MY PERSONNEL PARANORMAL STORY PUT ON FB SITE MAPIT

MY PERSONNEL PARANORMAL STORY-SOMETIME AGO -5 YEARS-I WAS IN A COMA DUE TO A BLOOD SUGAR OF 124-SCARY ,WIFE EVEN TOLD TO EXPECT THE WORSE .BEFORE I CAME OUT OF MY COMA THIS IS THE PART I BELIEVE TO BE MY PARANORMAL EXPERIENCE .SORRY NO WHITE LIGHTS JUST BLACKNESS THEN A VOICE TELLING ME TO WAKE UP - A FEMALES VOICE NOT ONE I HEARD SINCE OR AFTER OR SINCE,THEN A SUDDEN URGE TO BE AWAKE.WAS IT A TRICK OF MY SUBCONSCIOUS PLAYING TRICKS WOULD BE THE SCIENTIFIC REPLY BUT ME IT WAS PARANORMAL,SO I HOPE YOU READ THIS POST WITH OPENED EYES-MARK ANTONY RAINES AKA GHOSTMAN

BEWARE SQUIRRELS

2 MEN DIED OF ENCEPHALITIS -INFLAMATION IN THE BRAIN - PASSED ON BY THE SQUIRRELS THIER BRED .THE SQUIRRELS  ARE VARIEGATED SQUIRRELS -EXOTIC BREED,SOUTH AMERICA SOMETIMES KEPT AS HOUSE PETS ,DOCTORSSAY LOW THREAT TO OTHER PEOPLE.

MONTY ESCAPES

A 12 FT  BURMESE PYTHON WAS SEEN SLITHERING A TELEPHONE WIRE  2OFT ,ANGLESEY,NORTH WALES.THE LOCAL POLICE WERE CALLED AND THE SNAK WAS CAUGHT FINALLY HALFWAY DOWN DRAINPIPE  OF A HOUSE OPPOSITE SIDE OF THE ROAD.

WEIRD ICECREAM

WOULD YOU LIKE TO TRY A NEW FLAVOUR ICE CREAM WELL YOU CAN WITH THE FOLLOWING -CHEDDER,CHUTNEY AND BRANSON RIPPLE THESE ARE GOING TO BE SOLD BY CHEESE MAKERS-PILGRIMS CHOICE.

NOT AT ALL A NATURAL ATHLETE ME

YES THATS ME FOLKS ,AT SCHOOL I WAS THE ORIGINAL 7 STONE WEAKLING WHO DID NOT LIKE SPORTS EVEN GOT THE BUS DURING CROSS COUNTRY RUN.LEFT SCHOOL AND STARTED WORK AND AT MY SECOND JOB I WAS TEA MAKER COME STACKING 25KG BAGS OF PLASTIC IN TO LAYERS OF 40 EQUALS A TON.THEN IN 1985 MAY BE SOONER AS MEMORY A BIT SLOW NOW OLDER I BEGAN CIRCUIT TRAINING AT LOCAL GYM THEN PROGRESSED TO WEIGHTLIFTING ;BELIVE ME NOT I HAD 18 IN BICEPS AND DEADLIFT 320 LBS AND CARRY ACROSS GYM AND ENTERED A POWERLIFTING  CONTEST ;CAME LAST BUT AT LEAST THIS IS MY STRONGMAN CLAIM TO FAME.YERS LATER AND MANY MOVES I GOT HOLD OF A 56 LB CAST IRON WEIGHT ,USED TO WEIGH OUT POTATOES FROM SCRAPYARD,BARNSTAPLEAND USED HTAT FOR TRAINING ALSO GOT 2 X15KG DUMBBELLS-33LBS EACH - AND A 5FT WEIGHT BAR -2X 10 KG -22LB EACH AND BAR  EQUALS 84LBS WHICH I USE TO DO TRAINING AT HOME NOW ADDED BACK CIRCUIT TRAINING VIA SWIMMING POOL GYM IN HOLSWORTHY -£5.10 P A SESSION I TRY TO DO 2 A WEEK.WHEN  I WAS 51 I TOOK UP MY FIRST MARTIAL ART -AIKIDO FOR 2 MONTHS THEN WHEN MOVED TO NORTHAM DID EARTH AND OCEAN FOR ABOUT 7 MONTHS - YELLOW BELT- NOW TRYING TO PRACTICE GESAR KARATE AT CHURCH HALL IN HOLSWORTHY-£20 PLUS HAD TO APPLY FOR LICENSE.NOT BAD FOR A OLD DISABLED FATMAN

HITLER TELEGRAM UP FOR AUCTION

AN AUCTION IN CHESAPEAKE,MARYLAND,U.S.A IS SELLING A LETTER SENT TO ADOLF HITLER AT END OF WW2.THE NAZI LEADER DEPUTY-HERMAN GOEING -SENT THE NOTE  IN 1945 ASKING PERMISSION TO ASSUME LEADERSHIP OF THIRD REICH.HITLER WAS SAID TO FLY INTO A RAGE AND APPOINTED  ADMIRAL KARL DOENITZ INSTED AND STRIPPED GOEING OF POWER.THIS TELEGRAM WAS FOUND BY A U.S SOLDIER AFTER HITLERS SUICIDE

SPACE NEWS

A SPACE TELESCOPE HAS DETECTED SUPER MASSIVE BLACK HOLES.THE COSMIC DRAINS WERE PREVIOUSLY BY DUST AND GAS.PLUS COMET 67P MAY BE TEEMING WITH MICROBE LIFE.

Way of the Warrior an article

Way of the Warrior
Developer(s)Naughty DogPublisher(s)Universal Interactive StudiosDirector(s)Jason RubinProducer(s)Jason Rubin
Andy GavinDesigner(s)Jason Rubin
Andy GavinProgrammer(s)Andy GavinArtist(s)Jason RubinComposer(s)Rob ZombiePlatform(s)3DORelease date(s)NA November 1994
JP May 26, 1995
Genre(s)FightingMode(s)Single-player, multiplayer

Way of the Warrior is a fighting game released in 1994 for the 32-bit 3DO. It was developed by Naughty Dog and it received a "17+" rating for its violent content. The game was originally released in the U.S on November 1, 1994, and later released the following year in Japan on May 26 (the latter featured Japanese speech, though all of the text was in English like the U.S version). The game's soundtrack consists of music from the 1992 White Zombie album La Sexorcisto: Devil Music, Vol. 1.

Developed by Naughty Dog for Universal Interactive Studios, Way of the Warriorfeatures high resolution graphics, characters with detailed storylines, and ultra-violent finishing moves. Players have to combat different fighters, their own character's "shadow", and two bosses to achieve complete victory. Each character has a standard arsenal of offensive and defensive fighting moves, combination attacks, and special moves that kills the defeated opponent in an extreme manner.

Contents

StorylineDevelopmentReception

StorylineEdit

Players had to combat nine different World Warriors, his or her character's shadow, then defeat a dragon (High Abbot), and then a skeleton (Kull) in order to be sealed into "The Book of Warriors." Each character had a standard arsenal of offensive and defensive fighting moves, combination attacks, and special moves that killed the defeated opponent in an ultra-violent manner. The game also had several hidden characters that could be unlocked with secret codes.

CharactersEdit

The characters were portrayed by friends and relatives of Naughty Dog employees. They each had a distinctive code name and a profile.

T-Mike Gaines as Major Gaines (and hidden character, Major Trouble; both voiced by David Shane)Mitch Gavin as Shaky Jake (voiced by Rod BrooksJason Rubin as Konotori (voiced by Dave Baggett), The Ninja (voiced by Andy Gavin) and the voice of High Abbot (Dragon Boss)Tae Min Kim as The Dragon (and hidden character, Black Dragon; both voiced by David R. LiuSteve Chan as Nobunaga (voiced by David Shane)Chris Sanford as Malcolm Fox (and hidden character, Voodoo; both voiced byAndy GavinTamara Genest as Nikki Chan (voiced by Rita Dai)Carole May-Miller as Crimson Glory (voiced by Kip YoungVijay Pande as Gulab Jamun (a special hidden character, Swami)Andy Gavin as the voice of Kull the Despoiler (the final, Skeleton Boss)

DevelopmentEdit

Production of Way of the Warrior began in 1993. During that time Naughty Dog was bankrupt, and barely had any money to finish the game. Friends of the company were enlisted to portray the game's characters. As Naughty Dog could not afford a bluescreen or any kind of motion capture backdrop, a yellow sheet was glued to a wall in the developers' apartment. However, the apartment turned out to be too small. To film the moves in the game, Jason Rubin had to open the front door and shoot from the apartment hallway. The neighbors mistakenly believed that the crew were filming kinky adult films. Pillow cases and sheets, various items within the apartment, McDonald's Happy Meals and inexpensive knick knacks were used to create the costumes of the characters. To round out the experience, Jason Rubin joined in and participated by portraying two of the characters in the game. After the game was completed, Naughty Dog presented Way of the Warrior to Mark Cerny of Universal Interactive Studios (now the defunct Vivendi Games). Cerny was pleased with the product and agreed to have Universal Interactive Studios be the publisher of the game, as well as signing on Naughty Dog for three additional games (which would later become Crash Bandicoot, Crash Bandicoot 2: Cortex Strikes Backand Crash Bandicoot 3: Warped).[1]

Early print advertisements that appeared for the game mocked its intended competitor Mortal Kombat, and boasted that characters would have up to 9 fatalities each.

Naughty Dog later worked with American Laser Games to develop an arcade version of the game; prototypes were built and tested, but were never released. Aside from the controllers, the arcade version was identical to the 3DO version, and even used a 3DO Interactive Multiplayer system for hardware.[2]

ReceptionEdit

Several demos were sent out to various magazines plus a non-playable demo appearing on sampler discs for the consumer.[citation needed] While initial response was very positive, the final product received mixed reactions from the press.[citation needed] The reviewers of Electronic Gaming Monthly gave the game an average score of 3.75 out of 10, praising the graphics, animation, and fatalities, but panning the controls, especially the difficulty in pulling off special moves.[3] GamePro gave the game a negative review, citing dull character design, long load times, small sprites, weak sound effects, and shallow challenge. Contradicting EGM, however, they asserted that "Executing the special moves is not hard".[4]

By the standards of the 3DO, the game sold well, outdoing the 3DO port of SNK's Samurai Shodown.[5]

ReferencesEdit

^ "From Rags to Riches: Way of the Warrior to Crash 3". Game Informer 66(October 1998): 18–19. 1998.^ "Way of the Warrior". GamePro (66) (IDG). January 1995. p. 32.^ "Review Crew: Way of the Warrior". Electronic Gaming Monthly (62) (EGM Media, LLC). September 1994. p. 38.^ "ProReview: Way of the Warrior". GamePro (65) (IDG). December 1994. p. 174.^ Gameography: Way of the Warrior, Naughty Dog, Inc. Retrieved July 10, 2014

External linksEdit

Way of the Warrior at MobyGames

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B M COULOMBE an article

 

 

A little about me, founder of BMC Museum; B.M.Coulombe

Hello, my name is B.M. Coulombe, I have always been strongly intrigued by the Second World War, more particularly the Nazi Holocaust. In School, I found myself distraught, seeing color in photographs that everyone else saw black and white – looking into a mirror almost, as the facts and figures being set before me jumped into vividly flitting scenes of daily life – I could see the subtle things long consumed ; and understand individual worlds over seen then seemed by none aside me but time and kept alive but behind the eyes of those who’d survived. It was as if I’d been set on the wrong side of the glass in every museum I’d visited, always keeping quiet but wanting to explain, as the monotonous tour or lesson droned on with the same statistical numbers and general statements to shape and compress history into the hour, and thus rendering it meaningless .

I had so long observed how the war, as with all history (and more particularly society’s deemed less desirable parts) was represented in common education. What I observed simply was an incomplete picture, a confusing and disengaged mess of forced memorization and trivial facts learned if only briefly for the passing of a test and in total disregard to the real voices of war and genocide. In short, the relatable aspects, the humanity behind those facts and figures I saw slipping away, becoming lost in the mere few generational divides that separate our learning generation from what to their grandparents, and for some now great grandparents was all too real.

Fast forward  a few of years ago and after a few prior of collecting, I found that I had acquired quite a vast (and always growing) collection of artifacts of daily life; nameless portraits and various articles that time had left behind –  dusty old things forgotten and shown up without heirs. To many  they seemed to be just simple old things, but to me they told their endless stories, each a looking glass through the eyes of different sides of wartime European life, and too the Nazi Holocaust. Then as I am now, an avid scholar and Second World War collector, I kept these things in a massive private collection until I was first inspired to found BMC Museum.  Aside my always fascination with the European theatre, it was my seeing of the desperate need for tangible education. What I had observed years earlier and had become so distraught with –  that being that we all learn a predetermined assortment of figures and facts but still were so distant from them that we ceased to learn the realism of the past that our ancestors lived and how without history there would have been no future, none of what we presently call our own. Thus was born a motto of sorts, two sentences that describe everything I and my museum stand for. “Remembering the war’s unknown and forgotten. Humanizing the facts and figures.”

The  Mission of B.M.C Museum

 That said, I strive to bring back a sort of emotional tangibility to learning about the war and Nazi Holocaust. Explaining history through the eerily left ambiance, the silence aloud – the absence that surrounds each remnant of stolen lives, teaching rather that we must not solely listen but let for a moment our daily chatter subside and quite simply see, think, feel something as seemingly insignificant as a left behind bit of tattered clothing or long left nameless portrait; take a moment to truly hear that all-consuming silence, the stillness, the one voice that force could not take. I believe that in that we can truly discover history, taking no more than a moment, even if just to pause and think, to see that the remnants time’s left behind are so much more, that they are in fact each subtle reminders of someone’s everything – entire realities, lives no different than ours completely consumed by the hands of faces all the while beside them – their worlds engulfed by those within their own.  

To conclude, B.M.C. Museum strives to ensure the war’s unknowns and forgotten will never become any less than human. To paint in those black and white portraits and thus revive the humanity behind the detachment of generalized figures and facts so often used to define what was once to it’s people just as real as any of we are to another. Entire existences, frighteningly easily wiped from the earth as if never so, lives unlived and simply gone. With B.M.C Museum I can help preserve the subtle reminders of their worlds consumed, and speak the individual stories of stolen voices through the remnants of their lives.

Remembering those things that often sadly all some want to do is forget, for it is an unfortunate truth that our era will see the last of the eyes to witness such atrocity.  The last of the voices that bring the all too close to home feeling to history, that almost tangible humanity and accounts of  a stolen normalcy not unlike that which we often today take for granted. The faces and voices each one for all unknowns and forgotten, that too would without a heritage of remembrance become in time merely names, then nothing, as so much of even fairly current history does . In fact, the truth of history itself, (and more so it’s darkest chapters) would be gone if not for a new insight –  if not for a museum not of statistical information embellished by it’s artifacts of standard fare, but a museum of less common artifacts – pieces of the very fabric of lives, worlds, families never gotten to know posterity, merely embellished by the statistics. And thus is my mission, a mission to teach not  merely the facts used to define history in broad generalizations but individual humanities, untold stories of the voiceless through the subtle things they left behind. So that we may be their legacy, their remembrance when no one is left to remember, so that we may know a new sort of history, made up of each intimately human moment once lived, and that we may know we travel each day again over their time worn footsteps, but never end up in their shoes.

 

 

 

 

KUMITE AN ARTICLE

THIS IS WHEN IN KARATE YOU FIGHT SOMEONE EITHER IN A COMPETITION- RULES AND POINTS REWARDED OR AFTER MAIN KARATE LESSON WITH LESSER RULES .YOU START WITH A BOW  TO RESPECT YOUR FELLOW STUDENT OR OPPONENT .THEN KUMITE BEGINS LIKE A HUMAN GAME OF CHESS ,EYES ON YOUR OPPONENT NOT ON PUNCHES,KICKS OR OTHER MOVES COMING YOUR WAY.I HAVE SO FAR ONLY DONE 2 AND ADMIT TO FINDING DIFFICULT AS A PASSIVE PERSON WHO WOULD RATHER WALK AWAY FROM A FIGHT.BUT I KNOW ITS REQUIRED TO TOUGHEN YOU UP AND DEVELOP YOUR SKILL SET AND YOU LEARN QUICKLY THAT ALL HITS HURT BUT ITS NOT PERSONAL AND TOO LOSE YOUR TEMPER AS THATS A LOSE OF CONTROL.AFTER MAYBE A COUPLE OF MINUTES ,TIME SEEMS STOP DURING THIS,YOU BOW AGAIN AND IF I CAN I LIKE TO SHAKE THIER HAND  AS A WAY OF SAYING NOTHING DURING KUMITE IS PERSONAL AS THIS MAY DISRESPECT YOUR FELLOW STUDENTS.SO I MAY GET BETTER WHO KNOWS AS LONG AS I REMEMBER ALL MARTIAL ARTISTS SEEK PERFECTION AS PART OF ANY ART FORM YOU LEARN.FOLLOW LINK -https://en.wikipedia.org/wiki/Kumite

WAS BLACK DEATH A STOMACH BUG MUTATION

WAS TINY MUTATION IN A TUMMY BUG THE CAUSE OF BLACK DEATH. A STUDY OF ANCIENT STRAINS OF BACTERIA IN MICE FOUND IT FAILED TO ATTACK THE LUNGS AS PURELY A GASTIC INFECTION.A SIMPLE PROTEIN-PLA-WHEN ADDED TURNED INTO PNEUMONIC PLAGUE AND ANOTHER -PLA- VARIATION CAUSED BUBONIC PLAGUE

WOMANS WORLD CUP THIRD-FOURTH PLAY OFF-ENGLAND 1-GERMANY 0

WHATS SO SPECIAL ABOUT THIS SOME MIGHT SAY.WELL ITS ENGLAND SECOND BEST IN WORLD FOOTBALL AFTER 1966 - ENGLAND BEATING GERMANY -WELL WEST GERMANY BACK THEN.FUNNY OR FATE OPPONENTS FOR THE 3RD -4TH PLACE OFF WHERE GERMANY- A TEAM WE LOST TO 21 TIMES BEFORE THIS MATCH.BUT COMETH THE HOUR ,THE TEAM STOOD STRONG AND MANAGED TO BEAT GERMANY 1-0 .I HOPE THE ENGLISH PRESS AND SOME WHO THINK WOMANS FOOTBALL IS NOT WORTH IT ACCEPT THIS ,SO COME ON BE PROUD - WELL DONE ALL THE ENGLANDS LADIES TEAM

SHARK OFF HERNE BAY

SWIMMERS OFF THE COAST OF KENT GOT A SHOCK WHEN WAS A SHARK 25 YARDS FROM BEACH SHORE.THIS WAS OFF HERNE BAY,WITNESS NATALIE WORRAL SAW THE SHARKS FIN PROTRUDING 6 TO 8 INCHES OUT OF THE WATER ,POSSIBLE BAKING SHARK,THAMES COAST GUARD RECEIVED NO CALLS.

LOSE A SECOND

ALL CLOCKS WILL BE DELAYED BY 1 SECOND DUE TO COMPERSATE FOR SLOWER ROTATION OF THE EARTH.SYSTEMS RELIANT ON SUPER ACCURATE ATOMIC CLOCKS ARE TAKING STEPS TO KEEP DISRUPTION AT MININUM.LEAP SECONDS ARE INTRODUCED EVERY FEW YEARS AS NEEDED BECAUSE A DAY IS 86,400 SECONDS LONG ,FIRST DONE IN 1972 BY WHICH TIME ATOMIC AND ASTRONOMICAL CLOCKS WERE 10 SECONDS OUT OF KELTER.

PLANTS TIME SCENT

SCIENTISTS BELIEVE PLANTS HAVE BODY CLOCKS LIKE HUMANS TO TELL THEM WHEN TO RELEASE THIER SCENT DAY OR NIGHT.THROUGH STUDY OF PETUNIAS-RELEASE FRAGENT CHEMICALS AFTER SUNSET TO LATE NIGHT TIME POLLINATIORS.THE TIMINGS IS CONTROLLED BY A CELL- SYCHRONISING GENE CALLED LHG

CHIMPS ARE MORAL?

CHIMPS ARE BELIEVED BY SCENTISTS TO HAVE SENSE OF RIGHT AND WRONG SIMILAR TO HUMAN MORALITY.2 GROUPS OF APES SPENT 4 TIMES LONGER VIEWING FILM CLIPS OF A BABY CHIMP BEING KILLED BY ITS OWN KIND THAN THOSE SHOWING OTHER ACTS OF VIOLENCE.

BEER BICEPS

IN TEXAS,U TO U.S.A YOU CAN BUY BEER MUGS WITH A GRIP EXERCISER IN HANDLE TO BUILD UP ARM MUSCLES,10.00 DOLLARS A MUG

Gōjū-ryū AN ARTICLE

Gōjū-ryū

Interest

Gōjū-ryū (剛柔流), Japanese for "hard-soft style," is one of the main traditional Okinawan styles of karate, featuring a combination of hard and soft techniques. Both principles, hard and soft, come from the famous martial arts book used by Okinawan masters during the 19th and 20th centuries, the Bubishi (Chinese: 武備志;pinyin: Wǔbèi Zhì).Gō, which means hard, refers to closed hand techniques or straight linear attacks; jū, which means soft, refers to open hand techniques and circular movements. Gōjū-ryū incorporates both circular and linear movements into its curriculum, combining hard striking attacks such as kicks and close hand punches with softer open hand circular techniques for attacking, blocking, and controlling the opponent, including locks, grappling, takedowns and throws.

Major emphasis is given to breathing correctly in all of the katas but particularly in the Sanchin kata which is one of two core katas of this style. The second kata is called Tensho, meant to teach the student about the soft style of the system. Gōjū-ryū practices methods that include body strengthening and conditioning, its basic approach to fighting (distance, stickiness, power generation, etc.), and partner drills.

History[edit]

The development of Gōjū-ryū goes back to Higaonna Kanryō, (1853–1916), a native of Naha, Okinawa. Higaonna began studying Shuri-te as a child. He was first exposed to martial arts in 1867 when he began training in Luohanor "Arhat boxing" under Arakaki Seishō, a fluent Chinese speaker and translator for the court of the Ryukyu Kingdom.

In 1870, Arakaki went to Beijing to translate for Ryukyuan officials. It was then that he recommended Higaonna to Kojo Taitei, under whom Higaonna began training.

With the help of Taitei and a family friend, Higaonna eventually managed to set up safe passage to China, lodging, and martial arts instruction. In 1873 he left for Fuzhou in Fujian, China, where he began studying Chinese martial arts under various teachers.

Higaonna Kanryō, circa early 1900s

In 1877 he began to study under Ryū Ryū Ko. Tokashiki Iken has identified him as Xie Zhongxiang, founder of Whooping Crane Kung Fu. Zhongxiang taught several Okinawan students who went on to become karate legends.

Higaonna returned to Okinawa in 1882 and continued in the family business of selling firewood, while teaching a new school of martial arts, distinguished by its integration of gō-no (hard) and jū-no (soft)kenpō into one system. Higaonna's style was known as Naha-te. Gōjū-kai history considers that Chinese Nanpa Shorin-ken was the strain ofkung fu that influenced this style.

Higaonna Morio noted that in 1905, Higaonna Kanryō taught martial arts in two different ways, according to the type of student: At home, he taught Naha-te as a martial art whose ultimate goal was to be able to kill the opponent; however, at Naha Commercial High School, he taught karate as a form of physical, intellectual and moral education.

Higaonna's most prominent student was Chōjun Miyagi (1888–1953), the son of a wealthy shop owner in Naha, who began training under Higaonna at the age of 14. Miyagi had begun his martial arts training under Arakaki at age 11, and it was through Arakaki that he was introduced to Higaonna. Miyagi trained under Higaonna for 15 years until Higaonna's death in 1916.

In 1915 Miyagi and a friend Gokenki went to Fuzhou in search of Higaonna's teacher. They stayed for a year and studied under several masters but the old school was gone due to the Boxer Rebellion. Shortly after their return, Higaonna died. Many of Higaonna's students continued to train with Miyagi and he introduced a kata called Tensho which he had adapted from Rokkishu of Fujian White Crane.

Higaonna's most senior student Juhatsu Kyoda formed a school he called Tōon-ryū (Tōon is another way of pronouncing the Chinese characters of Higaonna's name, so Tōon-ryū means "Higaonna's style"), preserving more of Higaonna's approach to Naha-te.

In 1929 delegates from around Japan were meeting in Kyoto for the All Japan Martial Arts Demonstration. Miyagi was unable to attend, and so he in turn asked his top student Jin’an Shinsato to go. While Shinsato was there, one of the other demonstrators asked him the name of the martial art he practiced. At this time, Miyagi had not yet named his style. Not wanting to be embarrassed, Shinsato improvised the name hanko-ryu ("half-hard style"). On his return to Okinawa Prefecture, he reported this incident to Chōjun Miyagi, who decided on the name Gōjū-ryū ("hard soft style") as a name for his style. Chojun Miyagi took the name from a line of the poem Hakku Kenpo, which roughly means: "The eight laws of the fist," and describes the eight precepts of the martial arts. This poem was part of the Bubishi and reads, Ho wa Gōjū wa Donto su "the way of inhaling and exhaling is hardness and softness," or "everything in the universe inhales soft and exhales hard."

In March 1934, Miyagi wrote Karate-do Gaisetsu ("Outline of Karate-do (Chinese Hand Way)"), to introduce karate-do and to provide a general explanation of its history, philosophy, and application. This handwritten monograph is one of the few written works composed by Miyagi himself.

Miyagi's house was destroyed during World War II. In 1950, several of his students began working to build a house and dojo for him in Naha, which they completed in 1951. In 1952, they came up with the idea of creating an organization to promote the growth of Gōjū-ryū. This organization was called Gōjū-ryū Shinkokai ("Association to Promote Gōjū-ryū"). The founding members were Seko Higa, Keiyo Matanbashi, Jinsei Kamiya, and Genkai Nakaima.

There are two years that define the way Gōjū-ryū has been considered by the Japanese establishment: the first, 1933, is the year Gōjū-ryū was officially recognized as a budō in Japan by Dai Nippon Butoku Kai, in other words, it was recognized as a modern martial art, or gendai budō. The second year, 1998, is the year the Dai Nippon Butoku kai recognized Gōjū-ryū Karate-do as an ancient form of martial art (koryū) and as a bujutsu. This recognition as a koryū bujutsu shows a change in how Japanese society sees the relationships between Japan, Okinawa and China. Until 1998, only martial arts practiced in mainland Japan by samurai had been accepted askoryu bujutsu.

Philosophy[edit]

Miyagi believed that "the ultimate aim of karate-do was to build character, conquer human misery, and find spiritual freedom".

He stated that it was important to balance training for self-defense with "training the mind, or cultivating the precept karate-do ni sente nashi ('there is no first strike in karate')"; he also emphasized the importance of "cultivating intellect before strength".

Miyagi chose the name Goju-ryu ("go" meaning "hard" and "ju" meaning "soft"), to emphasize that his style integrated both "hard" and "soft" styles. Goju applies not just to karate, but to life in general; only hardness or only softness will not enable one to deal effectively with the fluctuations of life. When blocking, the body is soft and inhaling; when striking, the body is hard and exhaling.

Kata[edit]

Gōjū-ryū has 12 core kata in its standard curriculum: gekisai (dai ichi & dai ni), saifa, seiyunchin, seisan, saipai,shisochin, sanseiru, kururunfa, sanchin, tensho, and suparenpai. Students in most schools are required to know all of these kata before reaching sandan.

Morio Higaonna writes that "Karate begins and ends with kata. Kata is the essence and foundation of karate and it represents the accumulation of more than 1000 years of knowledge. Formed by numerous masters throughout the ages through dedicated training and research, the kata are like a map to guide us, and as such should never be changed or tampered with."

Almost all of the kata have a corresponding bunkai oyo, a prearranged two-person fighting drill. These drills help the student to understand the applications of the kata, establish proper rhythm/flow, to practice constant attack/defense, and to safely practice dangerous moves on a partner.

Kihongata[edit]

Kihongata means a "kata of basics." In Gōjū-ryū, sanchin kata is the foundation to all other Gōjū kata because it teaches basic movements, basic techniques, power generation and breathing techniques from qigong. It is also the foundation of body conditioning. The more the karateka practices this kata, the more his Heishugata will change. First variation of Sanchin-kata (sanchin kata dai-ichi) serves as Kihongata. See more on Sanchin kata below.

Gekisai[edit]

Gekisai (kanji: 撃砕; katakana: ゲキサイ) means "attack and destroy". These kata were created around 1940 by Chojun Miyagi and Nagamine Shoshin as beginners' kata, to introduce the basic forms of karate (kihon) to middle school students in Okinawa, to help bring about the standardization of karate, and to teach a basic set of techniques for self-defense.Gekisai kata were strongly influenced by the Shuri-te techniques that Miyagi learned from Anko Itosu.

Students first learn gekisai dai ichi and then gekisai dai ni. The main difference between dai ichi and dai ni is thatdai ni introduces open handed techniques and new stances. It is in gekesai dai ni that students are introduced to the neko ashi dachi stance, and to the wheel block(mawashe uke).

Saifa[edit]

Saifa (Kanji: 砕破; Katakana: サイファ) means "smash and tear".Saifa has its origins in China, and was brought to Okinawa by Higashionna. It contains quick whipping motions, hammerfists, and back fist strikes; it particularly emphasizes moving off-line from an opponent's main force, while simultaneously closing distance and exploding through them. This is usually the first advanced Gōjū-ryū kata the students learn in most goju kaiha, after gekisai dai ichi and gekisai dai ni.

Sanchin[edit]

Sanchin (Kanji: 三戦; Katakana: サンチン) means "three battles". This kata is a sort of moving meditation, whose purpose is to unify the mind, body and spirit. The techniques are performed very slowly so that the student masters precise movements, breathing, stance/posture, internal strength, and stability of both mind and body.

Sanchin is the foundation for all other kata, and is generally considered to be the most important kata to master. When new students came to Miyagi, he would often train them for three to five years before introducing them tosanchin. He would make them train very hard, and many of them quit before learning sanchin. Those that remained would focus almost exclusively on sanchin for two to three years. Miyagi's sanchin training was very harsh, and students would often leave practice with bruises from him checking their stance.

Tensho[edit]

Tensho (Kanji: 転掌; Katakana: テンショウ) means "revolving hands". Like sanchin, tensho is a form of moving meditation; tensho combines hard dynamic tension with soft flowing hand movements, and concentrates strength in the tanden.Tensho can be considered the ju (soft) counterpart of the sanchin's go (hard) style.

Kaishugata[edit]

Kaishugata means a "kata with open hands." This is more advanced than Heishugata. Kaishugata serves as a "combat application reference" kata and is open to vast interpretation (Bunkai) of its movements' purpose (hence, "open hands").

• Seiyunchin (kanji: 制引戦; katakana: セイユンチン (attack, conquer, suppress; also referred to as "to control and pull into battle"): Seiunchin kata demonstrates the use of techniques to unbalance, throw and grapple, contains close-quartered striking, sweeps, take-downs and throws.

• Shisōchin - Kanji: 四向戦- Katakana: シソーチン ("to destroy in four directions" or "fight in four directions"): It integrates powerful linear attacks (shotei zuki) and circular movements and blocks. It was the favorite kata of the late Miyagi.

• Sanseirū - Kanji: 三十六手 - Katakana: サンセイルー (36 Hands): The kata teaches how to move around the opponent in close quarters fights, and emphasizes the destruction of the opponent's mobility by means of kanzetsu geri.

• Seipai - Kanji: 十八手 - Katakana: セイパイ (18 Hands): Seipai incorporates both the four directional movements and 45° angular attacks and implements techniques for both long distance and close quarter combat. This was a Seikichi Toguchi's specialty kata.

• Kururunfa - Kanji: 久留頓破 - Katakana: クルルンファー (holding on long and striking suddenly): Its techniques are based on the Chinese Praying Mantis style. It was Ei'ichi Miyazato's specialty kata.

• Seisan - Kanji: 十三手 - Katakana: セイサン (13 Hands): Seisan is thought to be one of the oldest kata that is widely practiced among other Naha-te schools. Other ryuha also practice this kata or other versions of it.

• Suparimpei - Kanji: 壱百零八 - Katakana: スーパーリンペイ (108 Hands): Also known as Pechurin, it is the most advanced Gōjū-ryū kata. Initially it had three levels to master (Go, Chu, and Jo), later Miyagi left only one, the highest, "Jo" level. This was a Meitoku Yagi's, Masanobu Shinjo, and Morio Higaonna's specialty kata.

Fukyugata[edit]

In 1940, Hayakawa, governor of Okinawa, assembled the Karate-Do Special Committee, composed by Ishihara Shochoku (chairman), Miyagi Chojun, Kamiya Jinsei, Shinzato Jinan, Miyasato Koji, Tokuda Anbun, Kinjo Kensei, Kyan Shinei, and Nagamine Shoshin. The goal was to create a series of Okinawan kata to teach physical education and very basic Okinawan 'independent style' martial arts to school children. Their goal was not to create a standardized karate as the Japanese had been doing with kendo and judo for the sake of popularization.

This type of kata is not traditional Gōjū-ryū kata; instead, they are "promotional kata", simple enough to be taught as part of physical education programs at schools and part of a standardized karate syllabus for schools, independent of the sensei's style.

Nagamine Shoshin (Matsubayashi Shorin-Ryū) developed fukyugata dai ichi, which is part of current Matsubayashi Shorin Ryu syllabus; Miyagi Chojun developed fukyugata dai ni, which is part of current Gōjū-ryū syllabus under the name gekisai dai ichi. Some Gōjū-ryū dojos still practice fukyugata dai ichi. Miyagi also created gekisai dai ni, but it is practiced by Gōjū-ryū and some offsprings only.

Notes[edit]

1. ^ Gojuryu Karatedo Kobudo GIKKU YUZENKAI 剛柔流 空手道 古武道 勇善会 Japan international karatedo kobudo union 厚木市 空手道場
2. ^ McCarthy, 1995: p. 36
3. ^ Toguchi, 1976: p. 14
4. ^ McCarthy, 1995: p. 35
5. ^ 1
6. ^ Higaonna, 2001: p. 22
7. ^ McCarthy and Lee, 1987: p. 39
8. ^ Bishop, Mark (1989). Okinawan Karate. p. 28. ISBN 0-7136-5666-2.
9. ^ Meitoku Yagi. History of Tōon-ryū
10. ^ Toguchi, 1976: p.14
11. ^ Higaonna, 2001: pp. 67–68
12. ^ McCarthy, 1995: p. 160
13. ^ McCarthy, 1999: pp. 43-44
14. ^ Toguchi, 2001: p. 23
15. ^ Kanryo Higaonna 東恩納 寛量
16. ^ McCarthy, 1999: p. 41
17. ^ McCarthy, 1999: p. 50
18. ^ Kane & Wilder, 2005: p. 241
19. ^ quoted in Kane & Wilder, 2005: p. 12
20. ^ Kane & Wilder, 2005: pp. 14-15
21. ^ Okinawa Gojuryu Karatedo Kugekai
22. ^ Kane & Wilder, 2005: p. 226
23. ^ Toguchi, 1976: p. 16
24. ^ Toguchi, 2001: p. 16
25. ^ Kane & Wilder, 2005: p. 15
26. ^ Wilder, 2007: pp. xi-xiii
27. ^ Kane & Wilder, 2005: p. 242
28. ^ Wilder, 2007: p. xi
29. ^ Babladelis, Paul (December 1992). "The Sensei Who Received Chojun Miyagi's Belt: Okinawan Goju-Ryu Karate is in Good Hands with Meitoku Yagi". Black Belt Magazine: 41.
30. ^ Kata, University of Washington Goju-Ryu Karate Club
31. ^ Clark, Mike. "Six winds hands of Tensho". Retrieved 2008-12-07.
32. ^ Goodin, Charles "The 1940 Karate-Do Special Committee: The Fukyugata Promotional Kata." 1999.

References[edit]

• Higaonna, Morio (2001). The History of Karate: Okinawan Goju Ryu. ISBN 0-946062-36-6.
• Kane, Lawrence A.; Wilder, Kris (2005). The Way of Kata: A Comprehensive Guide to Deciphering Martial Applications. YMAA Publication Center Inc. ISBN 978-1-59439-058-6.
• McCarthy, Patrick (1995). The Bible of Karate: Bubishi. Tuttle Publishing. ISBN 0-8048-2015-5.
• McCarthy, Patrick (1999). Ancient Okinawan Martial Arts. Vol. 1. Tuttle Publishing. ISBN 978-0-8048-3147-5.
• McCarthy, Patrick; Lee, Mike (1987). Classical Kata of Okinawan Karate (2nd ed.). Black Belt Communications. ISBN 978-0-89750-113-2.
• Nardi, Thomas J. (June 1985). "Learning Goju-Ryu Karate from the Source: Chojun Miyagi". Black Belt Magazine 23 (6): 28–32; 126–129.
• Okami, Paul (January 1983). "The Long and Winding Road: History of Goju-Ryu From Its Origin in China to Its Demise(?) in New York City". Black Belt Magazine 21 (1): 70–77.
• Toguchi, Seikichi (1976). Okinawan Goju-Ryu. Black Belt Communications. ISBN 978-0-89750-018-0.
• Toguchi, Seikichi (2001). Okinawan Goju-Ryu II: Advanced Techniques of Shorei-Kan Karate. Black Belt Communications. ISBN 978-0-89750-140-8.
• Wilder, Kris (2007). The Way of Sanchin Kata: The Application of Power. YMAA Publication Center Inc.ISBN 978-1-59439-084-5.

Further reading[edit]

• Sells, John; "The Okinawans", Black Belt Magazine, October 1977
• Higaonna, Morio. Karate-do Tradicional: Tecnicas BasicasHigaonna, Morio (2001). The History of Karate: Okinawan Goju Ryu. ISBN 0-946062-36-6.
• Kane, Lawrence A.; Wilder, Kris (2005). The Way of Kata: A Comprehensive Guide to Deciphering Martial Applications. YMAA Publication Center Inc. ISBN 978-1-59439-058-6.
• McCarthy, Patrick (1995). The Bible of Karate: Bubishi. Tuttle Publishing. ISBN 0-8048-2015-5.
• McCarthy, Patrick (1999). Ancient Okinawan Martial Arts. Vol. 1. Tuttle Publishing. ISBN 978-0-8048-3147-5.
• McCarthy, Patrick; Lee, Mike (1987). Classical Kata of Okinawan Karate (2nd ed.). Black Belt Communications. ISBN 978-0-89750-113-2.
• Nardi, Thomas J. (June 1985). "Learning Goju-Ryu Karate from the Source: Chojun Miyagi". Black Belt Magazine 23 (6): 28–32; 126–129.
• Okami, Paul (January 1983). "The Long and Winding Road: History of Goju-Ryu From Its Origin in China to Its Demise(?) in New York City". Black Belt Magazine 21 (1): 70–77.
• Toguchi, Seikichi (1976). Okinawan Goju-Ryu. Black Belt Communications. ISBN 978-0-89750-018-0.
• Toguchi, Seikichi (2001). Okinawan Goju-Ryu II: Advanced Techniques of Shorei-Kan Karate. Black Belt Communications. ISBN 978-0-89750-140-8.
• Wilder, Kris (2007). The Way of Sanchin Kata: The Application of Power. YMAA Publication Center Inc. ISBN 978-1-59439-084-5.