BBC REPORTS: ACCIENT ISREALIS WERE BLACKS NOT WHITES - Spirituality - Religion

You cannot distinguish between black and black colour or white and white colour because the colours are one. We can only separate black clour from white color Consequently, based on the fact that ancient Israelis were blacks as their natural colour, leprosy infection is always describes as "White sport on their bodies". During infection, their original black skin pealed off and became " As white as snow" if it is full blown on infection but the minor infection could be "white spots" on the infected part of the body. Evidently, Miram Moses Sister and Gahazi Prophet Elisha's servant had full blown infection of leprosy and their body became "as white. as snow" as their black skin changed to white. If leprosy affect a white man that part of the body affected will turn red. It cannot change to white because already his natural colour is white. This one of the outstanding proof that ancient Israelis were blacks not whites. (Num. 12:10 and 2 Kings 5:25-27).

Now BBC London came up with an astonishing report that ancient Israelis were blacks not whites based on scientific research. According to a DVD produced by BBC titled "SON OF GOD" and subtitle "BIBLICAL COLLECTIONS"; the DVD front cover showing the face of Jesus Christ wearing the crown of thorns with blood dripping all over his face. The DVD is all about the biblical story of Joshua, King David, Apostle Paul, Mary Magdalene and others. They used real black people to illustrate all the biblical stories related to those people not even a white man is involved.

According to the DVD, British scientists analyzed the human skull of ancient Israelis and European. In course of their analysis, they disclosed that the two skull are not the same based on the fact that the European skull is narrow at the top and light but that of the Israelis is broad at the top and heavier that the European skull and that they have the same skull with any other Africans and adding that they live in a climatic condition where the sun is hotter than in Europe. The DVD furthermore illustrates how Jesus Christ would have looked like as a black man with a broad face using the skull as an example.

Apart from the scientific proof that ancient Israelis were blacks, the colour of people changes from one generation to another naturally. For example Jacob was able to change the colour of his sheep to distinguish them from Laban's sheep through the pregnant ones which automatically picture his drawings of the spotted sheep and give birth to the same spotted ones (Gen. 30:37-43).

In most cases, the majority colours absorb the minority colors due to inter-marriages, climatic condition and being very familiar with people of the colour you love or hate . For example, a black couple can give birth to white child and white couple can give birth to black child. Marrying of foreign wives from Arab and African origin were very common among the people of ancient Israel. For example, Joseph was married to Egyptian maid of Africa of black colour who became the mother of the tribe of Manasseh and Ephraim. Moses and the Ethiopian woman he married after the dead of this wife Zeporah

Similarly, King Solomon married Pharaoh's daughter the Egyptian maid who became the first lady of Israel; he also had a son with the Queen of Sheba of Ethiopia called "Menelec" who became the father of the black Jews of Euthopia called "Falashas". Israel airlifted several thousands of them to Israel one in 1984 called "OPERATION MOSES" and the other in 1990 called "OPERATION SOLOMON" They are called black Jews today as they distinguish between them and those white Jews in Israel. So many others like David and others married several wives from Arab and African countries. Their departure from Egypt was a mix multitude of blacks and Arab origin that are not originally Israelis.

Ancient Israelis armies consisted of several foreigners from Arab and African origin. For example, Uriah was a Hittites being a black Canaanites; so his wife was a black lady who gave birth to King Solomon the linage of the Messiah the Son of David.

So the combination of those foreigners with the people of Israel formed the nation called "Israel" who accompanied them to the battle field under the religion of Judaism whose founder was Moses.

ABRAHAM: A DESCENDANT OF HAM NOT SHEM

Now based on the BBC report, it is now evident that Abraham was a descendant of Ham not Shem. Noah three sons were Shem, Ham and Japhet. Shem is the father of the European nations, Ham is the father of the Arabs and the black nations while Japheth is the father of the Asian nations. Abraham was a Babylonian and Babylon was the ancient capital city of Iraq. Recently, the American Soldiers captured Abraham home village where he was born and grew up called "UR of Chadian" and handed over to Iraq authorities before they finally packed out of Iraq and this country is located in the territory of Ham not Shem according to the bible. More evidently, one of the sons of Ham was Ethiopia here in Africa whose son called "Nimrod" became the first king to rule the whole world when the people were speaking one language and who built the tower of Babel latter called "Babylon" in iraq and Babylon was within the land of Ham and not Shem. Ham sons are Cush (Ethiopia) the father of King Nimro d, Mizram (Egypt) Put (Libya) and Canaan (whose land the Israelis latter occupied). (Gen. 10:6-10, 11:1-8, 28-32). Based on this evident it is now clear that there was a twist of history in the bible before it was compiled by the early European Christians known as the "Canons" These Canons compiled the 66 books of the bible. All where European whites. With these opportunity, they removed and changed several historical facts that relates to the Arab and black race in the bible. Making the bible becomes entirely a European affair that God is a white man and all his angels are whites and Satan is a black man and his angels are blacks because anything black is Satan. The bible was compiled at the time the slave trade was at its peak and the blacks were prime victim of slave trade and when Israel were among black people long before the birth of Christ.

The blacks were used to work as slaves in European plantation because they have the energy to work and stronger than the Europeans. The slave trade continued after the ascension of Jesus Christ long before the bible was compiled.

Under such humiliation the blacks were passing through and being the time the European missionaries were spreading the gospel all over Africa and other parts of the world through the slave trade route discovered by their early European explorers it was quite impossible to maintain that the black man has any positive rule to play in the history of the bible based on the fact that according to their report in the bible Abraham was a descendants of Shem - a real European; he was not associated with a black man so were the Israelis. More evidently, they also produced the world Atlas and placed people in continents they choose. So you have the continent of African, Asia, Europe and others and placed them in line with the bible history and locations based on their edited compilation. So they placed Turkey in Europe being a typical Arab county and Russia of Gog and Magog as part of Europe which should have been in Asia of Japheth instead. But because of Russian scientific advance ment they considered them as Europeans. Also although Turkey is an Arab country, they placed her in Europe considering the fact that Esau whose name was Edom was the founding father of Turkey the twin brother of Jacob. So they considered that since his twin brother Jacob the founder of the nation of Israel is considered as European, Abraham descendants, Turkey too must be in Europe. So Turkey is in Europe and a member of EEC.

But Russia always cooperates to defend all Asian nations against the west. As for Turkey she is always get confused as European nations are dragging her on one side as a member of EEC and Arab nations are dragging her on the other side as their brother. In most cases she is finding it very difficult to flow along with her fellow EEC member nations on matters involving Arab nations and the west like the current issue regarding the imposition of economic sanction on Iran regarding her nuclear program.

In another development, before the birth of Christ, several ancient books were written which revealed some of the actual historical truth regarding Abraham relationship with the black race. After the fall of the kingdom of Babel, Egypt in Africa the brother of Ethiopia born of the same father Ham took over power as the first world power to rule the earth and became the mother of civilization. Based on this background, the first university on earth was built in Egypt and also the biggest library on earth which contained most ancients books and records. Because of this University and its associated library, Egypt became the center of leaning all over the world and people came from different parts of the world to lean in Egypt and to carry on research and investigation.

As most of this ancients records may exposed the truth they might have changed or edited in the bible and considering African to become a centre of leaning, the biggest library was burned down. So that they can be no trace of such records that contradict to what they have changed in the bible in order to justify their claim that Abraham was a European and the ancient Israelis were whites not blacks.

So the whole bible become a European affair and Christianity become a European religion because they felt insulted for worshiping a black God in the person of Jesus Christ the Son of God considering what is fellow blacks were pass through as slaves in Europe just like Moses in Egypt. So they changed his clour from black to white in their drawings and changed the clour of all the ancients Israelis to white Europeans and no more black person except of Simeon of Cyrene who carried the cross of Jesus Christ. All others are white Europeans Jews according to their films and DVDs. One of the ancient drawings of the Blessed Mary show that she was a black woman breast feeding the infant Jesus called "Black Mardona" but they changed that drawing to European white woman and her son become a European child sucking his mother's breast. So all the pictures of Jesus Christ and film shows they used European Actors to act instead . Yet inspire of this changes they made, Jesus will still re turn from heaven as a black man. He will not change his color to please them. In the same color he ascended into heaven, in the exact color he will return from heaven on the day of judgment. (Acts 1:9-11)

Prophet Goodnews Adolphus receive the scroll from the hand of the angel spiritually in 1981 which he uses a guide for his research and teaching. See his blog for his teachings./

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Trial and Execution - Search Engines

Ribbentrop was a defendant at the Nuremberg Trials. He was charged with crimes against peace, deliberately planning a war of aggression, war crimes, and crimes against humanity. Prosecutors presented evidence that Ribbentrop actively planned German aggression and to deport Jews to death camps. He also advocated executing American and British airmen shot down over Germany. The latter two charges carried the penalty of death by hanging.The Allies' International Military Tribunal found him guilty on all counts. But even in prison, Ribbentrop remained loyal to Hitler: "Even with all I know, if in this cell Hitler should come to me and say 'Do this!', I would still do it."[302]During trial, Ribbentrop unsuccessfully sought to deny his role in the war. For example, during his cross-examination, British Prosecutor Sir David Maxwell-Fyfe brought up claims that Ribbentrop had threatened Czechoslovak President Emil Hcha with "aggressive action": Maxwell-Fyfe: What further pressure c ould you put on the head of a country beyond threatening him that your Army would march in, in overwhelming strength, and your air force would bomb his capital? Ribbentrop: War, for instance.[303]Gustave Gilbert, an American Army psychologist, was allowed to examine the Nazi leaders who stood trial. Among other tests, he administered a German version of the Wechsler-Bellevue IQ test. Joachim von Ribbentrop scored 129, the 10th highest among the Nazi leaders tested. Yet at one point during trial, a U.S. Army interpreter asked Baron Ernst von Weizscker how Hitler could have made him a high official. Weizscker responded "Hitler never noticed Ribbentrop's babbling because Hitler always did all the talking."

[304]Ribbentrop was the first politician to be hanged on 16 October 1946 (Gring having committed suicide before his own hanging). He was escorted up the 13 steps to the waiting noose and asked if he had any final words. He calmly said: "God protect Germany. God have mercy on my soul. My final wish is that Germany should recover her unity and that, for the sake of peace, there should be understanding between East and West." As the hood was placed over his head, Ribbentrop added: "I wish peace to the world." After a slight pause the executioner pulled the lever, releasing the trap door. Ribbentrop's neck snapped; he died instantly. But he was not formally pronounced dead for seventeen minutes. Pro-Nazi sympathisers have since seized upon this interval to construct medically nonsensical statements such as "The hangman botched the execution and the rope throttled the former foreign minister for twenty minutes before he expired."[305]In 1953, Ribbentrop's memoirs, Zwischen Lond on und Moskau (Between London and Moscow), were published.Portrayal in popular cultureJoachim von Ribbentrop has been portrayed by the following actors in film, television and theater productions;[306] Henry Daniell in the 1943 United States propaganda film Mission to Moscow Graham Chapman (as "Ron Vibbentrop") in the 1970 British television comedy Monty Python's Flying Circus: The Naked Ant Henryk Borowski in the 1971 Polish film Epilogue at Nrnberg Miodrag Radovanovic in the 1971 Yugoslavian television production Nirnberski epilog Geoffrey Toone in the 1973 British television production The Death of Adolf Hitler[307] Robert Hardy in the 1974 television production The Gathering Storm Kosti Klemel in the 1978 Finnish television production Sodan ja rauhan miehet Demeter Bitenc in the 1979

Yugoslavian television production Slom Anton Diffring in the 1983 United States television production The Winds of War Hans-Dieter Asner in the 1985 television production Mussolini and I Richard Kane in the 1985 US/Yugoslavian television production Mussolini: The Untold Story John Woodvine in the 1989 British television production Countdown to War Wolf Kahler in the 1993 Merchant-Ivory film The Remains of the Day Benot Girard in the 2000 Canadian/U.S. TV production Nuremberg Ivaylo Geraskov in the 2006 British television docudrama Nuremberg: Nazis on Trial Edward Baker-Duly in the 2010 BBC Wales/Masterpiece TV production Upstairs, DownstairsRibbentrop is also a key figure in the historical novel Famous Last Words by Timothy Findley (Penguin Books 1982, ISBN 0-14-006268-8) and Harry Turtledove's alternate history series Worldwar where his Soviet counterpart Molotov frequently expresses contempt for his lack of intelligence.Ribbentrop appears in Kazuo Ishiguro's 1989 novel T he Remains of the Day (ISBN 0-679-73172-5) in which he is a frequent guest at Darlington Hall.Ribbentrop is also mentioned in the movie, The King's Speech, for sending the future British king's fiance 17 carnations a day.

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Police Officers - Training, Respect and Martial Arts

Despite tremendous personal risk thousands of brave men and women join the ranks of law enforcement every year. While most of the general public claims to support men and women in uniform, for the most part it is little more than talk.Police officers have to deal with everything from irate citizens to terrorists, and any number of strange and violent incidents which no other civilian occupation encounters. Millions are spent to train police officers, but they still don't receive the expert training that they need. Weapons and combat martial arts training have been cut to reduce budgets and to make room for "sensitivity" training. This lack of training has resulted in an increased level violence in our streets, and increased criticism of the police.Police officers deserve our respect, and they also deserve better training. It isn't necessary to spend millions doing research, though; techniques have already been developed through the research and hard work of others. Over s ixty years ago, William E. Fairbairn and his associate Eric Anthony Sykes patrolled the streets of Shanghai, the toughest city on the planet; in order to survive they developed their own close combat techniques for police officers. They modified these practical, easy-to-learn self defense techniques for the military, and in WWII used them to train Special Forces personnel and secret agents.The slogan "Don't let your training end at the academy door" is good advice, but few seem to heed it. Police departments have high physical standards for a new recruit, but with the exception of a few elite units, there are almost no requirements for officers once they're on the job. In Japan police officers take part in combat sports like judo, karate, and kendo and benefit greatly from the combat conditioning they receive. Police officers need explosive power and functional strength to have an edge in street fighting [/martial-arts-fighting.htm]. Combat self defense training has been wat ered down, leaving officers to rely on technology and brute force. The average street cop has more equipment at his or her disposal than ever before, but that isn't necessarily a good thing.Marksmanship is another area of police training that is neglected. While many officers know how to shoot, they aren't prepared for an actual gun battle. In order to survive a firefight an officer needs to be trained for combat, not competition shooting. Close combat expert Colonel Rex Applegate analyzed data from police shootings in the decades following World War II and found that police officers missed their intended target eighty percent of the time. According to recent studies officers are doing even worse, with criminals shooting slightly better.The methods that helped win WWII and keep the peace can help police officers again today. Those who put on the uniform and take the oath to become police officers are a special breed, but you don't have to be one of them to know that things n eed to change. While those in leadership positions often just throw money at the problem and hope it goes away, they should rather try something useful and encourage their local law enforcement to re-stress the fundamentals. As police officers better understand how to do their jobs, they will develop stronger and more positive relationships with the community. Police officers are warriors for justice, and like all warriors their training must be continuous.

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Big Maceo Merriweather

As with most early Blues musicians, pianist "Big Maceo Merriweather" was self-taught. He developed his piano style by copying players like Leroy Carr and Roosevelt Sykes, as well as from the Boogie-woogie style of Meade Lux Lewis and Albert Ammons.From his birth place in Atlanta, he followed the well trod path of blues musicians to Chicago, where his friend Tampa Red, Introduced him to Lester Melrose who signed him to a recording contract with Bluebird Records.His very first release in 1941 was to become his most famous. "Worried Life Blues" It became a blues hit and his signature piece. He went on to create "Chicago Breakdown", "Texas Stomp", and "Detroit Jump" all now regarded as classic Blues recordsAs with many of his contemporaries, heavy drinking and general poor health was to bring about an early end to his career. He suffered a fatal heart attack and died on February 23, 1953 in Chicago.However, he was an influential blues piano player of the 1940s and his style h ad an impact on practically every post World War II blues pianist of note. It was under Merriweather's influence that Henry Gray went on to play with Howlin' Wolf; Little Walter; Bo Diddley and most other top Blues artists of the era.His most first and famous song, "Worried Life Blues" is a blues classic. It has become one of the most covered Blues songs of all time. Practically everyone of any note has recorded versions of the song, including BB King; Ray Charles and Eric Clapton."Worried Life Blues" was among the first songs inducted into the Blues Hall of Fame "Classic Blues Recordings - along with "Stormy Monday," 'Sweet Home Chicago," "Dust My Broom," and "Hellhound On My Trail." And in 2002 he was posthumously inducted into the Blues Hall of Fame.

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The Music in Gossip Girl Episode 16 - "All About My Brother"

Starting from the beginning, as Georgina pretends to be Sarah and chats with Vanessa at her work the sounds of Good To Be Alive by Joey Sykes fills the cafe. The song fades a little into the background but the tune can still be heard as Dan enters the cafe and meets the two girls. Music follows Georgina all the way to Serena's place where a new tune picks up as she joins the family for dinner. Say (All I Need) by One Republic breaks in and out of the dinner conversation; a conversation where Georgina ends up outing Eric to his entire family.As Lily prepares for her wedding the perfect clips from Gossip Girl regulars The Kills, and classical music set the mood. While Lily is out and about Cheap and Cheerful by The Kills leads up to the moment that she runs into Rufus. As the two engage in a conversation over Jenny, Beethoven's, Sonata for Violin and Piano, No. 5 in F Major slowly starts to build up. The music gains in volume as Lily tries on her wedding dress and models it for Rufus, who obviously sees something he wants.Jenny's party requires music and the two songs that we here during this time totally set up the party and the drama that goes down. While Jenny is chatting with her friends and lying about her relationship with Asher Shut Up & Let Me Go by The Ting Tings can be heard playing. Things change up a little when Eric and Blair crash the party to out Asher; Paralyzer by Finger Eleven says it all.Finally, another selection by The Kills makes its way into another episode. When Serena is surprised to meet Dan's new friend, 'Sarah', U.R. A. Fever by The Kills plays. Later when Serena is confessing to Blair on the stairs the same song comes on again.

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The Difference Between Combative Training and Martial Arts

Getting the facts straight Recently, I was checking the sales rankingfor my book on Amazon.com, when I noticed I have finally received a customer review on Amazon. After reading the review, I found myself humbled and dumb founded. The customer who reviewed my book on military knife and hand to hand combat was obviously a practicing martial artist.He appeared to be one of the "Know it all" types as well. Although much of his review on the layout of my book may be spot on; I was amazed at his blatant ignorance in not knowing the difference between combative training and martial arts. In his own words,"Though the author may know what he is doing in this book, you may already as well. If you took some sort of M.A. class for any period of time that was worth anything, then you would have learned most if not half of these techniques for knife fighting. " I must agree with him on this.If you take some sort of martial arts class for any period of time; that is worth anything;even tually you may learn half of the techniques in the book. Although I clearly state in the book that my attempt is not to teach specific techniques, but use techniques as a vehicle to drive home principles; and I admit that there arecountless numbers of techniques one can learn, not simply limited to my book. This guy "Cliff" is the example of how many can not distinguish the difference between martial art and combative training.Distinguishing the difference Before one can truly distinguish between a martial art or combative training, they must reflect upon the origin of today's practiced martial arts. The term "martial art", refers to a war like art; with martial referring to war. It is true that ages ago during the conception of today's martial arts, the countless numbers of systems and styles were born from military drills and close quarters battle of the time. During the ancient times without the aid of today's modern weaponry and fire power, soldiers were forced to engag e in battle with clubs, swords, daggers, spears and often hand to hand. Warriors of those times began to develop tried and true systems of both armed and unarmed combat, much like today. They understood that military units must gain muscle memory in their tactics of choice and saw the need for regimented systems of combat. The methods and techniques of their day required ways to dismount riders off horse back and break or penetrate wooden armor. It is quite obvious that in today's combat environment those techniques would be obsolete. Through out generations and over the centuries the ancient arts have been passed from master to student and master to student. The once effective and powerful combative training of the ancients has become an antiquity.Today the ancient techniques of Samurai and the fighting monks of China can be seen being practiced through training hall windows all over the world. The ancient forms and techniques that were once practical battle tactics have be en manipulated by popular media and business ideology. Many practice the ancient martial arts for a plethora of reasons. Some of their reasons are for the very same reasons that the training was developed. People practice for fitness, protection and hobby. Others train simply to preserve the art.After World War II, the west was introduced to the Asian martial art craze. Soldiers, Sailors and Airmen were exposed to the Asian fighting arts of the Japanese and Philippines and wanted to learn. Many of the indigenous instructors or gurus realized the opportunity to make a buck from the naive westerners and began teaching watered down versions of the fighting arts. Often masters would draw out the training and add flashy, intricate and complicated techniques to the curriculum. It was the flash that would sell to the new western market. Soon even Hollywood would make movies with actors such as Bruce Lee and Chuck Norris demonstrating their athleticism and prowess on screen.Belt ran king systems were added to help new students feel as if they were progressing and not quit. The once effective techniques for ancient combat were reduced to nothing more than acrobatics with some self protection value. Many of the hidden techniques which were the pride of warriors of old were lost through the simple process of supply and demand. Modern technology and weapons only aided in losing the practical fighting techniques and turning the martial arts into a lucrative but provocative industry. Today there are martial art companies that place their clients on programs known as "black belt plans."People are forced into contracts that they can not afford to breach for a certain amount of time until they receive their black belts. During the early 20th century the "black belt" rank was respected by many for holding fighting prowess. Today that rank has lost much of that respect. All too often we hear about the black belt who got beat up by a boxer or street fighter. All to o often a white belt student can completely annihilate their "black belt" Karate or Kung Fu master during sparring in the training hall. Today the sport of Mixed Martial Arts has proven that the martial arts of old are obsolete to even today's modern training methods. The MMA athletes of today , that hold no belt in any martial art would dominate over more than half of the practitioners of traditional martial arts.Traditional martial artists often rely on archaic training methods and spiritual philosophies of a much more primitive time. Where MMA athletes rely on the most up to date drilling and scientific training ideologies. Much more is known today by the general populous on the matters of psychology,physiology, anatomy, physics and the economy of motion. It is the lack of the most up to date sciences that make much of the traditional fighting arts obsolete and inefficient. In essence it is the tradition itself that makes many martial arts training methods in effective an d inefficient. Now that we have identified the martial arts, we should compare it to today's modern combatives.The combative training of today is a product of the military machine. Today's military is more efficient and productive than any in history. The philosophy of doing the most with the least drives the war machine. In World War II Colonels EricAnthony Sykes and William Fairbairn began to develop a new type of training for soldiers based from their experience in Shanghai and the trenches of World War I. Close Quarter Battle (CQB) or Hand to Hand Combat was the norm in trench warfare and the soldiers fighting it needed to be able to quickly and efficiently kill and immobilize their adversaries. The two men realized that they needed to develop a system for training or ideology of training that would enable masses of troops with no prior experience in martial arts to learn hand to hand combat quickly in a matter of days, not the years often required by martial arts traini ng. This training had to not only be learned quickly, but retained and trained quickly as well. Soldiers on the front and behind the lines needed to be able to react without thinking, relying on muscle memory. In combat the heart rate exceeds 180 beats per minute and all fine motor skills go out the window.Sykes and Fairbairn realized that many of the extravagant "pressure points" used in traditional martial arts would not be effective. They realized that pressure points were not effective for two reasons. One, the enemy may not feel it under the influence of adrenaline and two; the soldier will more than likely not have the ability of fine motor skills needed in order to strike the target. Therefore the modern combative training was simple easy to retain and concentrated on gross motor skill movement. Because in combat soldiers are all too often sleep deprived and under nourished the techniques taught needed to not rely on physical strength or athletic prowess. Today's comb atives are often known for the dirty fighting aspect, not found in traditional martial arts. The warrior codes from long ago no longer apply today, chivalry is dead. Because the combative techniques are taught to such a variety of fighting men who's bodies are not conditioned to desensitizing training; the trainees are taught to strike with only the most structurally stable weapons of the body. A soldier can not afford broken hands and feet on the battle field. It is for many of these reasons that combative training stands far apart from traditional martial arts.In summary The traditional martial arts, practiced todaywas actually the combative trainingforthe military of it's time. Just as time changes, so did the training. Societies became more educated; moral values and codes have been altered. The world is not as spiritually guided or involved with mysticism as it was during the time traditional martial arts were conceived. The once effective combative techniques of the ir time, have evolved into an art form surrounded in mystique and the legends of old; enhanced by modern media. Today's combative training is based completely on modern science and need for efficiency. It is of the utmost importance for combative training to adhere to these rules.- Simple general Principles must be taught- Must not rely on power or athleticism- The focus is on destroying whateverthe principalcomes into contact with- Efficiency and economy of motion- Be able to be learned and applied in a very limited amount of time (Days or weeks)In conclusion Combatives training today most definitely contains many of the techniques that one will learn in the traditional martial arts if they attend classes for any period of time. One might think of the two types of training as steak. One is chuck full of fat that is unnecessary and could clog your arteries, the other is a lean hybrid, that contains only the necessary nutrients to keep you going. After reading the review from this guy "Cliff" I immediately went to his profile to learn more about his point of view, so I could see where hes coming from. I wanted to know if his bashing of my book came from arrogance or ignorance. Where he was asked to type a blurb about his interests, contained one phrase.This was his interest"Wing Chun and the variety of ways it is spelled." I immediately realized by this and the number of books with titles like "Kung Fu of Caine" Referring to the Caine from the TV series (Kung Fu), that this fellow was not completely familiar with the differences between martial arts and combative training. Therefore I wanted to write this article, with my best effort to demonstrate that when comparing martial arts training to combative training; it is like comparing apples to oranges.

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Things Change Or People Die

Sometimes events in history force the creation of new ideas to replace what has becomes obsolete. Weapons, strategy and tactics have always been marked by change on the battlefields of history to deal with new threats.While obsolete weapons wind up in a museum, and outdated tactics are preserved in text, once a martial art has been deemed no longer useful on the battlefield it still survives as a sport or as a hobby thanks to groups of enthusiasts who keep up the style to preserve part of their culture.The list of martial arts that are currently being taught is staggering, but this list shortens dramatically when you look for those that could still make the grade in a modern combat situation. And while all martial arts are fun to watch and learn, it is important for the public to understand that a martial arts style should only be called "self defense" when it has modern application. (Fat lot of good your Whooping Crane Kung Fu is going to do against a semi-auto .40 cal iber Glock!)After years of constant warfare Japan's Samurai did not have time to develop, a sport or style of hand-to-hand fighting that looked impressive. Their only concern was surviving when they were unarmed.Those running martial arts schools at the time fully knew that the strikes, chokes, takedowns and kicks they taught were only meant as a way to rearmed oneself on a battlefield if you found yourself horseless and weaponless.As Japan began updating its medieval nation in 1868 and taking a more prominent role on the world stage, the battlefield proven elements of their unarmed combat systems were updated and preserved even through foreign military influence ( Japan would have Germany train its army and the British train its navy).In the early 20th century, William E. Fairbairn, a British police officer would make the long trip to train in Judo and Jujutsu at the Kodokan Institute in Tokyo.When WWII broke out Fairbairn and fellow Police Officer Eric Anthony Sykes (both served with the Shanghai Municipal Police) headed back to England to teach what they knew about unarmed combat in preparation for a Nazi invasion.When newly promoted Colonels Fairbairn and Sykes took command of the British Home Guard, (The last line of defense) was in no shape to do any fighting. Filled with older men who were not able to perform standard military service, they were armed only with hand tools and shotguns because the military had nothing to spare after abandoning much of its equipment in Dunkirk.This did not deter Fairbairn who set about teaching the Home Guard what he had learned in Japan. Soon every local unit would learn how to disarm an attacker, take out a sentry with their bare hands, and fight with common weapons like axes and pitchforks. If England was going to be invaded, the population was not going to go quietly.No sooner had that assignment been completed was Fairbairn and Sykes sent to train allied troops at a secret camp set up by America's Office of Strategic Services (OSS). Many Americans were skeptical about what the older police officer could teach them about fighting. (After all, the British were still losing the war.) But Fairbairn showed the effectiveness of his training on the very first day of training as he effortlessly threw a rather large, young American officer into the crowd of amazed officers.Under Fairbairn's tutelage, these elite men became America's first Special Forces unit and handled assignments including everything from guerrilla warfare, sabotage of enemy equipment, intelligence gathering, and local resistance training. Special units all over the world took the war and their combat proven martial training to Nazi Germany and even Imperial Japan (Ironic, isn't it?).With 1000's of field reports highlighting the successful application of this unarmed fighting system that began in Japan, was refined in Europe, and proven during WWII; it is the ONLY "martial art" with legitimate, documente d, and proven evidence of success under combat conditions.Because of this rich lineage and proven history, when the "passing of the torch" of this knowledge fell upon our shoulders, we knew we needed to do something special to keep these absolute self-defense "truths" in the forefront of all the junk and nonsense that the modern martial arts world has become.While we have added modern educational elements to enhance the learning process, the techniques and methodology of our WWII and Samurai forefathers remain unaltered and as brutally effective as it ever was.

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Were the British the First to Teach Modern Self Defense to Civilians?

When many people look back at World War II they only see a string of Allied victories and think victory was always certain, but in the early days of the war things looked very dark. The Nazi war machine had ravaged most of Europe, but that still didn't stop a handful of determined volunteers from answering their nation's call to duty, instead it only served to inspire them.In the spring of 1940 British and French forces had been defeated by the Nazis and were evacuating France. Hitler had made it clear that he wouldn't stop at the English Channel. The British military was in shambles and tons of valuable weapons and equipment were abandoned on the beaches of Dunkirk. Faced with a very real possibility of invasion, the British government formed the Local Defence Volunteers also known as the Home Guard. It was believed that if England was to survive the average citizen would have to know how to defend him or herself.The Home Guard was the idea of Captain Tom Wintringham, a soldier, journalist, and World War I veteran. Between world wars the Oxford educated veteran became a communist supporter and fought in Spanish Civil War as part of the International Brigade against the Nazi supported Nationalists. The fighting he experienced was brutal and he was wounded several times. During this conflict he learned many valuable lessons that would help him in World War II. Once back in England he wrote How to Reform the Army which called for changes to the regular military and for the formation of civilian defense forces.After he witnessed the destruction of Poland under Commander-in-Chief Walter Kirke, Captain Winteringham realized just how unprepared and vulnerable Britain was to a fight the Nazis. The first point of order was to build up the civil defense forces. In May of 1940 the government announced over the radio that any British subject wishing to volunteer to fight should report to their local police station. The government expected only 150,000 volunteer applicants but was shocked when they had 1.5 million applicants by the end of the month! Among them were women who were barred from service. These women would eventually organize their own group called the Amazon Defence Corps. They were trained in close quarters combat and all skilled markswomen.Since the military didn't have any weapons to spare the volunteers were forced to go on patrol with outdated military equipment, shotguns and even pitchforks. It soon became clear that if the Home Guard volunteers were going to be effective against well armed, enemy troops, the volunteers would need the best training possible. Captain Wintringham setup a school at his home and taught recruits the principals of guerrilla warfare, anti-tank operations, demolitions and street fighting.At this time two other important individuals were tapped to help train the Home Guard. They were veteran police officers William E. Fairbairn and Eric A. Sykes. They had spent their careers patr olling the dangerous streets of Shanghai China and learned a lot about close combat and battlefield martial arts. Fairbairn had made an extensive study of Asian martial arts and created a system that only used simple and effective moves. Also he and Sykes created law enforcement's first Swat team. They taught the volunteers practical self defense methods, and they also taught the volunteers how to disarm attackers, take out sentries, and take prisoners.Though they're best known for training police officers, soldiers, and secret agents Fairbairn and Sykes proved you could even teach civilians effective hand to hand combat in a short amount of time with no modification to the curriculum. The volunteer forces learned the same methods that Special Forces troops would learn later in the war. Fairbairn and Sykes knew that in a fight it is about doing what you need to do to survive, even if it means using deadly force. The same holds true for the civilian, agent, police officer and military operator: a fight is a fight is a fight.While Britain was never invaded, the Home Guard did help free up troops for more important duties during the war and made things more difficult for enemy spies. It also proved the need for everyone to learn effective methods of fighting and proved that anyone can learn these methods and apply them successfully regardless of age, size, man or woman.The need to defend oneself and loved ones is even more imperative today as it was in 1940. The police and the military can only be so many places at once. With the violent nature of crime on the rise, every person should have an increased awareness and even the most basic set of self defense skills. It's up to you as an individual to learn effective combat training. It's always better to have it and not need it, than need it and not have it.

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Combatives and Martial Arts

This is our last installment on "defining" the parameters of COMBATIVES.The point, I am sure, will be missed by some but it must be emphasized that this material is historical fact and is accurate in substance and detail. It is an objective view of combatives and NOT a subjective opinion or personal "definition" designed to fill an agenda of one sort or another.The Battle of Britain began in early July 1940. England was isolated, cut off and alone. The miracle retreat from Dunkirk and the German "Blitzkrieg" across Europe, including the crushing tactical defeat of the famed French "Maginot Line" proved the Third Reich war machine to be virtually unstoppable. Hitler's plan for the invasion of England, named "Operation Sea Lion" was a daily focal point of danger and concern for the British.Dunkirk had decimated the British forces and moral was at an all time low. Two recently returned veterans of British colonial rule in Shanghai, China approached the War Office and offered their services at this desperate time. William Ewart Fairbairn, retired as a ranking officer of the Shanghai Municipal Police force and his partner Eric Anthony Sykes, a private arms dealer who served as a "volunteer" in the SMP and who headed the "sniper" unit of the famed Shanghai Riot Squad promised the War Office that their training and methods could in short order make "any one man the equal of ten". After the debacle at Dunkirk this was a MOST important and dramatic statement. Initially dismissed, these two men went on to PROVE the veracity of their words and convinced the power that be as to absolute effectiveness of their methods. If that meant that an over middle aged W.E. Fairbairn had to place several young bucks in the hospital to prove his point in an impromptu, but VERY realistic "demonstration", so be it. Those who "tested" Sykes fared NO better. So the methods that these men had developed during decades of very dangerous work in Shanghai now became a highly valued and integral part of training for all British forces and Special Operations personnel.The attack on Pearl Harbor in December 1941 coupled with the Imperial Japanese military's coordinated assault on all American and British forces across the Pacific Rim pulled the United States firmly in this world wide conflagration. We were now fully at war with the Axis forces. Fairbairn who was now in Canada, assigned to the infamous "Camp X" (where along with "unarmed combat" experts WEF and George de Relwyskow was a BRAZILIAN JUDO/JUJUTSU EXPERT, Hmmm.......Colonel Carl Eifler was ALREADY undergoing training here) was ordered to assist the US government agency known as the "The Office of the Co-coordinator of Intelligence" the precursor of the OSS. Eric Anthony Sykes remained in England and found the need for his services in great demand. He also found himself working under the auspice of the British covert force known as the Special Operations Executive.The history of these men from the early days of Shanghai, up to and through the war years is an entire story unto itself and beyond the scope of this article. However it must be clearly understood that the contribution of these men had a profound effect and influence on close-combat methods, tactics, and techniques for DECADES after the war. Despite the often heard "argument" that we have somehow "evolved" beyond these methods, we will in future articles put this notion to rest. They were however, certainly NOT the only "experts" involved in this field! An example (one of many) would be A.J. Drexel-Biddle who studied and trained extensively in boxing, Savate, jiu-jitsu, swordplay, knife-fighting and various bayonet methods.As the United States geared up for war, a major factor began to be publicized. Both here and in Australia the press made a great deal about the superiority of the Japanese fighting man. Part of this was, to be sure, rooted in fact. The Battle of Port Arthur, the turning point in the Russo-Japanese war, several decades earlier, had shown the world the tenacity and ferocity of the Japanese soldier, particularly in the area of close-in man to man combat. Much was made of the large Russian soldier finding abject defeat at the hands of his smaller Japanese adversary when engaged in hand to hand combat(hence a very obvious boost for the creation of Sombo). Jiu-jitsu was given world-wide attention and notoriety in this regard. The Japanese conduct of their war in China also showed the world a seemingly invincible and unstoppable force. A force that was brutal and deadly in the extreme.So much attention was given over to the training of US and Allied forces in methods that would enable the average soldier to meet the Japanese fighting man on a somewhat equal footing. EVERY branch of the Armed Services began an intensive physical training program designed to meet these needs. Much of the "expert" instruction needed, particularly in the arena of close-quarter s man to man combat, came from the civilian quarter. Men with tremendous and varied life-long experience in all forms of "combatives" were tapped to create training programs that would give the Allied soldier sufficient means by which to engage their enemies at close-quarters. The Axis did the same of course, Japan being the obvious factor in this regard, BUT even Adolf Hitler proclaimed the absolute need for boxing and jiu-jitsu in military training as it imparted courage and daring to the average soldier to close with his enemy!In the US there were a PLETHORA of varied methods and training systems. ANY attempt to narrowly define the methods extant in this era is FOOLISHNESS! Though the contribution of Lt. Colonel Fairbairn is GREAT, as is the influence of Colonel Applegate, there were DOZENS upon DOZENS of different close-quarters battle systems developed. From wrestling, boxing, savate, judo, jiu-jitsu, Chinese boxing, and even football and rugby methods were NOT only dra wn upon, but entire "systems" were advocated based on these individual methods. It may come as a surprise to many, but here in the US, even Japanese KARATE was used!Many of these "unarmed combat" courses were highly complex and technical as they were rooted in the favored methods of the men tasked with their "creation". Wrestlers tended to rely on that method, Judo men on that system, Boxers on their expertise and so on and so on. Each method also could claim stunning success in actual combat! True after action reports showed that ALL of these methods had merit and COULD be used effectively in the rigors and stress of real battle. However, as the war progressed two major factors began to influence and change these training protocols. One was the fact that more and more men from ALL sorts of varied backgrounds being were drafted into military service, the other was that as demands for more and more replacement troops began to rise the amount of training time became by nece ssity reduced and limited.The approach that seemed MOST feasible and useful was one that COMBINED the "best" or most effective, efficient and quickly learned methods as well as those most well RETAINED! The rudiments of boxing and wrestling were made part of an overall general physical conditioning program and "unarmed combat" became a specialized block of instruction. These courses in "unarmed combat", "hand to hand combat", "combat judo" and so forth again sought to COMBINE the most advantageous holds, throws, trips, locks, strangles, blows, strikes and kicks from all the varied methods available. The ONLY truly limiting factor here was the TIME element. Other considerations were also important. The O'Neill (another Shanghai veteran and ranking Kodokan Yudansha) method is a classic example of a system specifically tailored for both the training environment available as well as the NATURE of the combat engagement expected. There were even attempts made to instruct the milit ary in actual Koryu Jujutsu systems here in the US! However the MOST effective systems still sought to MIX ALL the varied methods of physical combat.As the war progressed more and more after action "intelligence" gathered from the reality of actual battle helped shape and determine training priorities. Many methods of close-combat began to be "trimmed" down to those fundamentals that proved MOST effective OVERALL and most applicable to ALL TRAINEES across a wide and varied spectrum of physical attributes and skill.Applegate was perhaps the most vocal of these advocates owing to his exposure in the INFANTRY JOURNAL and the publishing of "KILL or GET KILLED". And he was NOT without his critics, as was Fairbairn.Some courses were so short in duration that they involved ONLY SEVERAL HOURS of instruction. Others were quite involved and very complete in their syllabus content. Many are familiar with the Navy V-5 programs and the training at Benning, but lesser known is the very EX TENSIVE training at places such as Fort Meade and at the Hawaii Jungle Warfare complex, just to name two! Here at these locations, and such training was conducted from Brooklyn to California, a very complete and MIXED program of "combatives" was taught. From the CIC training center in Chicago to the Army training camps in Colorado, from Parris Island to the Ranger/Commando schools in the Hawaiian Islands, from the training bases in England prior to D-Day to the "Killing" school in Palestine, the METHODS taught ran the FULL gamut of man to man tooth and nail "combatives". From the complex to the "instinctive kill" (a method designed to take FULL advantage of so-called natural "animal" killing instinct) ALL these methods, systems, and approaches FALL under the definition of COMBATIVES! Even the OSS personnel training at Area B were shown the methods of SIAMESE boxing (read Muay Thai)! From Anglo Boxing, wrestling and grappling, French "foot-fighting" (including Assaut Vite sa vate), Indian Varma-adi/Varmannie, Chinese boxing, "Roman" boxing, Japanese Judo/Jujutsu and Karate, Siamese boxing, Burmese boxing-Bando (remember the CBI), western fencing, Filipino edged weapons and ANY and ALL other systems (including almost every weapon known to man) deemed effective in DISPATCHING one's enemies to the hereafter were STUDIED, RESEARCHED. IMPLEMENTED and TRAINED! One WWII era US hand to hand combat manual makes reference to INDONESIAN "methods"!This IS the legacy of COMBATIVES! This is the TRUE DEFINITION of COMBATIVES! And to those who need to "pigeon hole" others into the "box" of "only" doing World War II "combatives".............................well, applying the above definition based on the TRUE historical RECORD, then HELL YES!.....................I do follow the LEGACY of WORLD WAR TWO "COMBATIVES"!Note: If there is sufficient interest we will also be pleased to cover ALL of these topics in FULL detail based on OBJECTIVE historical facts.Future n ewsletter articles will go into depth on history, training and method covering armed and unarmed combat as well as topics on various subjects from Shanghai to "Shangri-La"(for those still wandering around in La-La land).2005

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Breaking The Establishment - The Explosion Of British Satire

Unfastening the restraints on a new form of humour going by the name of 'satire,' came four off cuts from the crme of the public school boy crop. Unwittingly grabbing serious theorists, Jonathan Miller and bespectacled Alan Bennett (Miller from Cambridge and Bennett from Oxford), they were thrown together by the artistic director, at the time, from the Edinburgh Festival; Robert Ponsonby, with short, London born Dudley Moore and chain smoking, professional writer, Peter Cook. The idea was to create a show that gave an insight to the Festival delights. By acquiring the services of four jolly good chaps fresh out of the wooden panelled dormitories, seemed to be the best way to start.All already having a fairly decent amount of experience either from Cambridge Footlights or The Oxford Revue, they did all share the same alternative interest in the diversity of the Edinburgh Festival. Back in 1960, when Britain was just about coming to terms with the last of rationing and being free to think, write, perform without the stiffness of the War generation before, the world was being wrenched open like a rusty tin opener on a can of Baked Beans. The young set were scheming a way to expose, shock, but above all, entertain their peers that paved an historic route that we now know as the youth culture. It started off with the recklessness of Rock and Roll in the Fifties but that had been left solely down to the working classes. This time, it was the middle class youngsters who gave us a style of comedy that was born out of education, money and authority. Three wonderful elements that were just aching to be ridiculed...Already writing for Kenneth Williams, Cook jumped at the chance of giving an airing to some already workable ideas he had been using for writing for other people. In the days when everyone wrote for everyone else, there was little in the way of jealousy or copyright theft going on that was taken too seriously; Eric Sykes was writin g with Spike Milligan on The Goon Show, Barry Cryer was writing for Round The Horne, and although, most of the time, these co writers were nearly never credited, it didn't seem to matter. So when Cook, decided to incorporate some material he had used for other shows, no one gave a toss.Taking the Edinburgh stint onto a different angle, Ponsonby's idea was that a revue show could be put on by these four inspirational thinkers and poets of their generation to enlighten audiences to participate in further festival shows. He rather eagerly handed over the reins to the four and were, frighteningly, allowed to run wild with as much freedom as possible. What actually happened was deep cut and firmly disposing the power of the authorities. Such in the line of fire by these brilliantly scornful surrealists was Harold Macmillan and the Government, Public School masters and governors and of course, the Catholic Church; all sections of the middle society community that simply were not cross questioned ever before. What would the public think of four young 'kids' taking on the very establishments who gave them the education, money and the platform to speak in the first place?The show was launched in 1960 along with the assistance of John Bassett to keep the show on a professional keel, but it was Peter Cook who remained, throughout, the uncontrollable one. With the pen forever fixed in his hand a cigarette rocking gently from the corner of his mouth, he held tightly to the steering wheel of the show. It was known around the production dwellers that Cook had already participated in a dispute over wages. Due to the greediness of his agent for taking him off the Williams revue circuit as a writer, and after Cook had received his pay packet, his agent was grabbing a large chunk as payment for losing the revue, thus Cook earned less than the other three. This in turn, allowed him especially to used his dissolutionisms at point blank range on all who t hought they were above him.Despite being a flop around the clubs and spots around the Scottish city, the show took off in the deeper seated middle class establishments in London, thus, not just the show was given a name but the four brain children when given the same title and Beyond The Fringe was born.The initial idea wasn't supposed to be as culturally groundbreaking as it turned out to be. It is only since the unearthing of a certain cult movement for satire, that these shows have been resurrected. Forwarding the way for such shows immediately after it's big break, were fellow satirical ventures, 'At Last, The 1948 Show,' and 'That Was The Week That Was.' The early Sixties opened great flood gates for a style of humour that has branched off into tiny slips of twigs ever since yet still all themes, proudly holding onto their pioneering roots.The Beyond The Fringe set consisted of well produced and polished lines of music skit's a la Dudley Moore, twinkling at a Grand piano and straight to the point comedy sketches featuring a figure of authority and a being of an 'under ' position. When listed in this form, it is easy to misconstrue that the ability of BTF was merely of it's decade rather than of any real intelligent ground breaking priority. What we probably fail to remember was it's importance in the grand scheme of graduating comedy. As with The Goon Show, the element of 'silliness' had to come to the fore sooner rather than later. A classic example was the infamous sketch where upon Peter Cook is awaiting, as a theatre director, the entrance of Mr Arthur Spiggot (Dudley Moore), a one legged man, eagerly hoping for the part of 'Tarzan' for which he is auditioning. Just the very thought of a one legged man auditioning for the part where he is needed to be as energetic and as physically fit as possible is quite ridiculous yet perfectly funny. Not a great deal of satire dished out here, granted, but it is an example of how diverse these four young men were. This was as silly as it all got.The genius of Cook was his ability to show figures of the community in a light so that all in the audience could recognise. Moore was used in a way that his short stature came under the limelight constantly. He was the character to be laughed AT. Thus the others stood as creators of surrealistic lines and thrown away endings. This was where BTF separated itself from The Goons, although it was seen that the Goons gave way to Monty Python, it was just as regarded to view Beyond The Fringe as the predecessor to its immediate relatives or at least, anything David Frost produced quickly. Monty was just as anti establishment yet not directly pointing the finger at any given post. What it saw was a gap in the comedy market that could take on board a humour based around domestic authorities. One particular feature was the Pythons dressed in drag as mother figures whilst Graham Chapman took the pipe and slippers fa ther figure into a whole new dimension.It was all adored and in both circumstances, each style of humour was beautifully executed by its actors. Arrogantly ahead of its time, BTF was given the seal of approval by it's avid public, and shamed by the very pillar of authority that didn't own it. The BBC.The middle aged chaps, stiffly sitting behind the desks in grey suits would have taken the show off completely, let alone allowed it to successfully take it to Broadway in 1962. The BBC had an older, more reserved generation to take care of and young oikes whose main idea was to tear the face off the one and only establishment, the nations beloved Beeb was only to cause shame, dismay and embarrassment. Whilst the BBC sat bound and gagged, the show continued wily showering the public with their own brand of piercing the Military and the Home Guard. War veterans were reportedly hollering from the stalls in disgrace before promptly reseating themselves down to enjoy the rest o f the show. It was believed that the BBC, fearing no control, avidly exaggerated events and thoughts of it's watchers in the hope that BTF would simply go away.Strangely taking Broadway by the balls and even heralding the arrival of President John Kennedy to one of its shows, it was the start of a whole new love affair for the U.S. Realising that JFK once sat in the stalls and laughed heartedly at Cook's uncanny impression of Harold Macmillan, it was a bitter pill for the BBC to swallow. Yet it was from this point on, that America welcomed with open arms to virtually anything that we dished out as British humour. If only, at the time, the BBC could have seen that. From BTF to Python, Benny Hill and Connolly, we have never been able to put a foot wrong. So why was the Beeb so against the realities of BTF? It was certainly an authority destroyer that would allow the reputation of Great Britain to simply crumble away into the Channel. However, the stiff lipped community secretly saw it as a way of playing the U.S into their hands. Since Britain had been regarded as the one and only nation with the ability to take the piss out of itself, shows like Beyond The Fringe laid the path of recognition in which when it came things other than wining the War, we weren't another one trick pony.The stage set for all the performances was practically empty of all props and these four young men in dark suits stood casually around like satirical Beatles. No frills, catchy tunes, silly costumes or gimmicks, just the spoken word. Breaking boundaries, they humiliated politicians and all pillars of authority came under close scrutiny by them. They became the voice of a generation who had only viewed the War in a child's perspective. Although satire remained predominantly within the Sixties, it's legacy still thrives today and even more so as it did then. It gave way to humour that could be given to current events, topics of the day and anything that was v ivid in the minds of the everyday man on the street. They aimed their wit on figures who, not just seemed ones of great character and strength but turned them sharp on their heads and made them look ridiculous.===============================================As prolific innovators, we have never been able to let them lie. We have quoted , imitated and drowned ourselves in their genius ad not mater how modest these men ever were about their efforts, we still only remember them for the first ice shattering show they ever achieved. We even came up with a factious sister to the revue entitled, Behind The Fridge and pay regular homage's in the form productions like Policeman's Ball, and when even in his last years, we refused to let Peter Cook retire. The best and the worst move perhaps was given to Mr Moore who vanished to Hollywood for money amongst other things. Since the poignant deaths of Cook (1995) and Moore (2002) we are left with perhaps, two of the most boring people on Earth. Alan Bennett has created a safe and mildly focussed career in depressing us with his mono toned voice and his heftily weighted literature. Since the heady days of advancing out into the cold no man's land of satirical comedy, Bennett has grown inwardly contented and remained writing dull books until he will eventually fade away. Miller, on the other hand has continued to be one of the tallest men on the planet and it still regarded as having the one and only hand transplant where they have been replaced by shovels. He has churned out a handful of BBC documentaries and is still raked in for commentary on Beyond The Fringe anniversary programmes where the BBC now feel safe to tread. Edging dangerously towards Gilbert and Sullivan once or twice, he regards himself as the very pinnacle of BFT analysis, dishing out great pleasure in the faults of our two deceased mentors.Yet still, whether the rest of us approve or not, we relish in this forth running, ground bre aking phenomena that came to us in the form of Beyond The Fringe every so often although recordings of the original shows are hard to come by. ( True vinyl for a fiver on eBay) So this is probably why it is still so appealing. We can surround ourselves with as many recording of Python and Goons as we like; the BBC have allowed us to drown in the stuff over the years, these never posed as being such an authoritative threat, yet there was something about BTF that did.What does amuse me today is still how trendy it is in certain circles to listen and quote BTF parodies and lines (and once being of a ponsy private school myself) how such comedies are still regarded as sensational and not in the least bit dated today...I shall leave you with two quotes from Beyond The Fringe both featuring Peter Cook as Harold Macmillan;"...one piece of correspondence shall indelibly be printed on my memory...(pulls out a crumbled piece of paper).. Let me read it to you..." (Peter Cook, BTF 196 0)On recalling a meeting with JKF "...we talked of many things, including Great Britain's position in the world as a kind of honest broker. I agreed with him when he said no nation could be more honest, and he agreed with me when I chaffed him and said no notion could be broker..." (Peter Cook, BFT 1960)Beyond The Fringe were;Peter CookDudley MooreJonathan MillerAlan BennettDirected by Duncan WoodProduced by Don Silverman'Beyond The Fringe' available on cd and vinyl 4.99 and 5.99 respectively on eBay (Parlaphone 1961)Michelle Duffy (sam1942)(Ciao and dooyoo)

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Great British Comedy Writers - George Layton

If there is one thing that we fail to acknowledge in this country is our proud heritage. I understand the usefulness and even the advantages to having a castle at every turn, a dysfunctional Royal Family, a series of losing sports teams and a prolific ability to cast aside some of the greatest entertainers who have ever graced our screens, to the other side of the planet. Yet there is a certain breed of Englishman who entertains us each week who goes silently unnoticed. Every week in many circumstances - they make us laugh, cry, think about ourselves and even be moved when we witness their craft.It has occurred to me that there is something gravely wrong in the things that we appreciate. Whilst I have been keen to keep abreast with the ins and outs of comedy over the last forty years in some, socially staved, hobby of mine, it has come to my notice in my findings that there are some greats in the world of showbiz who are, or have, gone right passed us without as much as a mere thank you from us, let alone a knighthood. I immediately think of Eric Sykes, who back in the late Fifties shared a cramped office somewhere in a corner of Shepherds Bush with the manic and fairly unknown, Spike Milligan. A picture forms in my head of these two young, yet to be found geniuses with sleeves rolled up, frantically scribbling away on tiny desks, banging out silly skits to make a few quid. This romantic notion has stayed with me and forever haunts me to the point that I feel these heroes will continue to die off without, what I consider, a decent enough tribute. Dare I say it, we will lose the last one of that particular partnership without so much as a touch of the Queen's sword on his shoulders if we are not too careful.So what is it that makes, as a country, so unreflecting to acknowledge the hard working, sweating, sore fingered writers who have given us such classic comedy over the years, yet we are quick to celebrate their accomplishments, but not the source from whence they came? We are fond of remarking on some wonderful lollipop lady who regularly saves the lives of thousands of squashed hedgehogs all over Derbyshire, or the small child who miraculously put out the blazing inferno that would have perished his school had he not been the only one to be quick thinking. These beings all show courage in the face of something along the lines of adversity but not one note of recognition twice a year goes to the last remaining few of a generation now fading away. The people who make us laugh. I apologise for not acknowledging Midge Ure for another accolade in the fight against Developing World poverty, but enough is enough. Sir Geldof only ever had one hit record...Onward I travel and delve into the pits of comedy to find out who was really behind arching sides, chesty coughs and stamping of feet., (well, that's what I do when I laugh,) and mark a small tribute of my own...The situation comedy writer weaves a ta ngled web of laughter, tears and observation beyond our own daily troubles. We may not even like what we see, even avoid it or watch something else, but that's the chance they take. The writer may care not to employ his mind with equal attention as the director or the producer may, for it is the job of the script writer to cast the magic and let us in to a family or a situation in which we, sometimes feel at home. We befriend their characters who we either adore or dislike. We sympathize with them, agree or disagree with them - either way, we may delight in their company, secure in the knowledge that they will, if anything, simply make us smile. I will guarantee we have all, at some point in our lives tuned in to little half and hour programme each week to be eagerly entertained by a series of fictional characters in their hilarious situations. We are keen to indulge in a dribble more of their misfortunes or their daily tasks peppered with unusual pitfalls. Yet what is the appeal of the average situation comedy? One point that seems stronger than the rest is the realisation that these programmes reflect, very deeply, our own lives.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~A certain young jobbing actor came onto the scene through the stage striding school of RADA, hoping for a life treading the boards or tripping over the camera wires. Back in the heady days of the Sixties, actors found a niche on television where they could, if they managed it, kept employment by hopping in and out of one serial to another. The world of the BBC was full of serials, be them straight or funny. A multitude of 'family' based sit coms were taking shape, thus keeping a vast majority of general actors in food and warmth. Many stayed quite happy in the their minor roles, not wanting to go any further out into the gloom. Others struck gold in what the old darlings term as 'big break.' Here, we find actors who then turn into stars, and possibly find graspi ng the reins even more exciting than just sitting on the horse.One of these particular up and coming actors was George Layton. Yorkshire born, he had a twinkling smile and a charming tone. With these attributes at his disposal, he quickly found himself in the first knicker wetting series full of all the best twinkling smiles on TV - 'Doctor In The House.' Layton fitted in well along side other TV hopefuls, Richard O'Sullivan, Barry Evans and Robin Nedwell. All enjoying good, regular comedies throughout the Seventies. It appeared that this show, however, was somewhat cursed. Two of the afore mentioned actors died under tragic circumstances whilst Mr O'Sullivan now spends his life in a retirement home. Sometimes the life of the comedy actor, is the one that contains the least amount of laughs.Stepping away from the limelight to a point, Layton went about writing some of the scripts for the show. Daring to break the unwritten law of 'decide which end of the camera you want son, and stick to it,' Layton couldn't bare to make a choice. Getting around this he started writing episodes for 'Doctor In The House' under a different name. By this, he found yet another string to his bow, and serials quickly followed whilst acting, or in-between parts. Yet the pan stick was to call for full time commitment again. Jimmy Perry saw Layton as the Army Concert Party producer that he too, once was hence the role of 'Bombardier 'Solly' Solomons in 'It Ain't 'Arf Hot Mum,' went to the perfectly experienced George.Leaving after the second series, he had already started work on another comedy show. Throughout his career he had set up on and off writing residence in the company of fellow actor, writer and old Cambridge Footlights member, Jonathan Lynn. Following in parallels with the legendary Croft and Perry, the pair produced minor comedies, but not as exceptionally acknowledged as the Croft/Perry collaborations. Notably, it was Lynn who went on to write and direct the extraordinary 'Clue,' with Tim Curry and the humorous film comedy 'Nun's On The Run,' with Eric Idle and Robbie Coltrane. Like his counterpart Layton, Lynn dared never to sit down and kept following his own path from one talent to another.The Seventies was a time when once your face fitted amongst the mixed veg and the pastries in the BBC canteen, you were able to spread yourself around the writing round table. Many actors and budding script writers lent a hand, credited or otherwise, in a whole host of other shows. Perhaps it can be said that the Pythons were the biggest contenders for such scribbling antics that people followed suit. Messer's Idle and Cleese were among the professionals already trying their hand at radio as well as TV.In a game where everyone had once worked with everyone else, the doors were open to try a hand at a bit here and a bit there. Layton found himself brushing comical shoulders with the best writers of the time, one of which, he was growing rapidly into. His credits featured, 'On The Buses,' and 'Robin's Nest,' naming the most memorable two. Yet his real success came with the back breaking 39 episodes of the medical comedy, 'Don't Wait Up.' Enlisting film actor, Nigel Havers and veteran comedy father figure, 'Tony Britten,' the show as a warming relationship between father , son and viewers. Showing us a situation that could well be familiar with it's audience, Layton touched on the highs and lows of a family thrown together and at the same time, thrown apart, trying to get back together. The two Latimer Doctors, father and son (one private, one NHS respectively) find themselves in a flat together after both getting divorced. The running theme of this wonderful series was the conflicting relationship between the two generations both practising what the other objects to. Full of pathos, emotion and traditional farcical British humour, it was an immediate hit appealing to both class es. One admiring the similarities in their fellow members, the other, poking fun at the higher classes.Towards the end of it's run which found both doctors finding themselves in happier relationships, Layton was already working his next project. In his usual style, he has worked on two at a time over lapping, in remarkable continuity, two completely different scripts at the same time. This time, what little he had to spare, was moved into the direction of high flying ITV sit-com, 'Executive Stress,' an enjoyable scenario of a successful couple finding themselves working together after years of supporting their own careers starring Penelope Keith and Geoffrey Palmer (series one) and Peter Bowles (series 2 onwards.) Keith and Bowles, already had shared great credibility from 'To The Manor Born.'If none of this had been enough to be credited as one of the most favoured, all round actors of both stage, film and television and one of the best known British comedy writers, th en it was also not surprising that George Layton has managed to fit in theatre direction across the country onto his c.v as well as author of two well received novels of growing up in post war Northern Britain. Are their no ends to these talents?His theatre credits have included Fagin in 'Oliver!' at the London Palladium and Felix in 'The Odd Couple,' at the Theatre Royal in Windsor - two characters of extreme qualities that couldn't be any further apart in regard to acting requirements. Just these two roles themselves, can conjure up a picture of an actor who is more than capable of realising real acting identities within himself. London's West End, has naturally not been the only boards he has treaded. Australia and New York as well, of course! Well, what did you expect? Many strings to the bow plus a non avoidance to air travel would have to be all part of the course if one wanted to follow in his shoes. For any young, enthusiastic script writer, he is not only a s quint making dot in the sky, but a life that very few would consider trying to match...So what next for the restless career of this man who is only a young and sprightly 64 this year? He has recently written another book (with the working title of 'The Promise And Other Stories,') and a comedy drama series for television called, 'The Boys.' It would seem that we are yet to still enjoy the work of George Layton - the man who can't sit still.Final Thought...As all the best writers and performers are irritatingly the least smug and the most modest and George Layton is no exception. Still regarded as a nice guy, although too hard working, he sits back comfortably and is mildly contented with his work so far. It would seem all the best writers follow this rule, (sweat like a dog over the typewriter, just don't tell everyone about it).Recently for the BBC 1 series, 'Comedy Connections,' featuring 'Don't Wait Up,' he beamed when he said 'No one admires my work more than I do!' Yes, this statement does flow with the milk of human smugness, but if anyone deserves to be, it is writers like George Layton. The people who refuse to retire. (If only Des O' Connor would....)The list of his achievements to date, is far too long to print here. (George Layton that is, not Des O'Connor...)Happy Birthday Mr Layton for March the 2nd.'Don't Wait Up,' can be found on DVD from Amazon.com (series I and II) for 10.97 Also at Sendit.com for 11.98 and HMV I, II and III for 11.99 delivered. 'Doctor In The House' series I and II together on Amazon.com for 29.98 HMV for 16.99 (I and II) Michelle Duffy (sam1942 on dooyoo) 2007

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A Humorous look at Getting Old

Interviewer "You 've reached the ripe old age of 121. What do you expect the future to be like?""Very Short" - 121 year old lady.Getting older is one of those inevitabilities in life which sometimes the only comfort seems to be that at least it is better than the only real alternative. A fear of getting old comes about from many reasons. Increasing frailties, decline in physical beauty and the impending likelihood of death and all the inherent uncertainties this brings.The best attitude is to look upon getting old with good humour.The British politician Richard Needham noted:"As you grow old, you lose interest in sex, your friends drift away and your children often ignore you. There are other advantages of course, but these are the outstanding ones."Like many things in life it is the attitude to growing old that is important. True we may loose some of our youthful vitality and looks but age need not be a barrier to achievement. Many of the greatest accomplishments in huma n endeavour have been achieved by people in the twilight of their lives. For example Winston Churchill, Rabindranath Tagore, Thomas Jefferson. The average age of the most important jobs in US, members of congress, is well over 50. If congressman had to retire at 50 that would cut out a lot of senators. Although whether this is actually a ringing endorsement of old age is obviously a matter of debate.The physical effects of ageing are problematic."You don't know real embarrassment until your hip sets off a metal detector" Ross McGuinness.For many older people a twin problem of ageing is an expanding waistline which seems to accompany the ageing process with effortless ease. Middle age spread afflicts both the great and good. Peter Gabriel the British musician wryly commented"I guess I don't mind so much being old, as I mind being fat and old."This is especially a problem as many older people find that eating is one of the few pleasures left and declining physical health makes physical activity more difficult and less desirable.At the end of the day there is nothing we can do about getting old. We can lie about our age, we can have cosmetic surgery and facelifts to hide the visible effects but old age is along with death and tax , one of those great inevitabilities,. At least we don't have to face what the British comedian Eric Sykes did who remarked."When I get in a taxi the first thing they say is. "Hello Eric I thought you were dead."Perhaps as we are getting older we should follow the advice of Patrick Moore and Mark Twain. Let us check the obituary notices in the newspaper and if we don't see our name we can continue for another day. And don't worry too much if you are in your 30s and worried about the advancing years, after all it is said the best years in life are the 10 years between our 39th and 40th Birthday.

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What Happened to the Marines?

Rivalries aside, most people agree the Marine Corp trains some of Uncle Sam's toughest warriors.Sadly, the Marines, like so many military organizations, have fallen prey to political correctness in modern times.In 2001, the Marines switched from their battle proven close combat methods in favor of a system that is designed to "subdue" rather then kill an attacker. Funny, I never thought the Marines had a problem with killing people before...And the scumbag terrorists sure don't seem to have a problem killing us.Since the Marines were first founded in 1775 at Tun Tavern in Philadelphia, PA, Close Quarter Combat (CQC) training was heavily emphasized in their training.Although many people know about their skilled sharpshooters who fired from the rigging of ships, it is important to remember that the Marines also pioneered close combat techniques as they boarded enemy ships using rifles and swords.For over a century Marines fought in every major conflict battling pirates, gue rrillas, and other enemies of the United States. The Marines were tough fighters, but when the United States entered World War I, some new training would make them lethal.The First World War brought a number of changes to the Marines. The Corp grew rapidly in size and the Germans would give the Marines the nickname "Devil Dogs." To meet the challenges of trench warfare, the Marines also improved their close combat training.The man largely responsible for the new training was Anthony J. Drexel Biddle who joined the Marines as a captain at age 41. Though he was new to the military, the wealthy socialite was an experienced boxer and began to share what he knew with the Marines. He taught bayonet and close combat techniques based upon fencing, boxing and wrestling.During the inter-war years, other men joined Biddle to improve the training. Captains W.M. Greene and Samuel B. Griffith who had been stationed in Shanghai trained with British police officer William Fairbairn.Fairba irn had been in over six-hundred street fights and authored several books on close combat. He eagerly shared what he knew with the American Marines. They also learned shooting techniques from Fairbairn's best friend and firearms expert Eric Sykes.The Marines learned well, and soon Fairbairn's techniques became part of the Marines' CQC training.The Marines' close combat system would be further influenced by others during World War II, as the Marines fought in a brutal island hopping campaign in the Pacific.Marine John Styers who was a student of Biddle's took what he learned and wrote Cold Steel. Originally, a series of articles in Leatherneck magazine Styers showed Marines how to fight with a knife and a rifle with a bayonet. He showed that unarmed combat training could help Marines perform even better with their weapons.The Marines also learned from another student of Fairbairn, Army Colonel Rex Applegate. Though a crack shot, Applegate made it clear that hand-to-hand comba t training was necessary part of CQC.While the Marine Corp close combat system went through a number of other changes and names, each reincarnation of the system held on tightly to the lessons and methods of Biddle, Sykes, Fairbairn, & Applegate as the concept of battlefield survival was always kept in mind.In the 1980's the system began to fall. With the rise in popularity of various martial arts, many Marines began abandoning the authentic, documented, and proven "simplistic" methods of combat in exchange for the mysteries of modern martial arts and pseudo science (aka completely unproven crap).In 1996, the Marines began evaluating their close combat training and determined that a new system would be developed to deal with Missions Other Than War (MOTW).Previously all training (even the junk in the 80's) was designed with the concept of "kill or be killed". The new system is more concerned with peacekeeping operations and non-lethal force...EXTREMELY stupid for men trained to be our frontline.The new Marine Corps Martial Arts Program (MCMAP) is like a piss poor combined version of Tae Kwon Do and Brazilian Jiu-jitsu.Not only is it nothing like the battle tested techniques the Marines have used successfully for over 200 years, but by mish-moshing together two martial sports (neither of which have battlefield proven documentation) someone is going to get killed.Listen, in Iraq and Afghanistan its all about close combat and engaging the enemy in tight quarters. The Marines need a solid CQC system not a politically correct way to play patty-cake with the enemy.

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Watch Harry Potter and the Deathly Hallows: Part II Punch Mega-video - Entertainment - Movies

Watch Harry Potter and the Deathly Hallows: Part II Punch Mega-video

In this chapter their adventures have an especially somber and scary coloration, as the three friends are cast out from the protective cocoon of Hogwarts School of Witchcraft and Wizardry into a bleak, perilous grown-up world that tests the independence they have struggled to obtain under the not-always-benevolent eyes of their teachers. Childish things have been put away this time there is no quidditch, no school uniforms, no schoolboy crushes or classroom pranks and adult supervision has all but vanished. Albus Dumbledore is dead, and though Hagrid (Robbie Coltrane) and Alastor Mad-Eye Moody (Brendan Gleeson) offer some assistance early on, Harry and his companions must rely on the kindness of house elves, on their own newly mastered wizarding skills and, above all, on one another.

This is not always so easy. The implicit rivalry for Hermiones favor that has always simmered between Harry (Daniel Radcliffe) and Ron (Rupert Grint) bubbles to the surface, as does Rons resentment at being the Chosen Ones sidekick. The burden of chosenness weighs on Harry as well; it is easier for him to accept being singled out for death by Lord Voldemort than to countenance the willingness of his allies and protectors to sacrifice their lives for him. Hermione (Emma Watson), for her part, seems lonelier than ever. She has broken entirely with her Muggle parents, expunging herself from their memories to prevent them from being caught up in an increasingly vicious intrawizard civil war.

For most of this film Voldemorts forces are very much in the ascendant. The production design is dense with visual allusions to 20th-century totalitarianism, while the battered and dispersed good guys carry some of the romance of guerrilla resistance, taking to the countryside and living rough as they search for weak spots in their enemys strategy. They also pop into nonmagical neighborhoods of London, visits that add a jolt of realism to this fantasy. The brilliant composer Alexandre Desplat has constructed a haunting, spooky sonic atmosphere with only an occasional splash of youthful whimsy.

Not that Deathly Hallows is grim, exactly. But it is, to an unusual and somewhat risky degree, sadder and slower than the earlier films. It is also much less of a showcase (or bank vault, as the case may be) for the middle and senior generations of British actors. Many of the familiar faces show up including Ralph Fiennes as Voldemort, Helena Bonham Carter as Bellatrix LeStrange, and, of course, Alan Rickman as Severus Snape but they move along after a scene or two. So do the two notable newcomers, Bill Nighy as a government official and Rhys Ifans as Xenophilius Lovegood, a wondrously eccentric underground journalist and father to the ethereal (and in this movie, briefly glimpsed) Luna (Evanna Lynch).

The movie, in other words, belongs solidly to Mr. Radcliffe, Mr. Grint and Ms. Watson, who have grown into nimble actors, capable of nuances of feeling that would do their elders proud. One of the great pleasures of this penultimate Potter movie is the anticipation of stellar post-Potter careers for all three of them. Watch_Harry_Potter_and_the_Deathly_Hallows_Part_II_movie_Online

Highlight of Harry Potter and the Deathly Hallows: Part 2 movie poster is leading stars of motion picture Daniel Radcliffe and Ralph Fiennes playing Harry Potter and Lord Voldemort respectively. Making a fine use of concepts like darkness and light this fine preview is undoubtedly amazing and awesome for moviegoers to get excited that they well be heading to have a stunning and striking cinematic experience at theaters. Thus directorial venture undertaken by David Yates is bound to be a thrilling and exhilarating one for fans to look forward with wide eyed awe. free_movies_to_watch_online

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Watch Movie Harry Potter and the Deathly Hallows: Part II Download Online - Entertainment - Movies

Watch Movie Harry Potter and the Deathly Hallows: Part II Download Online

In this chapter their adventures have an especially somber and scary coloration, as the three friends are cast out from the protective cocoon of Hogwarts School of Witchcraft and Wizardry into a bleak, perilous grown-up world that tests the independence they have struggled to obtain under the not-always-benevolent eyes of their teachers. Childish things have been put away this time there is no quidditch, no school uniforms, no schoolboy crushes or classroom pranks and adult supervision has all but vanished. Albus Dumbledore is dead, and though Hagrid (Robbie Coltrane) and Alastor Mad-Eye Moody (Brendan Gleeson) offer some assistance early on, Harry and his companions must rely on the kindness of house elves, on their own newly mastered wizarding skills and, above all, on one another.

This is not always so easy. The implicit rivalry for Hermiones favor that has always simmered between Harry (Daniel Radcliffe) and Ron (Rupert Grint) bubbles to the surface, as does Rons resentment at being the Chosen Ones sidekick. The burden of chosenness weighs on Harry as well; it is easier for him to accept being singled out for death by Lord Voldemort than to countenance the willingness of his allies and protectors to sacrifice their lives for him. Hermione (Emma Watson), for her part, seems lonelier than ever. She has broken entirely with her Muggle parents, expunging herself from their memories to prevent them from being caught up in an increasingly vicious intrawizard civil war.

For most of this film Voldemorts forces are very much in the ascendant. The production design is dense with visual allusions to 20th-century totalitarianism, while the battered and dispersed good guys carry some of the romance of guerrilla resistance, taking to the countryside and living rough as they search for weak spots in their enemys strategy. They also pop into nonmagical neighborhoods of London, visits that add a jolt of realism to this fantasy. The brilliant composer Alexandre Desplat has constructed a haunting, spooky sonic atmosphere with only an occasional splash of youthful whimsy.

Not that Deathly Hallows is grim, exactly. But it is, to an unusual and somewhat risky degree, sadder and slower than the earlier films. It is also much less of a showcase (or bank vault, as the case may be) for the middle and senior generations of British actors. Many of the familiar faces show up including Ralph Fiennes as Voldemort, Helena Bonham Carter as Bellatrix LeStrange, and, of course, Alan Rickman as Severus Snape but they move along after a scene or two. So do the two notable newcomers, Bill Nighy as a government official and Rhys Ifans as Xenophilius Lovegood, a wondrously eccentric underground journalist and father to the ethereal (and in this movie, briefly glimpsed) Luna (Evanna Lynch).

The movie, in other words, belongs solidly to Mr. Radcliffe, Mr. Grint and Ms. Watson, who have grown into nimble actors, capable of nuances of feeling that would do their elders proud. One of the great pleasures of this penultimate Potter movie is the anticipation of stellar post-Potter careers for all three of them. Watch_Harry_Potter_and_the_Deathly_Hallows_Part_II_movie_Online

Highlight of Harry Potter and the Deathly Hallows: Part 2 movie poster is leading stars of motion picture Daniel Radcliffe and Ralph Fiennes playing Harry Potter and Lord Voldemort respectively. Making a fine use of concepts like darkness and light this fine preview is undoubtedly amazing and awesome for moviegoers to get excited that they well be heading to have a stunning and striking cinematic experience at theaters. Thus directorial venture undertaken by David Yates is bound to be a thrilling and exhilarating one for fans to look forward with wide eyed awe. free_movies_to_watch_online

Netwebsite.In Is A Free Movies Website Where You Can Watch_Harry_Potter_and_the_Deathly_Hallows_Part_II_movie_Online. To View The Full HD free_movies_to_watch_online

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Watch Harry Potter and the Deathly Hallows: Part II Full Movie Free Online - Entertainment - Movies

Watch Harry Potter and the Deathly Hallows: Part II Full Movie Free Online

In this chapter their adventures have an especially somber and scary coloration, as the three friends are cast out from the protective cocoon of Hogwarts School of Witchcraft and Wizardry into a bleak, perilous grown-up world that tests the independence they have struggled to obtain under the not-always-benevolent eyes of their teachers. Childish things have been put away this time there is no quidditch, no school uniforms, no schoolboy crushes or classroom pranks and adult supervision has all but vanished. Albus Dumbledore is dead, and though Hagrid (Robbie Coltrane) and Alastor Mad-Eye Moody (Brendan Gleeson) offer some assistance early on, Harry and his companions must rely on the kindness of house elves, on their own newly mastered wizarding skills and, above all, on one another.

This is not always so easy. The implicit rivalry for Hermiones favor that has always simmered between Harry (Daniel Radcliffe) and Ron (Rupert Grint) bubbles to the surface, as does Rons resentment at being the Chosen Ones sidekick. The burden of chosenness weighs on Harry as well; it is easier for him to accept being singled out for death by Lord Voldemort than to countenance the willingness of his allies and protectors to sacrifice their lives for him. Hermione (Emma Watson), for her part, seems lonelier than ever. She has broken entirely with her Muggle parents, expunging herself from their memories to prevent them from being caught up in an increasingly vicious intrawizard civil war.

For most of this film Voldemorts forces are very much in the ascendant. The production design is dense with visual allusions to 20th-century totalitarianism, while the battered and dispersed good guys carry some of the romance of guerrilla resistance, taking to the countryside and living rough as they search for weak spots in their enemys strategy. They also pop into nonmagical neighborhoods of London, visits that add a jolt of realism to this fantasy. The brilliant composer Alexandre Desplat has constructed a haunting, spooky sonic atmosphere with only an occasional splash of youthful whimsy.

Not that Deathly Hallows is grim, exactly. But it is, to an unusual and somewhat risky degree, sadder and slower than the earlier films. It is also much less of a showcase (or bank vault, as the case may be) for the middle and senior generations of British actors. Many of the familiar faces show up including Ralph Fiennes as Voldemort, Helena Bonham Carter as Bellatrix LeStrange, and, of course, Alan Rickman as Severus Snape but they move along after a scene or two. So do the two notable newcomers, Bill Nighy as a government official and Rhys Ifans as Xenophilius Lovegood, a wondrously eccentric underground journalist and father to the ethereal (and in this movie, briefly glimpsed) Luna (Evanna Lynch).

The movie, in other words, belongs solidly to Mr. Radcliffe, Mr. Grint and Ms. Watson, who have grown into nimble actors, capable of nuances of feeling that would do their elders proud. One of the great pleasures of this penultimate Potter movie is the anticipation of stellar post-Potter careers for all three of them. Watch_Harry_Potter_and_the_Deathly_Hallows_Part_II_movie_Online

Highlight of Harry Potter and the Deathly Hallows: Part 2 movie poster is leading stars of motion picture Daniel Radcliffe and Ralph Fiennes playing Harry Potter and Lord Voldemort respectively. Making a fine use of concepts like darkness and light this fine preview is undoubtedly amazing and awesome for moviegoers to get excited that they well be heading to have a stunning and striking cinematic experience at theaters. Thus directorial venture undertaken by David Yates is bound to be a thrilling and exhilarating one for fans to look forward with wide eyed awe. free_movies_to_watch_online

Netwebsite.In Is A Free Movies Website Where You Can Watch_Harry_Potter_and_the_Deathly_Hallows_Part_II_movie_Online. To View The Full HD free_movies_to_watch_online

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