The Journey Begins / Kyla's Ride" was used for the FIFA World Cup France '98 broadcastings intro by the Mexican television network TV Azteca.
He signed with Domo Records and re-released the album Echoes of Light and Shadow in 2010.
Arkenstone was a member of the composing team who developed the music for Blizzard Activision's World of Warcraft videogame'sCataclysm expansion. Along with Arkenstone, the team consists of Derek Duke, Glenn Stafford, and Neal Acree.[11]
Persondata | |
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Name | Arkenstone, David |
Alternative names | |
Short description | |
Date of birth | 1952-07-01 |
Place of birth | Chicago, Illinois, USA |
Date of death | |
Place of death |