Kung Fu is an American action-adventure martial arts Western drama television series starring David Carradine. The series follows the adventures of Kwai Chang Caine, 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.

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 sage Lao-tzu.

Plot

Kwai Chang Caine (David Carradine) is the orphaned son of an American man, Thomas Henry Caine (Bill Fletcher), and a Chinese woman, Kwai Lin, born in mid-19th-century China. 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 with a firearm; outraged, Caine retaliates by killing the nephew, with everyone unaware that the man was reloading his weapon to attack again. 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. A recent tombstone dated 1874 in a season 3 episode places the stories approximately between 1871 and 1875.

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 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 Chen Ming Kan (Philip Ahn). In those flashbacks, Master Po advises his young student "patience, Grasshopper",  a nickname given from a playful lesson he taught to Caine as a child about being aware of the world around him, including the grasshopper that happened to be at his feet at that moment.

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 (Tim McIntire) and his nephew Zeke (John Blyth Barrymore).

Cast

Main cast
 David Carradine as Kwai Chang Caine (63 episodes)
 Radames Pera as Young Caine (48 episodes)
 Keye Luke as Master Po (48 episodes)
 Philip Ahn as Master Kan (40 episodes)

Guest cast
This list comprises a selection of actors billed in the opening credits, and some actors whose characters were decisive in the episode plot's development or who later became widely recognized for other productions. Among them there are nominees and winners of Academy Awards, Emmy, Golden Globe, Tony, and other film and theater awards. At the minute 6:39 of the Kung Fu DVD documentary The Tao of Caine: Production and Beyond, Herbie J. Pilato says: "One of the great things about Kung Fu is that it had this incredible A-list of guest stars. You know, there were stars then, and they became stars later (...) So, it was a breeding ground for A-1 talent and it was also just surrounded by A-1 talent, I mean, in front of and behind the scenes. They didn't settle for less." Jerry Thorpe added: "People wanted to do the show because it was unique, it's as simple as that. Yes, it was fairly easy to cast people that normally wouldn't do a series television."

This list does not reflect the full extent of Asian American actors' participation, since most of them were billed in the series' closing credits. It can be noticed that a group of Asian actors appeared repeatedly in the series. According to John Furia Jr. in a May 1973 interview, this happened because "one of the problems we're faced with is that Oriental actors did not have much opportunity to act in TV or movies before, and so there is no great pool to draw from. So far, availability of martial artists for the training and fighting scenes has been good." Asian actors who returned often to the series were mostly members of the East West Players, brought to the series by Guy Lee, who would take charge of Bessie Loo's Talent Agency when she retired.

The Carradine Family
 John Carradine (s1e2, s2e21, s3e23) as Rev. Serenity Johnson
 Keith Carradine (Pilot, s1e9) as Teenager Caine (uncredited)
 Bruce Carradine (s2e13) as Sheriff, (s3e26) as Capt. Roy Starbuck
 Robert Carradine (s1e2) as Sunny Jim

The Caine Family
 Dean Jagger (s1e2) as Henry Raphael Caine
 Bill Fletcher (s1e11) as Fox, (s3e14) as Thomas Henry Caine
 Tim McIntire (s1e4) as Samuel Buchanan, (s2e1) as Deputy Mitchell, (s3e18-21) as Daniel Caine
 John Blyth Barrymore (s3e18-21) as Zeke Caine
 Stephen Manley (s3e14, s3e16) as Boy Caine

Actors appearing in three or more episodes
 James Hong (Pilot, s2e5, s2e20, s3e3, s3e4, s3e9, s3e22) as various characters and bit parts in others
 Richard Loo (Pilot, s2e7, s2e20, s3e8, s3e11) as various characters
 Victor Sen Yung (Pilot, s1e11, s2e5, s2e15, s3e12) as various characters
 Benson Fong (Pilot, s1e3, s2e4, s3e13) as various characters
 Clyde Kusatsu (s2e20, s3e1-2, s3e15) as various characters
 Leslie Nielsen (s3e18-21) as Vincent Corbino
 Khigh Dhiegh (s1e10) as Shang Tzu, (s3e10-11) as Sing Lu Chan
 Robert Ito (Pilot) as Fong, (s2e2) as Blacksmith/Ninja, (s2e15) as Captain Tim Lee
 Albert Salmi (Pilot) as Raif, (s1e7) as Shawn Mulhare, (s3e7) as Reuben Branch
 Soon-Tek Oh (s1e8) as Kwan Chen, (s2e19) as Chen Yi, (s3e8) as Yi Lien
 John Vernon (s3e6) as Forbes, (s3e20-21) as General Cantrell

Actors appearing in two episodes
 Eddie Albert (s3e1-2) as Dr. George Baxter
 Edward Albert (s3e1-2) as Johnny Kingsley McLean
 John Anderson (s1e3) as Benjamin Dundee, (s2e18) as Jack Youngblood
 Jim Davis (s1e6) as Joe Walker, (s2e1) as Sheriff Grogan
 Howard Duff (s2e14) as Noah Fleck, (s3e4) as Mr. Jenkins
 Dana Elcar (s1e7) as Judge Todd A. Pritikin, (s2e2) as Noah Jones
 Stefan Gierasch (s2e22-23) as Logan McBurney/Kai Tong
 Michael Greene (s1e9) as Huntoon, (s3e12) as Aztec Priest
 Barbara Hershey (s3e10-11) as Nan Chi
 Season Hubley (s3e1-2) as Margit Kingsley McLean
 David Huddleston (s2e9) as Nathaniel, (s3e16) as Shelby Cross
 Scott Hylands (s1e3) as Randy Bucknell, (s2e6) as Saunders
 Roy Jenson (Pilot) as Fuller, (s1e12) as Rupp
 L. Q. Jones (s1e4) as Sgt. Straight, (s3e24) as Maj. Clearke Bealson
 Don Keefer (s3e7) as Stripper, (s3e19) as Station Keeper
 Nancy Kwan (s2e22-23) as Mei Li Ho
 A. Martinez (s3a6) as Slade, (s3e21) as Tigre Cantrell
 Mae Mercer (s2e1, s3e24) as Elizabeth Brown
 Patricia Neal (s3e1-2) as Sara Kingsley
 Lois Nettleton (s3e18-19) as Delonia Cantrell
 Shelly Novack (s1e6) as Breck Rankin, (s2e21) as Bascomb
 Michael Pataki (s2e22-23) as Buskirk
 Denver Pyle (s1e15) as Mayor Howard Simms, (s2e18) as Dr. Joseph Colton
 James Shigeta (s3e9) as Master Kwan Li, (s3e15) as Col. Lin Pei
 Barry Sullivan (Pilot) as Dillon, (s2e18) as Edwards
 Clare Torao (as Clare Nono) (s2e17) as Cinnamon, (s3e22) as Princess Mei Ming
 Warren Vanders (s1e9) as Sergeant E.T. Bedford, (s2e16) as Clifford Tait
 Hal Williams (s2e1, s3e24) as Caleb Brown
 Anthony Zerbe (s2e10) as Paul Klempt, (s3e5) as Rafe
 Morgan Woodward (s1e8) as Col. Binns, (s2e21) as The Hanged Man

Actors appearing in one episode
 Cannonball Adderley (s3e17) as Trim Delaville
 Charles Aidman (s3e24) as Dr. Cooper
 Barry Atwater (s2e17) as Kyle Thurmond
 Lew Ayres (s3e13) as Beaumont
 John Drew Barrymore (s2e14) as Alex McGregor
 Fred Beir (s1e14) as Jim Gallagher
 Cal Bellini (s3e5) as Hoskay
 Ramon Bieri (s2e9) as John Bates
 Lane Bradbury (s1e4) as Annie Buchanan
 Wilford Brimley (s3e16) as Blacksmith
 Geraldine Brooks (s1e7) as Widdaw Tackaberry
 Wendell Burton (s1e11) as Martin Crossman
 Gary Busey (s1e15) as Josh
 David Canary (s2e11) as Frank Grogan
 Timothy Carey (s3e23) as Bix Courtney
 Leslie Charleson (s3e16) as Amy Starbuck
 Tina Chen (s1e5) as Su Yen Lu
 Matt Clark (s2e11) as Niebo
 Barbara Colby (s2e21) as Josie
 Brandon Cruz (s1e1) as Peter Gideon
 Ji-Tu Cumbuka (s3e18) as Omar
 Henry Darrow (s2e4) as Don Emilio Fierro
 Rosanna DeSoto (s2e5) as Kiona
 George DiCenzo (s3e5) as Jess
 John Doucette (s1e6) as Ed Rankin
 Diana Douglas (s2e7) as Sister Richardson
 Don Dubbins (s1e12) as Meador
 Andrew Duggan (s1e5) As Sheriff Boggs
 Aimée Eccles (s1e8) as Po Ten
 Jack Elam (s2e5) as Marcus Taylor
 José Feliciano (s3e17) as Jonno Marcado
 Emilio Fernández (s2e4) as Don Carlos de San Martín
 Ed Flanders (s2e9) as Alonzo Davis
 Rhonda Fleming (s3e23) as Jennie Malone
 Harrison Ford (s2e18) as Harrison
 Rosemary Forsyth (s3e3) as Ellie Crowell
 Jodie Foster (s1e10) as Alethea Patricia Ingram
 Robert Foxworth (s2e13) as Captain Clyde McNelly
 Anne Francis (s2e17) as Ida Quinlan
 Victor French (s1e15) as Sheriff Aldon Pool
 Beverly Garland (s3e17) as Theresa Hobart
 Will Geer (s1e15) as Judge Emmitt Marcus
 Chief Dan George (s1e15) as Ancient Warrior
 Lynda Day George (s2e16) as Dora Burnham
 Clu Gulager (s1e3) as Sheriff Rutledge
 Moses Gunn (s1e13) as Isaac Montoya
 Charles Haid (s3e24) as Sheriff
 Richard Hatch (s1e8) as David Binns
 Myron Healey (s2e8) as Capt. Malachy
 Marianna Hill (s2e19) as Louise Coblenz
 Pat Hingle (s1e6) as General Thoms
 Don Johnson (s2e6) as Nashebo
 Nathan Jung (s2e20) as Dark Rider
 James Keach (s2e2) as Abe Jones
 Richard Kelton (s3e6) as Curly Bill Graham
 Evan C. Kim (s3e15) as Lieutenant
 Lloyd Kino (s3e16) as Doctor
 Beverly Kushida (s2e2) as Akiko Swan
 Carol Lawrence (s3e6) as Ada
 Bethel Leslie (s2e19) as Rita Coblenz
 Joycelyne Lew (s2e20) as Kem
 Geoffrey Lewis (s1e9) as Johnson
 Sondra Locke (s3e4) as Gwyneth Jenkins
 William Lucking (s1e13) as Quade
 Barbara Luna (s3e14) as Isela
 Mako (s1e5) as Wong Ti Lu
 Kiel Martin (s1e13) as Marshal
 Tim Matheson (s2e8) as Lt. Bill Wyland
 George Matsui (as Harushi) (s3e22) as Sing Tao
 Wayne Maunder (Pilot) as Engineer McKay
 Gary Merrill (s2e15) as Dan Hoyle
 Joanna Moore (s3e20) as Lula Morgan
 Pat Morita (s3e23) as Arthur Chen
 Diana Muldaur (s2e11) as Theodora
 Tom Nardini (s3e13) as Matoska
 Ed Nelson (s1e14) as Sheriff Walter Raha
 Sheree North (s1e14) as Noreen Gallagher
 France Nuyen (s3e3) as Lady Chi Ching
 Merlin Olsen (s1e7) as Perlee Skowrin
 James Olson (s3e9) as Damion
 Judy Pace (s2e16) as Jenny
 Lara Parker (s1e1) as Amy Allender
 Vic Perrin (s1e14) as Eldon Riddle
 Slim Pickens (s2e13) as Bart Fisher
 Stefanie Powers (s3e7) as Edna
 Laurie Prange (s2e10) as Gretchen Klempt
 Andrew Prine (s2e12) as White
 Victoria Racimo (s3e8) as Lady Mei Wu
 Ford Rainey (s1e12) as Jacob Sterne
 Logan Ramsey (s2e5) as Mayor Abel Donaldson
 James Lee Reeves (s2e9) as Andy Dortminder
 Alejandro Rey (s3e14) as Matteo
 Andrew Robinson (s2e18) as Johnny Walker
 Gilbert Roland (s2e3) as Padre Braganza
 Ruth Roman (s2e14) as Rhoda Norman
 Fred Sadoff (s1e12) as Ward Bannack
 Joe Santos (s3e14) as Sanjero
 John Saxon (s1e1) as Raven
 William Schallert (s1e11) as Willis Roper
 William Shatner (s3e3) as Capt. Brandywine Gage
 Gregory Sierra (s1e13) as Zolly
 Howard Da Silva (s2e10) as Otto Schultz
 William Smith (s2e3) as Capt. Luther Staggers
 Don Stroud (s3e7) as Neulin
 Bo Svenson (s2e6) as Pike
 Kenneth Tobey (s1e10) as Sheriff Ingram
 Brian Tochi (s3e12) as Shen Ung
 Harry Townes (s1e4) as Amos Buchanan
 Robert Urich (s1e3) as Greg Dundee
 James Wainwright (s3e6) as Daniel Caine/Luke Askell
 Carl Weathers (s3e20) as Bad Sam
 Fritz Weaver (s2e15) as Hillquist
 Katherine Woodville (s2e12) as Nedra Chamberlain
 Adele Yoshioka (s3e15) as Po Li

David Chow acted as the technical and kung fu advisor, and guest-starred in the Pilot as the Little Monk, Caine's enemy at the climactic fight scene. His technical role was later undertaken by Kam Yuen, who guest-starred as Lin Wu in the s1e3 episode "Blood Brother" and as Wong Ti in the s3e1-2 episodes "Blood of the Dragon". Part of Chow's job was to add or eliminate fight scenes from the script, "settle differences of opinion" regarding their technical aspects among the martial artists participating in them, and make the scenes believable.

Production

Development
Kung Fu was created by Ed Spielman and Howard Friedlander, directed and produced by Jerry Thorpe, and developed by Herman Miller, who was also a writer for, and co-producer of, the series.  (For the series concept's history, see Bruce Lee's involvement)

Spielman-Friedlander's 160 page movie script was transformed by Jerry Thorpe and writer Herman Miller into a 90-minute TV movie (with commercial breaks, so it actually amounted to about 75 minutes of screen time). "Since the rule of thumb on a script is that one page equals one minute, the script was literally cut in half."

Directed by Jerry Thorpe, it was broadcast on February 22, 1972 (just after the meeting of President Nixon with Chairman Mao), and rerun the following Summer, to great acclaim: "(...) ABC and Warner Brothers were deluged with letters, telephone calls and telegrams, all praising the show." ABC ordered just four more segments and placed them in what was called the "death row," the Saturday night slot opposite All in the Family, on a monthly basis. Herman Miller developed the pilot into a series by writing the first three episodes, by including in the plotline Caine's search for his missing brother, and by giving it a style to which following writers could adhere. After a very positive reception to the first three segments, in November 1972 the network contracted for 12 more episodes, dropped Alias Smith and Jones and placed Kung Fu in the Thursday night slot at 9 p.m. The resultant good ratings led to the series' renovation for a second season.

The series' story editor was John Furia Jr. At the time a freelance writer for TV and movies who also worked in production, he had declined offers as story editor before until Jerry Thorpe approached him with Kung Fu. He had seen the pilot and was fascinated by it, so he accepted. The series didn't have a stable team of writers, but freelance writers pitched their stories to the production; they were told not to include temple scenes. It was John Furia's job to write them and make them relevant to the episode's plot, based on the research material the production had collected.

Furia's job also included "to maintain and preserve historical accuracy in each script. To complicate matters, there is no single historical source on kung-fu upon which he can rely. He must make extensive research into various sources before he can render a story to be within the realms of truth. Furthermore, because the story involves an ethnic group, and the tempers of our time do not tolerate ignorance and bigotry, he must not only make sure that the historical information regarding the group is accurate, but that these people are presented with dignity and respect."

Questioned about whether having a half-Caucasian as a student at the Shaolin Temple (which did not accept foreigners) was historically accurate, John Furia Jr. declared: "There is, of course, a certain amount of dramatic license involved in producing a show of this nature. As for David Carradine playing the part of a half-American half-Chinese, I can honestly say that we haven't found anyone, before or since the series began, who can play the part better. One of the reasons for the success of the series is Carradine's portrayal of Caine." As for the hiring of Asian actors for the secondary roles, he said: "It not only adds authenticity, it's only proper that it should be so. Our series, I believe, hires more Orientals than any series on TV."

Broadcast
The series aired on ABC from October 1972 to April 1975 for a total of 63 episodes. The series became one of the most popular television programs of the early 1970s, receiving widespread critical acclaim and commercial success upon its release.

On the week ending May 6, 1973, Kung Fu became the No.1 show on US television, drawing a regular audience of  viewers. Around the same time, Bruce Lee's Hollywood debut Enter the Dragon was being completed. It was part of what became known as the "chopsocky" or "kung fu craze" after Hong Kong martial arts films such as Five Fingers of Death (King Boxer) and Bruce Lee's Fists of Fury (The Big Boss) topped the US box office in early 1973.

In its first season, 1972-1973, Kung Fu's pilot was first aired as an ABC Tuesday Movie of the Week, which placed it in the range of the top 20 programs of the season, as determined by Nielsen Media Research. After the pilot's rerun in the summer, during the fall season, three more episodes were aired once a month on Saturday nights alternating with Alias Smith and Jones, against All in the Family and Bridget Loves Bernie, which were among the top 10 programs of that season. The other 12 episodes ran on Thursday nights, when they ranked among the 30 first-rated shows and tied in ratings with The ABC Monday Night Movie and The F.B.I. during the winter season, losing in ratings to Ironside, which was at the same time slot during the fall and summer seasons.

In its second season, 1973-1974, it ran on Thursday nights, when it remained among the 30 first rated shows, together with CBS Thursday Night Movie, which was at the same time slot, and tied in ratings with The Carol Burnett Show, which ran on Saturday nights.

In its third and final season, 1974-1975, Kung Fu's time slot changed three times, and it lost its place among the 30 first-rated shows. In the fall, it was moved to Saturdays night at 9 p.m., against CBS' The Mary Tyler Moore Show and The Bob Newhart Show, sitcoms rated in the top 20 of the season. Between the fall and winter seasons, it ran on Fridays at 8 p.m., which placed it against NBC's sitcoms Sanford and Son and Chico and the Man, both rated in the top 10 of the season. Then in winter, Kung Fu's time slot changed to Saturdays at 8 p.m., which placed it against CBS's All in the Family, The Jeffersons (sitcoms rated in the season's top 10), and NBC's Emergency!, a series rated in the top 30 of that season, all of which were at the same time slot.

Contrary to some misconceptions, Kung Fu was not canceled. The series ended due to a combination of factors, among which the documentary The Tao of Caine cites the lead actor's burnout, changes in the writing and shooting that altered some of the most appreciated characteristics of the show, and above all the changes in the time slot, which led to the audience's decline. However, the most important factor was David Carradine's decision to leave.

It has been said that Carradine left the show after sustaining several injuries that made it impossible for him to continue. While injuries were a feature of his career, Carradine's decision to quit Kung Fu was influenced by the bad publicity that a drug-related incident attracted on him and which affected the ratings of the series, what Radames Pera described as sabotage. Carradine himself acknowledged that it had been detrimental to audience ratings.

From a broader point of view, Carradine's decision stemmed from the fact that he, from the beginning, hadn't wanted to commit long-term to a series or stay in it for an extended period, due to his foremost interest in pursuing a career in filmmaking, which he said led him to avoid signing a regular contract that would have bound him for five years. At any rate, Carradine's warning to the production team that the third season was going to be his last one allowed the writers to plan the final episodes so that all of the remaining story arcs regarding Caine and his brother could be brought to a satisfying end. In his commentary to the episode Full Circle, Carradine regretted his decision to leave, because of how that had affected the series' crew.

Kung Fu started to broadcast in syndication on September 1, 1979, on 23 local channels.

The series was later broadcast on cable television by the TNT channel, on weeknights at 7 p.m., ET.

International broadcast
This series was internationally broadcast in its original run, later distributed in DVD format, has been re-broadcast in cable channels specialized on vintage TV shows like TCM Latin America, and it is also available for streaming.

 – 1974
 – DVD premiere, 2005
 – DVD premiere, 2007
 – Televisión Nacional de Chile, dubbed version
 – Telecentro, dubbed version
 – Ecuavisa, dubbed version
 – 1974

 – Canale 5, 1983

 – 1974
 – Jones!
 – Panamericana Televisión, dubbed version

 – Dubbed version
 – with subtitles

 – Dubbed version
 – 1975

Sets
The series was filmed at the Warner Bros. Studios, Burbank (Laramie Street, the Backlot, and several stages), Old Tucson Studios, and on locations like Vasquez Rocks, the 20th Century Fox Ranch (Malibu Creek State Park), and the sand dunes in the Yuma Desert for the opening and closing credits.

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, by the Academy Award nominee Eugène Lourié as art director; the set decorator was the Academy Award nominee Ralph S. Hurst.

Even if Camelot won an Academy Award for its art direction and set decoration, the expensive castle (made with wooden beams, wooden frame structures, and building timber covered with faux stone siding) was criticized for its unspecific style placed in a landscape evidently Californian, which resulted in that castle being the last attempt for a studio to construct a large scale set that represented a foreign location. By November 1971, when Jerry Thorpe asked Eugène Lourié to design the art for Kung Fu, the castle was derelict to the point that Lourié believed that it still stood only because the cost of demolishing it would be prohibitive.

Working with the reduced budget of a TV production was a challenge, but Lourié had learned in France how to work with little money for sets. He was both interested and intrigued by the story, as the action moved back and forth between the Wild West's present and the memories of the Shaolin temple. Lourié decided to emphasize that contrast visually. The practical need for making the project monetarily viable meant style compromises.

With that in mind, the castle's nonspecific architectural style was perfect to give it a Chinese look for Western eyes, by adding characteristic roofs, a front wall with a massive wood-carved door, and brick walls with ceramic-grilled windows, while its terraces and stairs were fit for the stagings of the kung fu training sequences. For the temple's interiors, Lourié opted for showing only a portion of the set and let the viewers complete it in their minds. He decided on a church-like appearance, with a Buddhist mural on the back wall, multileveled wooden candleholders and burning candles between columns, a constant haze, and the projection of strong rays of light as if coming through high church windows.

That visual conception made it unnecessary to build long and high stone walls for those sets, especially because the studio offered Kung Fu a large stage on which there was a standing set of the big hall from Camelot. That presented the advantage of ready-made stone walls if the side wings of the temple were to appear in a take.  The scenes among the flickering candles would become a signature of the series. For other Chinese sets, he used carved wooden partitions to enhance plain walls, or giant sculptured lions to give simple gardens an aura of grandeur.

For the railroad camp location, a place close to Hollywood was needed, so the well-known Vasquez Rocks were chosen. As for the Western scenes, the old western streets on the Warners lot were easily adaptable to the series' multiple requirements. Lourié's solution of the temple and the other sets both in budgetary and visual terms was key in getting the go-ahead for the movie pilot from the production department, and for the subsequent series.

In his memoir, Eugène Lourié praises Jerry Thorpe's vision, courage and inventiveness to undertake the Kung Fu project with a reduced TV budget. At the minute 4:32 of the documentary The Tao of Caine, Jerry Thorpe says about him: "The art director, Eugène Lourié, his talents were unending. He converted a medieval castle that had been built for Camelot on the backlot into an AD 2nd to 3rd century Shaolin monastery, for a buck and a quarter. He cannibalized every scene dock in the industry. It was amazing to watch."

The Camelot Castle, already converted into a Shaolin temple and with some additions, became a main set for the 1973 musical Lost Horizon during its 1972 April to June shooting period.

From late 1972 to early 1975, it became again a Shaolin temple while the Kung Fu episodes were in production, with the Emmy Award winner Antony Mondello and John Lamphear as set decorators.

When visiting the backlot in 1980, Lourié was sorry to find out that a large part of the western streets had been bulldozed. As for the imposing castle/temple/lamasery, it lasted for a few more years until it was torn down and substituted by a parking lot and the Bridge offices building (1994).

Special effects
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 and were also subsequently utilized for the action sequences in the science-fiction series The Six Million Dollar Man.

Soundtrack

The music for the opening and closing titles, as well as the incidental music, was composed by Jim Helms.

The series associate producer (later producer) Alex Beaton selected him after listening to several composer demos when the pilot was in development. Helms, a guitarist and arranger, scored the pilot with a team of only eleven musicians. The result was mostly atmospheric instead of melodic, with a koto as the predominant instrument. This score did not include "Caine's Theme", which was added when the series began airing in 1972, in the opening and closing titles. That signature theme had two unusual characteristics: through the first season it was revised and re-recorded several times, and the sound palette comprised about 19 musicians per session only. Even if half of them were string players, woodwinds, keyboard, and percussion were always more prominent.

The flute themes were performed by Sheridon Stokes on alto recorder, since the type of bamboo flute featured in the series wasn't chromatic and was deemed impractical for scoring purposes. The constant presence of a harpsichord played by Mike Lang helped to set the series in the 19th century. The percussion instruments included a waterphone, Chinese tom-toms, Chinese opera bells, woodblocks, and antique Chinese "Dharma bells" (Asian nested bells).  The percussionist Emil Richards collected over 90 of them and used them often for microtonal glisses. Everything resulted in an Eastern-Western combination that was unique in American television. Variety referred to Helms' work as "especially interesting… sensitive… a decided asset."

Given the success of Kung Fus first season, Warner Bros. Records released internationally in December 1973 a "concept album" of dialogue and music from the show, based on the pilot and the first nine episodes; "Caine's Theme" was also released as a single. The record used an expanded 45-piece orchestra for the musical selections and a group of eight musicians for the incidental music underscoring dialogue taken from the Shaolin temple sequences. The LP was re-released in CD format in 2010, accompanied by the Man in the Wilderness movie soundtrack.

"Caine's Theme" (with different arrangements) was included in the TV and film music compilations by Jack Hawkins his Orchestra and Singers (UK, 1974), Jack Parnell and his Orchestra (UK, 1975), and The Film Studio Orchestra (Japan, 1976).

Question of 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.: "Even before this [Longstreet], Warner Brothers had suddenly caught on to the fact that kung fu itself had captured the public's imagination and decided to launch a TV series," she writes. "Bruce himself had been working on the idea of a Shaolin priest, a master of kung fu, who would roam America and find himself involved in various exploits. The studio contacted him and he was soon deeply involved. He gave them numerous ideas, many of which were eventually incorporated in the resulting TV success, Kung Fu, starring actor David Carradine." (Linda Lee, The Man Only I Knew, pp. 130– 31.). 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 commented, "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 responded, "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 asked 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 replied, "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."

However, Bruce Lee was undoubtedly considered for the starring role, and David Carradine himself in a 1989 interview and in his book Spirit of Shaolin, said that Bruce Lee was passed over for the role. It is alleged that an unnamed ABC executive said "You can't make a star out of a five-foot-six Chinese actor."

According to biographer Matthew Polly, Bruce Lee did not invent the Kung Fu TV series. Ed Spielman created the character of Kwai Chang Caine, and the movie treatment Spielman wrote with Howard Friedlander in 1969 was the origin of the pilot and subsequent series.

Spielman first wrote a treatment about a samurai who travels to China and learns kung fu. Around 1967, he gave it to his partner Howard Friedlander, who suggested turning it into a Western; Spielman then decided to make the leading character into a half-American, half-Chinese Shaolin monk. In 1969 the William Morris agent Peter Lampack put the treatment into the knowledge of Fred Weintraub, at the time an executive at Warner Brothers and later the producer of Enter the Dragon: "As a New York-based production executive at Warner Bros. Pictures, it was my job to develop projects to appeal to the youth market. From the mountain of potential projects sent to me weekly, I unearthed a treatment for a feature length film by a couple of writers named Ed Spielman and Howard Friedlander called The Way of the Tiger, The Sign of the Dragon. It was an intriguing East-meets-Western tale of a young Shaolin monk from China roaming the American West of the 1800s, righting wrongs with pacifist, Eastern philosophy. And if that failed, kicking serious cowboy butt with nothing but his hands and feet. I liked the idea and gave the boys something like $3,800 to write a screenplay. At about that time, Warner Bros. made the decision to change their base of operations and moved me from New York to Hollywood." He received the finished script on April 30, 1970. Later through his friend Sy Weintraub (no relation), Weintraub met Bruce Lee and considering him ideal for the part tried to put the script into development with him as the leading actor, but was rejected. According to Howard Friedlander, the film was to be filmed in Durango, Mexico, for the Western scenes, and Taiwan for the Chinese scenes. Its budget had been calculated as $18 million (over $124 million in 2022 dollars). Friedlander blamed the arrival of Richard D. Zanuck and David Brown as senior executives at Warners Bros. for the cancellation of the movie project, because "the general consensus was that the public would not be willing to accept a Chinese hero."

While Bruce Lee was in Thailand filming The Big Boss, Weintraub brought the script to Tom Kuhn, head of the Warner Bros. TV division, who liked it. Warner Bros. and ABC announced their TV deal for Kung Fu on July 22, 1971, and started pre-production (including casting). The air date was scheduled for February 22, 1972, with production starting on December 15, 1971. Bruce Lee, having arrived back from Thailand, auditioned for the part of Caine, but the studio was reluctant to hire a Chinese actor, having concerns with his accent, his intense personality, considered not suitable to portray a quiet, serene character, and also because he was "too authentic".

In early October 1971, a month before Warner Brothers officially designated David Carradine for the role of Caine, Warner Brothers executive Ted Ashley, who saw Bruce Lee's potential and didn't want to lose him to Paramount, offered him an exclusive development deal to create his own TV program, which included an advance of "$25,000 (or $152,000 in 2017 dollars) - enough money to pay off most of his mortgage." Bruce Lee presented a treatment describing a show called Ah Sahm, which he later retitled The Warrior. Bruce Lee did not sign Ashley's deal, preferring to see how The Big Boss performed in theaters. When the movie was a smashing success, he abandoned his plans to be a TV star and instead focused on the big screen.</ref> Just two weeks before the pilot's filming started, David Carradine obtained the role at his second audition.

At the time, George Takei and the Association of Asian Pacific American Artists (AAPAA) filed a formal complaint for unfair hiring practices. They wanted an Asian actor in the leading role and a Chinese historical advisor; only the second demand was conceded. The Asian acting community was displeased, but with so few opportunities for Asian actors it was better to have a show that would be a source of work for them in secondary roles than not having it at all. James Hong (who was the AAPAA's president), said: "As the show went on, we realized it was a great source of employment for the Asian acting community."

Representation of women and ethnic groups
The series has been considered a commentary on race relations in the 70s, both for its casting as for the depiction of discrimination against minorities. It is noteworthy that race issues also affected the casting of secondary characters whereas gender inequality showed in their stories.

France Nuyen and Nancy Kwan, both Eurasian, played Chinese characters, the first one accepting being given in marriage as payment for service her husband was hired to perform (s3e3), the other one preferring to be a concubine to the Emperor rather than the wife of the warlord who had raped her, who was played by Stefan Gierasch, wearing prosthetic makeup (s2e22-23). Barbara Hershey appeared as a Eurasian woman who flees forced marriage to a warlord played by Khigh Dhiegh (born Kenneth Dickerson), and is denied admission to the Shaolin temple as a student because "You are female - You are also of mixed blood" (s3e10-11). On the other hand, American women are sometimes portrayed as dependant or even unable to survive without men (s1e14, s2e16, s3e4), but also as independent individuals, like entrepreneurs (s3e23), landowners (s2e14, s3e1-2), ranchers (s2e12, s3e3) or craftswomen (s1e3), according to the feminist currents of the time. Notably, Asian women are portrayed that way on occasion (s1e5, s1e8), and not just in stereotypical or subservient roles.

Given that the series' action happens mostly in the 19th century California, black people appear as important characters in just a few episodes (s1e13, s2e1, s2e16, s3e18, s3e24), as at the time they were a small portion of the state's population, yet all of the episodes have to do with them facing discrimination. Interestingly, when the consequences of the American Civil War are mentioned, they are in the context of defeat and vengeance (s1e4, s2e3, s3e24), not of the abolition of slavery.

Regarding Native Americans, as it was usual at the time, they are mostly portrayed by non-Native actors, usually from the Hispanic community and also by Whites (s2e6), whereas the Hispanics themselves appear mostly when Caine visits towns in New Mexico or Mexico (s2e3, s2e4, s3e14), even if at the time there was an important Hispanic presence in the state. The portrayal of Native Americans varies from the stereotypical faceless villains (s1e1, s1e2), to objects of persecution and discrimination (s2e5, s3e5) to a co-leading character in the s1e15 episode "The Ancient Warrior," the only one with a Native actor billed in the opening credits, which precisely deals with the extermination of a whole tribe. The absence of Native actors and the cultural misrepresentation issue wasn't unique to this series nor to its time; it has led the National Congress of American Indians to pass a resolution on the subject as recently as 2017.

Representation of Asians
East Asian, or rather Chinese portrayal in the series remains a problematic subject. Academic studies tend to mention the show in the context of discrimination against Asians in American society and entertainment.

Professor Jun Xing (Chun Hsing in Library of Congress' cataloging) states that segregating actors by roles seems reasonable when ethnic characters are cast, but there is a double standard in which Asians cannot play roles designated as White, whereas Caucasian actors cross into ones representing every other race, showing that in movies American people are not every color, but Black and White. Also, as there is an East/West dichotomy, Asians are not seen as Americans. With that in mind, to maintain the double standard, "Eurasian characters have become Hollywood's favorite creations. These mixed-race characters obviously allow white actors and actresses, with minimum makeup, to steal major roles from Asians." And puts Kung Fu as the "best example" of that, noting Bruce Lee's involvement.

Professor Hye Seung Chung exemplifies Asian representation in American film and television, and the roles Asian actors were allowed to play, with the case of Philip Ahn, who, being the son of a Korean national hero, spent his career playing minor and secondary characters, usually Japanese and Chinese. On page 31, she compares a letter from an admirer of Ahn's work as Master Kan with playwright Frank Chin's attack on the series in a 1974 The New York Times article, when he states that apes' roles in movies had evolved better than Chinese images in media. Even if Professor Chung states on page 177 that "Kung Fu was a groundbreaking series produced by Warner Bros. that intermixed the martial arts genre with Wild West iconography, expanding the syntax of the television western to accommodate "foreign" elements at the scenographic and narrative levels," her analysis decries the way the Kan character is depicted as "emasculated," stereotyped in various ways, and she mentions that Bruce Lee was not cast in the leading role.

Also, the series itself lacks historical and cultural accuracy in this matter. Through the episodes, the writers made mistakes regarding the order of Chinese names, and about who was the Emperor in China at the series' time period.  When Japanese elements appear, they are unlikely to be known or happen at the said time: in s3e12, the boy Caine watches a Noh performance in a mandarin's mansion, when Japan was still an isolationist country. In s2e2, among three Japanese characters, there is a woman who has been married to an Englishman for over 15 years, when British subjects had been allowed to reside in Japan only since 1862–1863; also Caine knows well what a ninja is, just ten years after Japan's opening to international relations. Most importantly, the series' Shaolin priests teach Taoist and Confucian philosophy, whereas the actual Shaolin monks are Buddhist. However, the absence of allusions to Joseon Korea is correct, as immigrants from that kingdom arrived in America after 1884.

Another issue that has come under the scrutiny of academia and the media, which is not exclusive to this series, is the fact that Asian actors of several nationalities and ethnicities appeared in the Kung Fu main or guest cast playing Chinese characters, "interchangeably". Professor Chung on page 16-17 exemplifies this situation that Asian actors in the American entertainment industry face with the careers of two Kung Fu cast members, Philip Ahn (Korean) and Richard Loo (Hawaii-born Chinese American) who so often played Japanese villains in war movies that international magazine articles about them confused their pictures: "This confusion speaks to the interchangeability of Asian actors, regardless of nationality and ethnicity, which was fostered by an industry insensitive to the diversities and differences within the same racial group." In an early article about the series, both actors are referred to and they call their characters "Orientals". Professors Kent. An Ono and Vincent N. Pham call that perceived interchangeability "implicit yellowface". It is a problem that, together with whitewashing has continued into present times and is noticed internationally.
 Regarding this "interchangeability" issue, given the historic period in which Kung Fu is set, Koreans couldn't have appeared, and Japanese perhaps shouldn't have, as in the 1870s' America there were just 55 Japanese immigrants registered. Yet in the episode s2e2 it is established through dialogue, costume, and cultural details that the Japanese are not the same as Chinese, and they are played by actors of Japanese ancestry.

Radames Pera, who played young Caine, mentioned in 2021, "They did the best they could at the time...They were taking heat from the Asian community from the onset. So they actually made a deal with some of the representatives from Asian American community to hire everybody in town, whether they were Korean, Japanese, Chinese, or Filipino who had a SAG card. They also gave cards to those who didn't have one by giving them their first job in a union production. Literally every Asian actor in town worked on that show."

Recapitulation

That guy is me,' Spielman says. 'That Caine character is me in a way, just like Siegel and Shuster did Superman. He was always Eurasian; he always didn't fit in. So, according to its creator, it was not a maneuver that would make it fit for a White actor, even if his first choice for the role had been James Coburn. Regarding the casting process, the production team says they did try to cast an Asian actor but none was adequate for the role, including Bruce Lee. John Furia Jr. asserted that "the concept of the series was a man who was not involved, a man who avoided action at almost any cost, a very quiet, seemingly passive man." Tom Kuhn, besides claiming that Lee's speech was hard to understand, said: "It did occur to me that this part was rather cerebral, a guy who only fights when he's absolutely cornered." Even Fred Weintraub, who had lobbied for Lee since the beginning, noted that they needed an actor "to portray the sense of quiet serenity that Caine possessed, a quality that driven and intense Bruce was not known for." Still, both Kuhn and Weintraub admitted that "the powers that be" were unwilling to hire an Asian actor per se.

Academic studies about Asian representation in American entertainment claim that the casting of the leading role and even the portrayal of the Chinese characters by Asian actors followed generalized discriminatory patterns. Put in a historical context in which White actors were free to play Asian, Eurasian and other ethnicities' roles, whereas Asian, Eurasian and mixed-race actors played the stereotypical Asian roles left but never White roles, anti-miscegenation laws had been repealed just in 1967, the Hays Code finally abandoned in 1968, and whitewashing has continued into the 21st century, their authors simply can't believe that the casting of a White actor for a Eurasian role in 1971 could have had any other cause than inveterate racism, much less when Bruce Lee was involved.

The media continues to list this show as racist, not for its contents but because future star Bruce Lee wasn't cast in a role that perhaps wasn't suited for him, as an actor, in November–December 1971, and because of the rooted belief that the idea for the series was "stolen" from him.

In consequence, the new show takes the name of the original one while completely separating itself from it, instead of continuing its story or attempting to build upon its legacy, claiming with good reason that their aim is improving Asian community's representation and visibility.

Interestingly, in the s1e3 episode "Blood Brother," Kwai Chang Caine pleads for his compatriots to do that, as a matter of life and death.
(Caine has uncovered a hate crime against an old condisciple. An inquest ensues, which could lead to a possible, but unlikely indictment. Caine urges a Chinese man who has been assaulted by the murderers to present himself at the proceeding.)

Placed in a turning point of the history of American society and television, being the last show in American television with a leading character in yellowface, obscures what the show did accomplish.
In a time when Asian actors were largely ignored, and usually played minor and openly stereotypical roles, Kung Fu was exceptional for consistently presenting them as not stereotypical characters and for being a steady job source for Asian actors, which was acknowledged by members of the cast and the AAPAA's president James Hong. The episodes s3e8, s3e10-11, s3e15 and s3e22, set in China, had a mostly Asian American cast. Also, the show was clear in denouncing anti-Chinese racism, including hate crimes (s1e3), and pointed at historical events ignored in popular culture, like the Page Act of 1875 that basically forbade the immigration of East Asian women (s1e8), or the harsh labor conditions of the Chinese immigrants who built the Transcontinental railroad (Pilot, s3e9). Despite its historical inaccuracies, the series' dialogue was greatly based on Chinese philosophy, which gave viewers an introduction to its spiritual values, and its dramatic appeal made it the recipient of international accolades.

Episodes

Reception

Critical response

In their pages, Rotten Tomatoes calls the series "influential", and Metacritic in describing it says: "A man of peace, though trained to defend himself, Caine always made an attempt to address situations in a way that was morally acceptable to his beliefs, and to resolve them through [the] least violent means possible. His journey is not only one across the frontier of America but one through the light and dark areas of the soul as well."

In a May 1973 Black Belt magazine interview with John Furia Jr., the author Jon Shirota speaks about the critical response in these terms: "Even the TV critics, customarily very reserved and cautious with their appraisals, acclaimed the show [the first segment] as one of the year's best. (...) One critic wrote that the success of Kung-Fu may be attributed to the very thing the producers were afraid of: the public's not knowing what the series was about. 'Actually,' said the critic, 'it adds a certain amount of unpredictability and suspense to the plot. It is unlike most of the western heroes whose faces are like the book you've already read.' Another critic said that a story like Kung-Fu could never have been made into a movie 10 years ago because no one would have cared about a bunch of coolies. 'It is only now,' he quipped, 'that we are giving true credit to history.

Accolades

|-
! scope="row" | 1972
| Frank Westmore, for ABC Movie of the Week (Pilot)
| Outstanding Makeup for a Single-Camera Series (Non-Prosthetic)
| Primetime Emmy Award
|
|
|
|-
| 1973
| Kung Fu: Pilot Television Movie
| Best Television Film
| Golden Globe Awards
|
|
|
|-
| 1973
| Jerry Thorpe, episode "An Eye for an Eye".
| Best Director - Drama Series
| Primetime Emmy Award
|
|
|
|-
| 1973
| Jack Woolf, episode "An Eye for an Eye".
| Best Cinematography - One Hour Drama
| Primetime Emmy Award
|
|
|
|-
| 1973
| Herman Miller, episode "King of the Mountain"
| Writers Guild of America Award for Television: Episodic Drama
| Writers Guild of America Award
|
|
|
|-
| 1973
| David Carradine, Best Television Actor - Drama Series
| Best Actor – Television Series Drama
| Golden Globe Awards
|
|
|
|-
| 1973
| David Carradine, Outstanding Continued Performance by an Actor in a Leading Role (Drama Series - Continuing)
| Outstanding Lead Actor in a Drama Series
| Primetime Emmy Award
|
|
|
|-
| 1973
| Jerry Thorpe, Outstanding Drama Series - Continuing
| Outstanding Drama Series
| Primetime Emmy Award
|
| For Kung Fu
|
|-
| 1973
| Jerry Thorpe, Outstanding New Series
| Outstanding New Series
| Primetime Emmy Award
|
|
|
|-
| 1973
| Frank Westmore, Outstanding Achievement in Makeup
| Outstanding Makeup (Non-Prosthetic)
| Primetime Emmy Award
|
|
|
|-
| 1973
| David Carradine, Mejor Actor Extranjero
| Best Foreign Actor
| Teleprograma magazine, Spain
|
| Delivered in 1974
|
|-
| 1973
| Kung Fu (David Carradine), Personaje más popular
| Most Popular Character
| Teleprograma magazine, Spain
|
| Delivered in 1974
|
|-
| 1973
| Kung Fu, Mejor Serie Extranjera
| Best Foreign Series
| Teleprograma magazine, Spain
|
| Delivered in 1974
|
|-
| 1974
| Joseph Dervin, Best Edited Episode for a Television Series
| Best Edited Drama Series for Commercial Television
| American Cinema Editors
|
| For Episode "The Chalice"
|
|-
| 1974
| Melhor Programa de TV
| Best Television Program
| Troféu Imprensa, Brasil
|
| Official website.
|
|-
| 1975
| Lew Ayres, Outstanding Single Performance by a Supporting Actor in a Comedy or Drama Series
| Outstanding Supporting Actor in a Drama Series
| Primetime Emmy Award
|
| Episode: "The Vanishing Image"
|
|-
| 1977
| Melhor Série
| Best Series
| Troféu Imprensa, Brasil
|
| Official website.
|

Home media
Warner Home Video released the entire series on DVD in Region 1 between 2004 and 2005.

On November 14, 2017, Warner Home Video re-released all three seasons, as well as the complete series set on DVD in Region 1.

The extras include audio commentary by David Carradine on four episodes of the series (s2e1 The Well, s2e14 A Dream Within a Dream, s3e2 Blood of the Dragon - 2, s3e21 Full Circle), Zen & Now: A Dinner With David Carradine And Friends (Guests: Hal Sparks, Sifu Rob Moses, Vivica A. Fox, Kam Yuen, Cynthia Rothrock, Radames Pera, Michael Madsen), two documentaries on the series' development and production (From Grasshopper to Caine: the Making of Kung Fu, The Tao of Caine: Production and Beyond), and David Carradine's Shaolin Diary, a visit to China's Shaolin Monastery and the Great Wall.

The series is also available online on Amazon Prime Video and iTunes (including Pilot), and on Google TV.

Legacy

Kung Fu: The Movie
In Kung Fu: The Movie (1986) Caine (played by Carradine) is forced to fight his hitherto unknown son, Chung Wang (played by Brandon Lee). Herbie Pilato in The Kung Fu Book of Caine (page 157) also comments that Bruce Lee's son, Brandon Lee, was involved in sequels related to the series:

The late Brandon Lee, son of Bruce Lee, played Caine's son, Chung Wang. Toward the end of the film, Chung Wang asks Caine if he is his father. The question seems somewhat ironic since—in real life—Brandon's father was a contender for the role of Caine in the series. After Bruce Lee lost the part to Carradine, he went back to Hong Kong, where he made The Big Boss, the film that began his legendary career in martial arts movies.

Kung Fu: The Next Generation
In Kung Fu: The Next Generation (1987), the story moves to the present day and centers on the story of Kwai Chang "Johnny" Caine (Brandon Lee), who is the great-great-grandson of Kwai Chang Caine, and the difficult relationship he has with his father, also named Kwai Chang (David Darlow). In an attempt to connect with his son, Caine Sr. takes him to Silver Creek, a ghost town, the place where their ancestor spent his last years. They talk about how Caine arrived there, became the "wise man of the town", and how he passed away.

"So I guess he died here, right?""That's the strange thing. One evening in his garden his heart failed him. His wife went to fetch the doctor. When she returned, Kwai Chang was gone.""Where did he go?""No one really knows."

As Johnny has involved himself with an operation of burglary and arms trafficking, the perfectionist father and the rebellious son need to put their differences aside to fight the criminals and save Johnny from prison.

Kung Fu: The Legend Continues
Two decades after the first series ended, a second, related series titled Kung Fu: The Legend Continues running in syndication followed the adventures of Kwai Chang Caine's grandson, also named Kwai Chang Caine. It again starred Carradine, this time as the grandson of the original Caine, and introduced Chris Potter as his son. Caine's mentor was played by Kim Chan as Lo Si (The Ancient) / Ping Hai. The second series ran for four years, from 1993 to 1997.

Feature film
In June 2006, Ed Spielman and Howard Friedlander announced that a feature film (which would serve as a prequel to the original Kung Fu series and take place in China) was in development. In 2007, Max Makowski planned to make the film edgier than the original television series. Actor-director Bill Paxton was in talks to direct the adaptation of the TV series. Baz Luhrmann was in talks to direct the film in 2014, and if the deal was made, Luhrmann was to rewrite the film's script. In 2020, 87North Productions announced development of a contemporary feature film version of the series with creator Spielman and Stephen L'Hereaux producing through his Solipsist Film company and David Leitch directing.

2021 reboot

A re-imagining of the original series, simply titled Kung Fu, aired on The CW in April 2021. The show is produced by Greg Berlanti.

The series is written by Christina M. Kim and Martin Gero and sees a quarter-life crisis causing a young Chinese-American woman named Nicky, played by Olivia Liang, to drop out of college and take up residence in an isolated monastery in China. When she returns to find her hometown overrun with crime and corruption, she uses her martial arts skills and Shaolin values to protect her community and bring criminals to justice, all while searching for the assassin who killed her Shaolin mentor and now is targeting her.

The show stars Olivia Liang as Nicky; Tzi Ma and Kheng Hua Tan as Jin Chen and Mei-Li, her restaurateur parents whose secrets threaten to destroy their lives; Jon Prasida as Ryan Chen, a quick-witted medical student and Nicky's younger brother; Shannon Dang as Althea Chen, Nicky's larger-than-life older sister who is newly engaged and on her way to planning her dream Chinese wedding; and Eddie Liu as Henry Chu, a martial arts instructor and Chinese art history buff who has instant chemistry with Nicky. Gavin Stenhouse was cast as Evan Hartley, a highly successful Assistant District Attorney who still has a soft spot for his first love, Nicky; and Yvonne Chapman was cast as Zhilan, a cryptic woman with deep criminal ties and a mysterious connection to the Shaolin monastery where Nicky trained in kung fu.

Notes

References

Further reading
 Anderson, Robert. The Kung Fu Book: The Exclusive, Unauthorized, Uncensored Story of America's Favorite Martial Arts Show. Pioneer Books, Inc., 1994. .
 Carradine, David. Spirit of Shaolin: A Kung Fu Philosophy. Boston: Charles E. Tuttle, 1991. .
 Pilato, Herbie J. The Kung Fu Book of Caine: The Complete Guide to TV's First Mystical Eastern Western. Foreword by David Carradine. Boston: Charles E. Tuttle, 1993. .
 Pilato, Herbie J. The Kung Fu Book of Wisdom: Sage Advice from the Original TV Series. Foreword by Ed Spielman. Rutland: Charles E. Tuttle Company, 1995. .

External links

 Kung Fu at TV Guide
 Unofficial Kung Fu site

1972 American television series debuts
1975 American television series endings
1970s American drama television series
American Broadcasting Company original programming
American action adventure television series
Chinese American television
English-language television shows
Martial arts television series
Television series by Warner Bros. Television Studios
1970s Western (genre) television series
Television shows adapted into films
Television shows set in San Francisco

Kung Fu (1972 TV series)


Las siglas BSC pueden referirse a:
 Cuadro de mando integral (Balanced Score Card);
 Barcelona Sporting Club, club de fútbol ecuatoriano.
 Barcelona Supercomputing Center, organismo transformado en el Centro Nacional de Supercomputación;
 Bachelor of Science, título de grado.
 Balanced Scorecard
 Banco Santa Cruz

Siglas

BSC


Estadio Carlos Belmonte İspanya'nın Albacete şehrinde 1960 yılında çok amaçlı olarak inşa edilen bir stadyum

Stadyumda çoğunlukla futbol müsabakaları yapılmaktadır. İspanya'nın Albacete Balompié takımının maçlarını yaptığı stadyum, 17.000 seyirci kapasitelidir.

İspanya'daki stadyumlar

Carlos Belmonte Stadyumu


Franklin's ground squirrel (Poliocitellus franklinii) is a species of squirrel native to North America, and the only member of the genus Poliocitellus. Due to the destruction of prairie, the populations of Franklin's ground squirrel have dwindled, approaching levels of concern. Its decline in the eastern portion of its range is mostly attributed to habitat fragmentation.

Taxonomy
Franklin's ground squirrel was first described by Joseph Sabine in 1822, who named it in honor of the British Arctic explorer Sir John Franklin. It was formerly placed in the large ground squirrel genus Spermophilus, in its own subgenus, Poliocitellus, but since DNA sequencing of the cytochrome b gene has shown Spermophilus to be paraphyletic it is now placed in its own genus. Franklin's ground squirrel is suggested to be sister to a clade containing not only the Mohave, round-tailed, spotted, and Perote ground squirrels (genus Xerospermophilus), but the prairie dogs as well. There are no commonly recognized subspecies.

Description

Franklin's ground squirrel is a typically sized squirrel, with adults measuring from  in total length, including the  tail. Males weigh about  in the spring, and up to  in the fall. In comparison, females are significantly lighter, and put on proportionally less weight through the year, being about  in the spring, and up to  in the fall. The fur is brownish grey marked with both light and dark speckles, and fades to yellowish white on the animal's underside. The tail is darker, almost blackish in color, while the head is a relatively solid grey.

In many respects, Franklin's squirrel closely resembles the common eastern grey squirrel. However, it has a shorter, less bushy tail, shorter ears, longer claws, and a patch of slightly yellowish fur on the rump, which the eastern grey lacks. Other local squirrels with which it might be confused include Richardson's ground squirrel, which is more built, and has a longer tail, and the Columbian ground squirrel, which has noticeably reddish fur.

The squirrel has a number of scent glands. There are small glands at the corners of the mouth, which appear to be used when greeting other members of the same species, and a number of glands running from the shoulders down to the pelvis, which may be used to mark burrows. The largest glands, however, are the three anal glands, one above the anus, and one either side. These produce a musky scent during the mating season, and are found in both sexes.

Distribution and habitat
Franklin's ground squirrel is found from central Alberta to southern Manitoba in Canada, and in the United States from North Dakota and Minnesota as far south as northern Kansas to northwestern Indiana. Within this region, it inhabits tallgrass prairies where there is dense vegetation cover, often along the boundaries of woodland or marsh.

Biology
Franklin's ground squirrel is omnivorous, feeding mainly on vegetation in the spring and late summer, but with meat and eggs forming a significant proportion of their diet in the early summer. In the spring, they feed on roots, new shoots, and grasses, shifting to leaves and flowers, and then to fruit and seeds as the year progresses. Plants eaten include dandelion, stinging nettle, red-berried elder, white clover, and wild peas, as well as garden vegetables. Animal material consumed ranges from insects to eggs, small rodents, fish and frogs, up to rabbits and even fully-grown mallards.

The squirrel hibernates from about August to April, although this varies between individuals. Males typically enter hibernation earlier than females, and adults earlier than young-of-the-year, which need more time to build up fat reserves. Badgers are the main predators of Franklin's ground squirrels, although they are also eaten by coyotes, foxes, weasels, hawks, and snakes.

The mating season begins as soon as the squirrels emerge from their burrows in the spring, and continues until June, during which time pairs may often share a burrow. Gestation lasts 28 days. Litters may be of anything from two to thirteen pups, with eight being average. The young are born naked and blind, with their eyes only opening after 18 to 20 days. They are weaned by 30 days of age. Females do not become sexually mature until their second year, but can live for four to five years, while males typically do not survive beyond the age of two.

Behavior
Franklin's ground squirrel is diurnal, spending the night in burrows, typically built on steep slopes. The burrows are about  in diameter, and extend on average  below ground. They consist of a single nesting chamber lined with dried plant matter, and a number of side tunnels leading to food storage areas and latrines. Burrows typically have two or three entrances.

Each burrow is home to only one or two squirrels during the spring and summer, when the animals are generally antisocial. In North Dakota, males have an average home range of  and females , although the home ranges of individual squirrels do overlap, and population densities can range from . In the winter, several individuals can share the same burrow.

References

External links

Ground squirrels
Mammals of Canada
Fauna of the Plains-Midwest (United States)
Mammals of the United States
Mammals described in 1822
Taxa named by Joseph Sabine

Franklin's ground squirrel


"Everytime" este un cântec înregistrat de către interpreta americană Britney Spears pentru cel de-al patrulea ei album de studio, In the Zone (2003). Piesa a fost lansată la 10 mai 2004 prin intermediul casei de discuri Jive Records drept cel de-al treilea single al albumului In the Zone. După ce relația cu cântărețul Justin Timberlake s-a încheiat în anul 2002, solista s-a împrietenit cu asistenta sa vocală, Annet Artani. Au început să compună piese la casa lui Spears din Los Angeles, apoi au călătorit în Lombardia, Italia, locul în care "Everytime" a fost scris. Spears a compus muzica și versurile împreună cu Artani. Conform lui Artani, piesa a fost scrisă ca răspuns la melodia "Cry Me a River" a lui Timberlake din 2002. Spears nu a confirmat aceste presupuneri, însă nici nu le-a negat.

"Everytime" este o baladă pop cântată într-o voce șoptită. Versurile sunt o rugăminte de iertare pentru rănirea neintenționată a unui fost iubit. "Everytime" a fost apreciat de criticii de specialitate, care au lăudat în mare parte versurile, considerând cântecul "lăuntric" în comparație cu majoritatea pieselor de pe album. Maturitatea artistei în producție, precum și abilitățile ei de compozitoare au fost, de asemenea, lăudate. În Statele Unite ale Americii. "Everytime" s-a poziționat pe locul 15 în clasamentul Billboard Hot 100. A ajuns în top cinci în mai multe țări, ocupând prima poziție a topurilor din Australia, Ungaria, Irlanda și Regatul Unit. Spears a interpretat "Everytime" într-o serie de apariții live, precum emisiunile de televiziune Saturday Night Live și Top of the Pops. De asemenea, a interpretat cântecul la un pian decorat cu flori în turneul The Onyx Hotel Tour din anul 2004. La turneul The Circus Starring Britney Spears din 2009, cântăreața era suspendată pe o umbrelă, iar la spectacolul Britney: Piece of Me din anul 2013, a purtat un costum de înger. "Everytime" a fost reinterpretat de către artiști precum Glen Hansard, Kelly Clarkson și James Franco în filmul Vacanța de primăvară din anul 2013.

Inspirat din cinematografia filmului Părăsind Las Vegas-ul, videoclipul pentru cântecul "Everytime" o prezintă pe Spears drept o vedetă hărțuită de paparazzi, care se îneacă în cada din baie atunci când începe să sângereze din cauza unei răni la cap. În spital, medicii nu reușesc să o resusciteze, în timp ce un copil se naște în camera de lângă, simbolizând reîncarnarea. Conceptul inițial al videoclipului ar fi prezentat-o pe Spears murind din cauza unei sinucideri pe bază de supradoză de droguri, însă s-a renunțat la idee după ce a primit critici din partea mai multor organizații care l-au perceput ca o promovare a sinuciderii. Criticii au observat în videoclip referințele religioase la Patimile lui Hristos, Cabala și stigmata, precum și prezicerea problemelor viitoare pe care Spears le-a suferit din cauza faimei.

Informații generale și compunere

Relația lui Spears de trei ani cu cântărețul Justin Timberlake s-a încheiat în anul 2002, după luni de speculații. În noiembrie 2002, Timberlake a lansat piesa intitulată "Cry Me a River" ca al doilea single extras de pe albumul său de debut solo. Videoclipul muzical prezintă o figură feminină cu un aspect asemănător a lui Spears, lucru care a alimentat zvonurile că artista l-ar fi înșelat. "Cry Me a River" este adesea cunoscut ca fiind piesa care a propulsat albumul în clasamente. În septembrie 2001, Annet Artani a acceptat să devină una din vocile care fac parte din acompaniamentul vocal pentru Spears în perioada turneului din 2001-2002, Dream Within a Dream Tour. Interacțiunile sale cu Spears în timpul turneului au fost limitate în cea mai mare parte la mici conversații despre sala de gimnastică și încălzire vocală. Artani a început o relație cu directorul muzical al turneului în 2002; cu toate acestea, nu a funcționat bine pe la sfârșitul turneului. Înainte de ultimul concert din Ciudad de México, Spears a sunat-o și a întrebat-o despre relație. Artani i-a spus că se vor despărți, la care Spears i-a răspuns: "Nu îți face griji, te vei distra cu mine". După terminarea turneului, Spears și Artani au început să se împrietenească. Spears a invitat-o pe Artani la casa sa din Los Angeles, California. Conform lui Artani, relația lor s-a dezvoltat prin experiențele lor romantice pe care le-au împărtășit la vremea respectivă. Artista a explicat: "Practic, ne-am consolat pentru că, la vremea respectivă, s-a despărțit de Justin [Timberlake]. Poate că trecuseră deja nouă luni, dar bineînțeles că știrea era foarte proaspătă în mass-media. Tocmai ce m-am despărțit de acel bărbat, așa că ne-am zis—cred că avem nevoie una de cealaltă." Artani a rămas la casa lui Spears pentru câteva săptămâni, în care au început să compună melodii la pian. La scurt timp după aceea, au mers până la Lacul Como din Lombardia, Italia. Artani a adăugat că: "Eram eu și cu ea, stilistul ei și Felicia, și am avut această casă enormă doar pentru noi, și au avut și un pian acolo".

Conform lui Artani, piesa "Everytime" a fost scrisă în mare parte ca răspuns la piesa "Cry Me a River", precum și diverselor interviuri la radio. Artani a explicat: "A început să devină personal. Avea un tip diferit de imagine și chiar a expus anumite lucruri pe care probabil nu dorea să fie divulgate, iar asta în fața surorii sale mai mici [...] Îmi amintesc că sora sa a fost stânjenită de chestia asta. Sunt sigură că asta chiar a durut-o." S-a speculat la acea vreme că piesa a fost un răspuns la "Never Again" a lui Timberlake, o baladă care a apărut pe albumul solo de debut Justified. "Everytime" a fost înregistrat la studiourile Conway din Los Angeles și mixat la Frou Frou Central din Londra, Regatul Unit. În timpul unui interviu cu Hip Online, Spears a vorbit despre ședințele de înregistrare, spunând: "...De exemplu, cu «Everytime», am scris totul la pian, pornind de la zero. Din punct de vedere muzical, nu a existat nici o bază sau ceva de genul. Eram la mine acasă și am făcut totul pe cont propriu. Iar apoi am fost la [Guy Sigsworth] pentru a îi arăta rezultatul, și practic i-am spus exact cum aș vrea să sune piesa. Și a fost atât de uimitor, pentru că există mulți producători cărora le spui aceste lucruri, și ei nu le înțeleg. Și te gândești că, oh, nu e întocmai calea cea bună. Însă el a înțeles tot. A fost uimitor. Iar la acea melodie în mod special, ca să știți, am făcut totul.""Everytime" a fost una dintre primele piese finalizate pentru albumul In the Zone. O secvență din melodie a avut premiera la 30 mai 2003, către lui Quddus Philippe de la MTV la studiourile Battery din New York City. A fost înregistrată la oficiul pentru drepturile de autor din Statele Unite ale Americii la data de 26 aprilie 2003 sub titlul "Everytime I Try" și numărul de înregistrare SRU000530591 fiind trecut pe anul 2002, când a fost înregistrat. Spears îl consideră cel mai personal cântec al albumului, împreună cu "Touch of My Hand", explicând: "Este unul dintre acele cântece pe care, atunci când le auzi, simți că este acel gen de cântec pe care îl auzi atunci când te duci în rai. Ca și cum te-ar duce departe. Cred că te duce într-o stare de conștiință foarte tare."

Structura muzicală și versuri

"Everytime" este o baladă pop. Acesta începe cu o introducere de pian, iar Spears cântând cu o voce șoptită care devine mai puternică pe parcursul cântecului. Conform partiturii muzicale publicate de Musicnotes.com de la Universal Music Publishing Group, "Everytime" este compus în tonalitatea Mi♭ major, cu un tempo de 110 bătăi pe minut. Gama vocală a lui Spears se întinde de la tonalitatea joasă de La♭ major până la tonul înalt de Mi♭5. Versurile cântecului "Everytime" sunt o rugăminte de iertare pentru rănirea neintenționată a unui fost iubit. În cântec, artista explică faptul că nu se simte în stare să mai continue, în versuri precum "Everytime I try to fly I fall / Without my wings I feel so small" (ro.: "De fiecare dată când încerc să zbor cad / Fără aripile mele, mă simt atât de inferioară"). Jennifer Vineyard de la MTV a comparat versurile cu o altă baladă de pe albumul In the Zone, "Shadow", fiind de părere că ambele melodii vorbesc "despre modul în care amintirile unui iubit pot rămâne în continuare, chiar și după ce acesta s-a dus". În timpul unui interviu acordat lui Jennifer Vineyard de la MTV, Spears a spus despre "Everytime": "Este vorba de durere, este despre prima ta iubire, prima ta iubire adevărată. Este ceva în care toți oamenii se pot regăsi, pentru că toți trec prin prima iubire, crezând că o să dureze pentru tot restul vieții." Întrebată dacă "Everytime" era despre Timberlake în timpul unui interviu acordat lui Diane Sawyer în PrimeTime, a răspuns: "Voi lăsa melodia să vorbească de la sine."

Recenzii
Gavin Mueller de la Stylus Magazine a descris "Everytime" ca fiind cea mai bună piesă al albumului In the Zone, explicând: "este doar o baladă la pian de rezervă, simplă și totuși eficient de fragilă". Ali Fenwick de Johns Hopkins News-Letter a lăudat abilitățile lui Spears de a compune cântece, adăugând: "demonstrează o licărire de talent pe care îl ascunde în spatele acelei voci robotizate, sintetizate de pe restul albumului." Christy Lemire de MSNBC.com a opinat că "Everytime" este o "melodie destul de drăguță" și a numit-o cea mai bună baladă de pe Greatest Hits: My Prerogative. Jason Shawhan de la About.com a spus că: "«Everytime» strigă Single!".

Spence D. de la IGN a declarat că piesa "continuă să mineze gazonul Zonei și dezlănțuie ceea ce este aparent prima baladă matură a lui Britney, cel puțin în ceea ce privește a fi muzical neschimbat și redus din orice melodie de discotecă de transpirație și luciu." Linda McGee de la RTÉ.ie a spus că, împreună cu "Brave New Girl" de pe album, au fost "fiecare impresionantă în felul său", dar s-au abătut de la direcția albumului. David Browne de la Entertainment Weekly a comentat: "Cu pianul său plin de viață, «Everytime» sună ca o deznădăjduire după moarta erei sale cu Justin Timberlake." Sterling Clover de la The Village Voice a numit "un plânset în cea mai bună tradiție precum «Time After Time» din 1984." William Shaw de la Blender a spus că "Everytime" nu era cea mai bună baladă, versurile veneau "cu siguranță din inimă". Un critic de la Huddersfield Daily Examiner a declarat că: "[balada] din șoptire [are] un sentiment muzical scenic, dar Britney nu este Elaine Paige". Sal Cinquemani de la Slant Magazine a numit-o împreună cu "Shadow" drept "două balade siropoase".

Performanța în clasamentele muzicale
La 22 mai 2004, "Everytime" a debutat pe locul 61 în clasamentul Billboard Hot 100 din Statele Unite ale Americii, fiind "cel mai mare debut" al săptămânii respective. La 3 iulie 2004, acesta a ajuns pe locul 15 și și-a păstrat această poziție timp de patru săptămâni. De asemenea, piesa a ajuns pe locul patru în topul Billboard Pop Songs, și pe locul 17 și 25 în topurile Hot Dance Club Songs și, respectiv, Adult Pop Songs. La 18 decembrie 2004, "Everytime" a fost premiat cu discul de aur de către Recording Industry Association of America (RIAA) pentru cele peste de 500.000 de exemplare vândute. Până în luna iulie 2010, "Everytime" s-a vândut în 469.000 de descărcări digitale plătite în Statele Unite ale Americii. În Canada, piesa a ajuns pe locul doi în clasamentul Canadian Singles Chart.

În Australia, "Everytime" a debutat în fruntea topului ARIA Singles Chart la data de 28 iunie 2004, fiind "cel mai mare debut". Acesta a primit discul de aur din partea Australian Recording Industry Association (ARIA) pentru expedierea a 35.000 de unități. În Regatul Unit, single-ul a debutat în fruntea topului UK Singles Chart la data de 20 iunie 2004 — pentru sfârșitul de săptămână 26 iunie 2004 — devenind cel de-al doilea single consecutiv a lui Spears ce ajunge pe locul unu în Marea Britanie, urmat de "Toxic" în martie 2004. Conform site-ului The Official Charts Company, piesa a vândut 270.000 de exemplare în Regatul Unit. În România, single-ul a debutat pe locul 97 în clasamentul Romanian Top 100, la 14 iunie 2004. 22 de săptămâni mai târziu, la 1 noiembrie 2004, piesa a ajuns pe poziția sa maximă, locul 8. Piesa a petrecut un total de 39 de săptămâni în top, fiind unul dintre cele mai longevive single-uri ale lui Spears. "Everytime" a fost, de asemenea, de succes în teritoriile Europene, ajungând în fruntea topurilor din Ungaria și Irlanda, ocupând locul doi în Franța, locul trei în Suedia și ajungând în top 5 în Austria, Belgia (Flandra și Valonia), Republica Cehă, Danemarca, Germania, Norvegia și Țările de Jos.

Videoclipul

Dezvoltare și lansare
La data de 9 martie 2004, conceptul videoclipului muzical pentru "Everytime" a fost lansat online. Acesta o prezintă pe Spears ca o vedetă hărțuită de fotografi, care în cele din urmă se sinucide prin administrarea unor medicamente prescrise și înecându-se într-o cadă de baie. Scena sinuciderii a fost percepută ca fiind răspunsul lui Spears la zvonurile care sugerează că suferă de o tulburare mentală. După ce știrile despre acest concept s-au răspândit, acesta a fost criticată de o serie de organizații din Regatul Unit și Statele Unite ale Americii. Directorul organizației Kidscape pentru protecția copilului, Michele Elliott, a declarat: "Este absolut scandalos, complet iresponsabil, complet prostesc. Dacă un copil chiar îi urmează exemplu, cu siguranță va fi trasă la răspundere. Ce-a fost în capul ei?". Acesta a spus, de asemenea, că lansarea videoclipului ar putea determina o creștere de sinucideri, comparând conceptul cu moartea actriței Marilyn Monroe în august 1962. "You Tell Us" de la MTV News a primit totodată numeroase scrisori de la spectatorii supărați, care au criticat-o pe Spears spunând că au perceput că sfârșitul ar fi o favorizare a sinuciderii. La data de 12 martie 2004, Spears a anunțat prin intermediul casei sale de discuri Jive Records că a eliminat conceptul, "din cauza unei eventuale aparții fictive acesta să fie interpretată greșit drept o sinucidere". A precizat, de asemenea, că nu a fost intenția sa de a prezenta sinuciderea într-un fel de lumină pozitivă.

Videoclipul a fost regizat de David LaChapelle și a fost filmat în Los Angeles la datele de 13 și 14 martie 2004. Iluminarea a fost descrisă ca fiind "saturată, dar scăzută și naturalistă", pentru a oferi filmului o senzație cinematografică, referindu-se la filmul din 1995 Părăsind Las Vegas-ul. A avut premiera pe TRL la data de 12 aprilie 2004. Spears a explicat că videoclipul exploră reîncarnarea. A adăugat: "Este mai mult precum un film, este diferit de orice altceva pe care am făcut vreodată, este întunecat și mă arată într-o lumină diferită. Desigur, mă voi întoarce să fac videoclipuri de dans, dar am vrut să fiu inspirată și provocată." O versiune alternativă a videoclipului în care Spears cântă în scenele de pe coridoarele albe a fost lansată într-un DVD pentru Greatest Hits: My Prerogative în 2004.

Conceptul
Videoclipul începe cu o filmare din elicopter în Las Vegas, Nevada, care arată hotelul și cazinoul Palms Casino Resort. Acesta continuă cu o scenă a unui hotel cu un panou pe care scrie Britney Spears Live From Miami The Onyx Tour Hotel Las Vegas", cu o imagine cu Spears în care ține în mână o curea din piele și referindu-se la concertul său special Showtime din Miami. Autoarea creștină Eva Marie Everson a comparat imaginea cu "Madonna făcându-și propria sa impersonare a lui Marilyn Monroe." Spears și iubitul său (interpretat de Stephen Dorff) sosesc la hotel într-o limuzină. Se așează separat unul de celălalt, privindu-și ferestrele separat. Spears poartă un chipiu de la Birmingham Barons în aceste scene. Iubitul său vorbește la telefonul mobil, iar când încearcă să îl atingă, acesta o împinge. Intrarea este plină de fani și paparazzi care fac fotografii. Când aceștia ies din mașină, fanii și paparazzi se manifestă într-un mod extrem și încep să se împingă în mulțime. În timp ce garda de corp încearcă să o protejeze, iubitul său aruncă reviste spre paparazzi. Stephanie Zacharek de la The New York Times a comparat fotografiile paparazzilor cu evreii din filmul Patimile lui Hristos (2004). În timpul acestei scene, este lovită în cap cu un aparat de fotografiat, și fără să își dea seama, are o rană pe cap, dar continuă să meargă.

În camera lor de hotel, Spears și iubitul său încep să țipe unul la celălalt. Când acesta încearcă să se împace și să se apropie de ea, acesta îl respinge și pleacă. Iubitul său devine furios și în cele din urmă sparge o vază de perete, în timp ce Spears intră în baie, aruncând cu un pahar de băutură în oglindă. Artista începe să umple cada cu apă și își dă jos hainele. Videoclipul include, de asemenea, scene cu Spears cântând într-o cămașă albă, în fața unei lumini albe strălucitoare. Pe măsură ce se află în cadă, un fir roșu, un obicei asociat Cabalei, este văzut la încheietura mâinii sale. Solista își atinge capul și se uită la mâna ei, realizând că sângerează dintr-o rană. Conform lui Jennifer Vineyard de la MTV, sângele din mâna sa este stigmata. Își pierde conștiința în cadă și se îneacă. La scurt timp după aceea, iubitul său o găsește și încearcă să o resusciteze. Între timp, se descoperă că în scenele anterioare, Spears se află într-o sală de spital. Videoclipul continuă cu scene în care este transportată într-o ambulanță și înconjurată de fotografi, precum și de scene cu medici care încearcă să o resusciteze într-un pat de spital. Fantoma lui Spears într-o cămașă albă, se uită în pat la corpul său și intră în camera următoare, unde se naște o fetiță. Spears este văzută apoi fugind de cameră spre lumină. Videoclipul se termină ridicându-se de sub apă și zâmbind, sugerând că întreaga scenă a morții sale a fost doar un vis sau un fel de fantezie despre propria sa moarte.

Recepție
Eva Marie Everson a scris că videoclipul a arătat realitatea "din spatele extravaganței și fascinației". Dominic Fox a comentat: "Chiar și în forma sa expurgată, videoclipul «Everytime» prezintă un moment de indecizie existențială, o stare de neconștientizare a unei idei de sinucidere în care cântăreața își face fantezii despre propria sa moarte". În timpul unei recenzii pentru videoclipului muzical al discului single "If U Seek Amy" din 2009, James Montgomery de la MTV a numit videoclipul muzical pentru "Everytime" ca unul "subevaluat". Rolling Stone, în articolul lor din 2009 "Britney Spears: The Complete Video Guide" l-a numit "sinistru de profetic și deprimant" și au adăugat că videoclipul a prevăzut suferința lui Spears datorată faimei și instabilității mentale din 2007 și 2008.

Interpretări live

La 18 octombrie 2003, piesa "Everytime" a fost interpretată de Britney pentru prima dată în timpul celui de-al douăzeci și nouălea sezon al emisiunii de comedie americană Saturday Night Live. De asemenea, a interpretat piesa la Britney Spears: In the Zone, un concert special care a fost difuzat pe American Broadcasting Company (ABC) pe 17 noiembrie 2003. "Everytime" a fost, de asemenea, interpretat de Spears în turneul The Onyx Tour Hotel din 2004. Înainte ca turneul să înceapă, Spears a afirmat că a fost unul dintre cântecele pe care abia aștepta să le interpreteze, explicând: "Chiar cred că comunic cu toată lumea atunci când interpretez «Everytime»". A fost primul cântec al celui de-al treilea act, intitulat "Mystic Garden". Acesta a început cu o interludiu video în care Spears intră într-o grădină îmbrăcată într-o rochie de culoarea curcubeului și se așeză la un pian acoperit cu flori. După ce videoclipul s-a terminat, s-a dezvăluit că stătea pe scenă în aceeași poziție. Cântăreața a început spectacolul vorbind cu publicul despre viața sa personală din spatele scenei, și a cântat mai apoi la pian până la cel de-al doilea vers, ridicându-se și mergând în mijlocul scenei pentru a continua spectacolul. Neil Strauss de la The New York Times a comentat: "A fost singura melodie pe care a putut să o cânte fără să fie acompaniată de înregistrare". Kelefa Sanneh de la Blender a considerat-o drept cea mai bună interpretare a spectacolului.

"Everytime" a fost, de asemenea, interpretat de Spears la spectacolul muzical britanic Top of the Pops la data de 5 august 2004. Spears a interpretat, de asemenea, piesa la The Circus Starring Britney Spears din 2009. "Everytime" a fost singura melodie pe care nu a fost inclusă în lista pieselor lansată, și a fost adăugată ca o surpriză. A fost cea de-a șasea și ultima piesă al celui de-al doilea act, intitulat "House of Fun (Anything Goes)". După o interpretare inspirată de Bollywood a piesei "Me Against the Music" de pe albumul In the Zone, Spears a stat pe o umbrelă uriașă în mijlocul scenei și a vorbit pe scurt cu publicul. A interpretat "Everytime" în timp ce umbrela a fost ridicată în aer. Spears a inclus "Everytime" pe lista pieselor pentru spectacolul său de reședință din Las Vegas, Britney: Piece of Me. După un scurt interludiu, a coborât de sus ca un "înger imens cu aripi albe". După un duș de zăpadă de confetti, piesa a fost transformată în "...Baby One More Time".

Reinterpretări

"Everytime" a fost reinterpretat de Glen Hansard de la trupa irlandeză The Frames. A fost înregistrat în timpul unei transmiteri live pe Today FM și lansat într-o compilație de reinterpretări în 2004, Even Better than the Real Thing Vol. 2. A fost, de asemenea, reinterpretat de trupa feminină taiwaneză S.H.E și lansat pe albumul lor de studio Encore în 2004. Versiunea lor a fost reintitulată ca "Bié Shuō Duìbùqǐ" (別說對不起 "Don't Say Sorry"). Cântăreața americană de pop rock Sally Maer, de asemenea, a reinterpretat "Everytime" pentru a îl lansa pe albumul său de studio Bed of Roses în 2008. "Everytime" a fost folosit în timpul producției irlandeze a piesei de teatru din 1896, Pescărușul. Jackie Evancho a reinterpretat cântecul pentru albumul său de debut Prelude to a Dream din 2009. La data de 19 august 2010, versiunea sa a debutat pe locul 3 în clasamentul Billboard Classical Digital Songs. Cântăreața britanică Cher Lloyd a reinterpretat cântecul live la The X Factor din Regatul Unit în anul 2010, lucru care a dus cântecul din nou în top 50 în clasamentul UK Singles Chart. La data de 27 iulie 2012, Kelly Clarkson a reinterpretat cântecul în timpul unei pauze al turneului său de vară din Las Vegas, la cererea publicului. Clarkson a cântat alături de un harpist în timpul interpretări, și a transmiss audienței: "Această melodie este una dintre preferatele mele. [...] De fapt prefer mai mult versiunea lui [Spears], pentru că sună chiar trist, dar voi încerca să o fac." Spears a aprobat reinterpretarea lui Clarkson prin intermediul contului său de Twitter, considerând-o "frumoasă". "Everytime" a fost de asemenea reinterpretat în serialul american Glee în episodul "Britney 2.0" de către personajul Marley Rose (interpretat de Melissa Benoist); interpretarea sa a fost evaluată cu calificativul B de către Michael Slezak de la TVLine. În iulie 2016, cântecul a fost reinterpretat de către vedeta de pe YouTube Trisha Paytas.

"Everytime" a fost, de asemenea, folosit în filmul din 2013 Spring Breakers, regizat de Harmony Korine, cântat pe scurt de personajul lui Candy (Vanessa Hudgens), Brittany (Ashley Benson), Cotty (Rachel Korine) și Alien (James Franco), care cântă la un pian. Harmony Korine a spus despre cântec: "Îmi place muzica sa! Cred că este ca muzica pop perfectă. Cântecul "Everytime" — am fost întotdeauna luată de acel cântec. Are un fel de frumusețe și înăbușire reală și un fel de efect mohorât de cântec de leagăn, iar dedesubt există un fel de agresiune și o amenințare extremă care a fost cu adevărat conectată la film în felul în care filmul se ocupă de cultura suprafețelor, această realitate îndulcită de neon în ceață. Iar dedesubt, există subtextul și sentimentul acestui întuneric. A fost o conexiune pe care am simțit-o."

Ordinea pieselor pe disc

Specificații

 A ^ Versiunea albumului de proveniență In the Zone.
 B ^ Remix de Radio realizat de "Hi-Bias".
 C ^ Mix de Radio realizat de "Above & Beyond's".
 D ^ Mix vocal realizat de "The Scumfrog".
 E ^ Videoclipul muzical regizat de David LaChapelle.

 F ^ Interpretat la Britney Spears CD:UK Special.
 G ^ Remix de Radio realizat de "Valentin".
 H ^ Mix de Club realizat de "Above & Beyond's".
 III ^ Mixshow edit realizat de "Dr. Octavo's Transculent".

Personal
Persoanele care au lucrat la album sunt preluate de pe coperta In the Zone.
Înregistrare
Vocea înregistrată la Studiourile Conway, Los Angeles, California
Mixat la Frou Frou Central, Londra, Regatul Unit

Personal
 Britney Spears – voce principală, textieră
 Annet Artani – voce principală, textieră
 Guy Sigsworth – co-producție, multi-instrumentalist
 Sean McGhee – mixare, inginer de sunet, editare

Clasamente

Săptămânale

Anuale

Certificări

Note
 reprezintă "disc de aur";
 reprezintă "disc de argint";
 reprezintă "disc de platină";

Datele lansărilor

Referințe

Legături externe

Cântece din 2003
Discuri single din 2004
Cântece ale lui Britney Spears
Cântece care au atins prima poziție în Australia
Cântece care au atins prima poziție în Regatul Unit

Everytime


Wassilkowo (, ) ist ein Ort in der russischen Oblast Kaliningrad und gehört zur kommunalen Verwaltungseinheit Munizipalkreis Gurjewsk im Rajon Gurjewsk.

Geographische Lage
Wassilkowo liegt nordöstlich der Stadt Kaliningrad (Königsberg). Bis zum Zentrum der Oblasthauptstadt sind es sieben, bis zur Kreisstadt Gurjewsk (Neuhausen) vier Kilometer. Das Ortsgebiet erstreckt sich zwischen dem Leningrader Rajon Kaliningrads und der nordöstlichen Umfahrungsstraße der Stadt. Durch den Ort verläuft die Kaliningrader Ausfallstraße in Richtung Gurjewsk und Polessk (Labiau) (russische Fernstraße A 190).

Bis 1945 war das damalige Neudamm Bahnstation an der Strecke von Königsberg (Preußen) über Prawten (russisch: Lomonossowo) und Possindern (Rischtschino) nach Tapiau (Gwardeisk) der Königsberger Kleinbahn.

Im Norden des Ortsgebietes liegt das "Fort 2a Barnekow", eines der Fortifikationsbauten Königsbergs, benannt nach dem preußischen General der Infanterie Albert von Barnekow (1809–1895).

Geschichte
Neudamm kam 1874 zum damals neu errichteten Amtsbezirk Bulitten im Landkreis Königsberg (Preußen). Am 30. September 1928 verlor der Ort seine Selbständigkeit und wurde mit dem Nachbarort Tropitten (russisch: Kumatschowo) nach Mandeln (nicht mehr existent) eingemeindet.

Nach 1945 kam Neudamm zur Sowjetunion. Der Ort wurde 1947 wieder eigenständig in Wassilkowo umbenannt und gleichzeitig in den Dorfsowjet Saosjorski selski Sowet im Rajon Gurjewsk eingeordnet. Im Jahr 1954 gelangte der Ort in den Bolscheissakowski selski Sowet. Von 2008 bis 2013 gehörte Wassilkowo zur Landgemeinde Bolscheissakowskoje selskoje posselenije, dann bis 2021 zum Stadtkreis Gurjewsk und seither zum Munizipalkreis Gurjewsk.

Einwohnerentwicklung

Kirche
Bis 1945 war die überwiegend evangelische Bevölkerung Neudamms in das Kirchspiel Neuhausen (russisch: Gurjewsk, heute Rajonshauptstadt) eingepfarrt. Das gehörte zum Kirchenkreis Königsberg-Land II in der Kirchenprovinz Ostpreußen der Kirche der Altpreußischen Union. Letzter deutscher Geistlicher war Pfarrer Herbert Schott.

Heute sind die meisten Einwohner, soweit sie konfessionell gebunden sind, russisch-orthodox. Bezüglich der evangelisch-lutherischen Kirchenstrukturen liegt Wassilkowo im Einzugsgebiet der evangelisch-lutherischen Auferstehungskirche in Kaliningrad (Königsberg). Sie ist die Hauptkirche der in den 1990er Jahren entstandenen Propstei Kaliningrad der Evangelisch-lutherischen Kirche Europäisches Russland.

Persönlichkeiten
 Karl Hentschel (1899–1956), deutscher General

Einzelnachweise

Weblinks
 Ortsinformationen Bildarchiv Ostpreußen: Neudamm
 Wassilkowo bankgorodov.ru

Wassilkowo

Wassilkowo (Kaliningrad, Gurjewsk)


Untermosbach ist ein Gemeindeteil der Gemeinde Wieseth im Landkreis Ansbach (Mittelfranken, Bayern).

Geografie
Das Dorf liegt am Fetschendorfer Graben (im Unterlauf Pflatterbach) genannt, der ein rechter Zufluss der Wieseth ist, und am Weihergraben, der im Ort als rechter Zufluss in den Fetschendorfer Graben mündet. Im Osten erhebt sich der Gutenberg (), im Westen liegt das Flurgebiet Grundwasen, 0,5 km südlich grenzt der Burker Wald an. Eine Gemeindeverbindungsstraße führt nach Höfstetten (0,6 km nördlich) bzw. nach Obermosbach (1,4 km südwestlich). Eine weitere Gemeindeverbindungsstraße führt an der Pflattermühle vorbei nach Wieseth zur Staatsstraße 2222 (1,3 km nordöstlich).

Geschichte
Konrad von Kemmaten schenkte dem Kloster Heilsbronn seinen Hof in "Musbach". 1420 verkauften zwei Eheleute des Ortes ihr Gütlein an das Kloster. 1437 kaufte der 22. Abt Kötzler von Christian Frank zu Dinkelsbühl einen Hof und einen Weiher oberhalb der Sankt Bernhardskapelle. Derselbe Abt kaufte 1445 weitere Güter in "Mosbach".

Untermosbach lag im Fraischbezirk des ansbachischen Oberamtes Feuchtwangen. 1732 bestand der Ort aus 17 Anwesen mit 18 Mannschaften. Außerdem gab es noch eine Kapelle und ein Gemeindehirtenhaus. Grundherren waren das Fürstentum Ansbach (Verwalteramt Forndorf: 1 Halbhof mit doppelter Mannschaft, 4 Gütlein; Verwalteramt Waizendorf: 2 Höfe, 6 Halbhöfe, 3 Gütlein) und das eichstättische Kastenamt Herrieden (1 Gütlein). An diesen Verhältnissen änderte sich bis zum Ende des Alten Reiches nichts. Von 1797 bis 1808 unterstand der Ort dem Justiz- und Kammeramt Feuchtwangen.

Mit dem Gemeindeedikt (frühes 19. Jahrhundert) wurde Untermosbach dem Steuerdistrikt und der Ruralgemeinde Wieseth zugewiesen.

Baudenkmal
 Evangelisch-lutherische Kapelle St. Bernhard, kleiner verputzter Saalbau mit tief heruntergezogenem Steildach und Dachreiter, im Kern 14. Jahrhundert, später verändert.

Einwohnerentwicklung

Religion
Der Ort ist seit der Reformation evangelisch-lutherisch geprägt und nach St. Wenzeslaus (Wieseth) gepfarrt. Die Einwohner römisch-katholischer Konfession waren ursprünglich nach St. Laurentius (Großenried) gepfarrt, heute ist die Pfarrei Herz Jesu (Bechhofen) zuständig.

Literatur

Weblinks

Fußnoten

Ortsteil von Wieseth
Ort im Landkreis Ansbach
Dorf

Untermosbach


دونجي كومرين (Доњи Комрен) هي مدينة في مقاطعة تيرنوبيلسكا في صربيا.

يبلغ عدد سكانها حوالي 6202 نسمة.

مراجع

أماكن مأهولة في صربيا
أماكن مأهولة في مقاطعة نيشافا

دونيي كومرين


An Lepanthes urbaniana in uska species han Liliopsida nga ginhulagway ni Rudolf Mansfeld. An Lepanthes urbaniana in nahilalakip ha genus nga Lepanthes, ngan familia nga Orchidaceae. Waray hini subspecies nga nakalista.

Mga kasarigan

Lepanthes

Lepanthes urbaniana


بشمزين هي قرية لبنانية من قرى قضاء الكورة في محافظة الشمال.
 قال الروائي اللبناني ربيع جابر في روايته «أميركا» ما يلي عن بشمزين: «هذه قرية في شمال لبنان هاجر ربع سكانها إلى أميركا في تلك الفترة». ص. 109

المراجع

أماكن مأهولة في لبنان
أماكن مأهولة في محافظة لبنان الشمالي
تجمعات أرثوذكسية شرقية في لبنان
تجمعات بروتستانتية في لبنان
تجمعات سنية في لبنان
تجمعات مارونية في لبنان
قرى لبنان

بشمزين


Katolička Crkva u Austrija je kršćanska vjerska zajednica u Austriji u punom zajedništvu s papom, trenutno Franjom (stanje 17. listopada 2016.).

Povijest
Kršćanstvo u Austriji datira gotovo od apostolskih vremena ranog kršćanstva. Počeci katoličanstva sežu još od prije velike podjele. Već do vremena velike podjele, Austrija je bila zemlja naklonjena katoličanstvu. Pojava protestantizma ostavila je traga i u Austriji, pa je dio katolika priklonio se protestantizmu.

Kroz povijest su biskupi i apostolski administratori u Austriji bili i Hrvati.

Broj vjernika
Podatci koje navodi CIA za 2001. godinu govore o 73,8% katolika u Austriji, od čega je 73,6% rimokatolika, a 0,2% ostalih katolika.

Crkvena upravna organizacija
Austrijom se prostire nekoliko biskupija, od kojih je nekoliko naslovnih.

Vanjske poveznice
 (eng.) Catholic Church in Austria, GCatholic.org
 (nje.) Katholische Kirche in Osterreich

Izvori

Katolička Crkva u Austriji


Viscount Harcourt, of Stanton Harcourt in the County of Oxford, was a title created twice for members of the Harcourt family, once in the Peerage of Great Britain and once in the Peerage of the United Kingdom.

It was first created in the Peerage of Great Britain for Lord Chancellor Simon Harcourt, who was created Baron Harcourt in 1711, Viscount Harcourt in 1721, and Earl Harcourt and Viscount Nuneham in 1749. For more information on these titles, which all became extinct in 1830, see Earl Harcourt.

The viscountcy was revived in 1917 in favour of Lewis Vernon Harcourt,
 also created Baron Nuneham, of Nuneham Courtenay in the County of Oxford, in the Peerage of the United Kingdom. Harcourt was the son of Sir William Vernon Harcourt, son of William Vernon Harcourt, son of the Honourable and Right Reverend Edward Venables-Vernon-Harcourt, son of George Venables-Vernon, 1st Baron Vernon, by his third wife, Martha Harcourt, daughter of Simon Harcourt, son of Simon Harcourt, 1st Viscount Harcourt.

After the death of the first viscount in 1922, the second viscount succeeded his father while still a student at Eton College. He married twice but left no sons; the title became extinct upon his own death in 1979.

Viscount Harcourt, first creation (1721)
See Earl Harcourt

Viscount Harcourt, second creation (1917)
Lewis Vernon Harcourt, 1st Viscount Harcourt (1863–1922)
William Edward Harcourt, 2nd Viscount Harcourt (1908–1979)

See also
Earl Harcourt
Baron Vernon

References

Work cited

Extinct viscountcies in the Peerage of the United Kingdom
Viscount
Noble titles created in 1721
Noble titles created in 1917
Noble titles created for UK MPs
Peerages created for lord high chancellors of Great Britain
1917 establishments in the United Kingdom
1979 disestablishments in the United Kingdom

Viscount Harcourt