Behold the Power Of One

Alan Watts AKA the actor John Carradine

I guess I forgot to post this one a while back when worked on Alan Watts.  (If anyone helped me in that research and I have forgotten, please let me know so I can give credit to you)

Alan Watts

Alan Watts

The following is from
https://en.wikipedia.org/wiki/Alan_WattsAlan Wilson Watts

Alan Wilson Watts (6 January 1915 – 16 November 1973) was a British-born American philosopher, writer, and speaker, best known as an interpreter and populariser of Eastern philosophy for a Western audience. Born in Chislehurst, England, he moved to the United States in 1938 and began Zen training in New York. Pursuing a career, he attended Seabury-Western Theological Seminary, where he received a master’s degree in theology. Watts became an Episcopal priest in 1945, then left the ministry in 1950 and moved to California, where he joined the faculty of the American Academy of Asian Studies.

Watts gained a large following in the San Francisco Bay Area while working as a volunteer programmer at KPFA, a Pacifica Radio station in Berkeley. Watts wrote more than 25 books and articles on subjects important to Eastern and Western religion, introducing the then-burgeoning youth culture to The Way of Zen (1957), one of the first bestselling books on Buddhism. InPsychotherapy East and West (1961), Watts proposed that Buddhism could be thought of as a form of psychotherapy and not a religion. He considered “Nature, Man, and Woman” (1958) to be, “from a literary point of view – the best book I have ever written.”[citation needed] He also explored human consciousness, in the essay “The New Alchemy” (1958), and in the book The Joyous Cosmology (1962).

Towards the end of his life, he divided his time between a houseboat in Sausalito and a cabin on Mount Tamalpais. Many of his books are now available in digital format and many of his recorded talks and lectures are available on the Internet. According to the critic Erik Davis, his “writings and recorded talks still shimmer with a profound and galvanizing lucidity.”[2]

John Carradine

John Carradine

The following is from https://en.wikipedia.org/wiki/John_Carradine

John Carradine (born Richmond Reed Carradine; February 5, 1906 – November 27, 1988) was an American actor, best known for his roles in horror films and Westerns as well as Shakespearean theater. A member of Cecil B. DeMille‘s stock company and later John Ford‘s company, he was one of the most prolific character actors in Hollywood history. He was married four times, had five children and was the patriarch of the Carradine family, including four of his sons and four of his grandchildren who are or were also actors.

Early life

John Carradine was born in the Greenwich Village section of the Manhattan borough of New York City, son of William Reed Carradine, a correspondent for the Associated Press, and his wife Dr. Genevieve Winnifred Richmond, a surgeon.[1][2] He was primarily of Irish descent.[3] William Carradine was the son of evangelical author Beverly Carradine. The family lived in Peekskill and Kingston, New York.[4] William Carradine died from tuberculosis when his son John was two years old. Carradine’s mother then married “a Philadelphia paper manufacturer named Peck, who thought the way to bring up someone else’s boy was to beat him every day just on general principle.”[5] Carradine attended the Christ Church School in Kingston[4] and the Episcopal Academy in Merion Station, Pennsylvania, where he developed his diction and his memory while memorizing portions of theEpiscopal Book of Common Prayer as a punishment.[5]

Carradine’s son, David, claimed his father ran away when he was 14 years old. He later returned, as he studied sculpture at Philadelphia’s Graphic Arts Institute.[4] Carradine lived with his maternal uncle, Peter Richmond, in New York City for a while, working in the film archives of the public library. David said that while still a teenager, his father went to Richmond, Virginia, to serve as an apprentice to Daniel Chester French, the sculptor who created the statue of Abraham Lincoln for the Lincoln Monument (see notes). He traveled for a time, supporting himself painting portraits. “If the sitter was satisfied, the price was $2.50,” he once said. “It cost him nothing if he thought it was a turkey. I made as high as $10 to $15 a day.”[1] During this time, he was arrested for vagrancy. While in jail, Carradine was beaten, suffering a broken nose that did not set correctly. This contributed to “the look that would become world famous.”[5]

David Carradine said, “My dad told me that he saw a production of Shakespeare‘s The Merchant of Venice when he was eleven years old and decided right then what he wanted to do with his life”.[5] He made his stage debut in 1925 in New Orleans in a production of Camille and worked for a time in a New Orleans Shakespeare company.[4] Carradine joined a tent repertory theater under the management of R. D. MaClean, who became his mentor. In 1927, he took a job escorting a shipment of bananas from Dallas, Texas toLos Angeles,[4] where he eventually picked up some theater work under the name of Peter Richmond, in homage to his uncle. He became friends with John Barrymore, and began working for Cecil B. DeMille as a set designer. Carradine, however, did not have the job long. “DeMille noticed the lack of Roman columns in my sketches,” Carradine said. “I lasted two weeks.”[4] Once DeMille heard his baritone voice, however, he hired him to do voice-overs. Carradine said, “…the great Cecil B. DeMille saw an apparition – me – pass him by, reciting the gravedigger’s lines from ‘Hamlet,’ and he instructed me to report to him the following day.”[1] He became a member of DeMille’s stock company and his voice was heard in several DeMille pictures, including The Sign of the Cross.

So what does this all mean?
Well, it means that all the crap that Alan Watts has said came from the corporations that own’s the name, Alan Watts.  It’s all part of the actor based reality the corporations use to generate profit and keep you buying the actors books and merchandise.  They could care less if what they are telling you is the truth or just another page taken from their hired script writers notebook.

So isn’t it interesting that Carradine playing the character Watts is credited with the following:

Watts felt that absolute morality had nothing to do with the fundamental realization of one’s deep spiritual identity. He advocated social rather than personal ethics. In his writings, Watts was increasingly concerned with ethics applied to relations between humanity and the natural environment and between governments and citizens. He wrote out of an appreciation of a racially and culturally diverse social landscape.

He often said that he wished to act as a bridge between the ancient and the modern, between East and West, and between culture and nature.

Watts led some tours for Westerners to the Buddhist temples of Japan. He also studied some movements from the traditional Chinese martial art T’ai chi ch’uan, with an Asian colleague, Al Chung-liang Huang.

Then not that John Carradine’s son is the actor that played a role as the Zen Buddhist Kung Fu master on the TV show “Kung Fu”

Here is a portions from a book that will sum it all up for you.
carradine

Kung Fu is an American actionadventure martial arts western drama television series starring David Carradine. The series aired on ABC from October 1972 to April 1975 for a total of 63 episodes. Kung Fu was preceded by a full-length feature television  pilot, an ABC Movie of the Week, which was broadcast on February 22, 1972. The series became one of the most popular television programs of the early 1970s, receiving widespread critical acclaim and commercial success upon its release.[2]

Kung Fu was created by Ed Spielman, directed and produced by Jerry Thorpe, and developed by Herman Miller, who was also a writer for, and co-producer of, the series.

The series follows the adventures of Kwai Chang Caine (portrayed by David Carradine as an adult, Keith Carradine as a teenager, and Radames Pera as a young boy), a Shaolin monk who travels through the American Old West armed only with his spiritual training and his skill in martial arts, as he seeks Danny Caine, his half-brother.[3] Many of the aphorisms used in the series are adapted from or derived directly from the Tao Te Ching, a book of ancient Taoist philosophy attributed to the sageLaozi.[4][5][6]

Keye Luke (as the blind Master Po) and Philip Ahn (as Master Kan) were also members of the regular cast. David Chow, who was also a guest star in the series, acted as the technical and kung fu advisor, a role later undertaken by Kam Yuen.

Carradine as Caine

Kwai Chang Caine (David Carradine) is the orphaned son of an American man, Thomas Henry Caine, and a Chinese woman, Kwai Lin, in mid-19th-century China.[7] After his maternal grandfather’s death he is accepted for training at a Shaolin Monastery, where he grows up to become a Shaolin priest and martial arts expert.

In the pilot episode Caine’s beloved mentor and elder, Master Po, is murdered by the Emperor’s nephew; outraged, Caine retaliates by killing the nephew. With a price on his head, Caine flees China to the western United States, where he seeks to find his family roots and, ultimately, his half-brother, Danny Caine.

Although it is his intention to avoid notice, Caine’s training and sense of social responsibility repeatedly force him out into the open, to fight for justice or protect the underdog. After each such encounter he must move on, both to avoid capture and prevent harm from coming to those he has helped. Searching for his family, he meets a preacher (played by real-life father John Carradine) and his mute sidekick Sunny Jim (played by brother Robert Carradine), then his grandfather (played by Dean Jagger).

Flashbacks are often used to recall specific lessons from Caine’s childhood training in the monastery from his teachers, the blind Master Po (Keye Luke) and Master Kan (Philip Ahn). Part of the appeal of the series was undoubtedly the emphasis laid, via the flashbacks, on the mental and spiritual power that Caine had gained from his rigorous training. In these flashbacks, Master Po calls his young student “Grasshopper” in reference to a scene in the pilot episode:

Master Po: Close your eyes. What do you hear?
Young Caine: I hear the water, I hear the birds.
Po: Do you hear your own heartbeat?
Caine: No.
Po: Do you hear the grasshopper which is at your feet?
Caine: Old man, how is it that you hear these things?
Po: Young man, how is it that you do not?[8]

During four episodes of the third and final season (“Barbary House”, “Flight to Orion”, “The Brothers Caine”, and “Full Circle”), Caine finds his brother Danny and his nephew Zeke.

Production

The Shaolin Monastery which appeared in flashbacks was originally a set used for the 1967 film Camelot. It was inexpensively and effectively converted for the setting in China.

The series used slow-motion effects for the action sequences, which Warner Brothers had previously utilized in the 1969 Sam Peckinpah film The Wild Bunch.

Bruce Lee’s involvement

In her memoirs, Bruce Lee‘s widow, Linda Lee Cadwell, asserts that Lee created the concept for the series, which was then stolen by Warner Bros.[9] There is circumstantial evidence for this in a December 8, 1971 television interview that Bruce Lee gave on The Pierre Berton Show. In the interview, Lee stated that he had developed a concept for a television series called The Warrior, meant to star himself, about a martial artist in the American Old West (the same concept as Kung Fu, which aired the following year), but that he was having trouble pitching it to Warner Brothers and Paramount.

In the interview, Pierre Berton comments, “There’s a pretty good chance that you’ll get a TV series in the States called ‘The Warrior’, in it, where you use what, the Martial Arts in Western setting?”

Lee responds, “That was the original idea, …both of them [Warner and Paramount], I think, they want me to be in a modernized type of a thing, and they think that the Western type of thing is out. Whereas I want to do the Western. Because, you see, how else can you justify all of the punching and kicking and violence, except in the period of the West?”

Later in the interview, Berton asks Lee about “the problems that you face as a Chinese hero in an American series. Have people come up in the industry and said ‘well, we don’t know how the audience are going to take a non-American’?”

Lee responds “Well, such question has been raised, in fact, it is being discussed. That is why The Warrior is probably not going to be on.” Lee adds, “They think that business-wise it is a risk. I don’t blame them. If the situation were reversed, and an American star were to come to Hong Kong, and I was the man with the money, I would have my own concerns as to whether the acceptance would be there.”[10]

Whether or not Kung Fu was based on a concept by Lee, he was undoubtedly considered for the starring role. Herbie Pilato, in his 1993 book The Kung Fu Book of Caine: The Complete Guide to TV’s First Mystical Eastern Western (pages 32–33), commented on the casting decision:

Before the filming of the Kung Fu TV movie began, there was some discussion as to whether or not an Asian actor should play Kwai Chang Caine. Bruce Lee was considered for the role. In 1971, Bruce Lee wasn’t the cult film hero he later became for his roles in The Big Boss (1971), Fist of Fury (1972), Way of the Dragon(1972) and Enter the Dragon (1973). At that point he was best known as Kato on TV’s Green Hornet (1966–1967) (Kung Fu guest actor Robert Ito reports that Lee hated the role of Kato because he “thought it was so subservient”). “In my eyes and in the eyes of Jerry Thorpe,” says Harvey Frand, “David Carradine was always our first choice to play Caine. But there was some disagreement because the network was interested in a more muscular actor and the studio was interested in getting Bruce Lee.” Frand says Lee wouldn’t have really been appropriate for the series—despite the fact that he went on to considerable success in the martial arts film world. The Kung Fu show needed a serene person, and Carradine was more appropriate for the role. Ed Spielman agrees: “I liked David in the part. One of Japan’s foremost Karate champions used to say that the only qualification that was needed to be trained in the martial arts was that you had to know how to dance. And on top of being an accomplished athlete and actor, David could dance.” Nonetheless, grumbling from the Asian community would have made sense, given the fact that major roles for Asian actors were almost nonexistent. James Hong, an actor on the show and ex-president of the Association of Asian/Pacific American Artists (AAPAA) says that at the time Asian actors felt that “if they were going to do a so-called Asian hero on Kung Fu, then why don’t they hire an Asian actor to play the lead? But then the show went on, we realized that it was a great source of employment for the Asian acting community.” In fact, Hong says, Carradine had a good relationship with the Asian community.

Ed Spielman’s commentary

According to Herbie J. Pilato, author of The “Kung Fu” Book of Caine and The “Kung Fu” Book of Wisdom:

Ed Spielman is the creator of the ‘Kung Fu’ series. Any claims to the contrary are incorrect, and an injustice. As a teenager, Mr. Spielman worked as a page at ABC-TV in New York. He discovered the secret arts of kung-fu in the early 1960s, and he studied Mandarin Chinese in College at night. He spent years doing his research in New York’s Chinatown and elsewhere unearthing this heretofore secret knowledge. At that time, kung-fu was not known in the Western world and was denied to non-Chinese. It was taught by master/student relationships and within families. It was never revealed to non-Chinese. But, Spielman pressed on.

By the mid-1960s, Ed had acquired a depth of information, and wrote a forty-four-page treatment for film, TV and publishing titled, ‘Kung Fu: The Way of the Tiger, The Sign of the Dragon.’ He spent the next few years trying to move it forward to film or television. In 1969, he was introduced to young agent Peter Lampack at the William Morris Agency in New York. Lampack liked the material and made a deal with Warner’s executive Bennett Sims in New York.

In February of 1970, Lampack bartered a deal for Spielman and his friend and collaborator, Howard Friedlander, to write a theatrical motion picture screenplay from Spielman’s original story. All of this occurred in New York.

At the end of this development, Warner Bros. chose not to make the theatrical film. But, studio executive Harvey Frand had faith in the project, and took it to ABC, which by that time, had introduced a pioneering ‘Movie of The Week’ format.

The Spielman/Friedlander script was pared down for budget, produced and shown on ABC, February 22, 1972. It was an immediate hit. The iconic ‘Kung Fu’ monthly-then-weekly series followed…

Undoubtedly, Bruce Lee had his own ideas and aspirations, but that has nothing to do with Ed Spielman’s ground-breaking and original work. The Writers Guild of America West awarded sole credit to Ed Spielman as the creator of ‘Kung Fu’… And no allegation of Bruce Lee’s having to do with the creation of ‘Kung Fu’ appeared in public until ‘The Bruce Lee Story’ (1993) in which the allegation was made.

Ed Spielman told me specifically: ‘In 1993, I was preparing a major law suit against Universal,DeLaurentis Productions and all of those who were responsible for the false allegations in ‘The Bruce Lee Story’ to deprive me of the authorship of my work and defame me. But, Bruce Lee died in 1973 and his son Brandon also tragically died in 1993. A lawsuit by me would have fallen on Bruce Lee’s widow, Linda. She had lost enough. I didn’t think she would have survived those years in court. I thought about it…then told the lawyers to forget about it. The documents speak for themselves for anyone who cares to look…I was greatly disappointed that Bruce Lee did notappear as a principal in the ‘Kung Fu’ series. But he had nothing to do with its creation. My work and the ‘Kung Fu’ project was on the East Coast; his was on the West Coast. My work predated his by years. The complete story and characterswere registered in themid-1960s. The documents and contracts prove that.

— Herbie J. Pilato
And there you have the truth, Grasshopper.

One comment

  1. Please notice the hidden horror artwork in the image…

    The right hand is a hairy thing with the face if a monster with eyes.

    RbM