the tragedy of Mount Sinai so I'm here on the eve of Ashura and I'm honored to be joined for one final time. Apart from tomorrow night inshallah we'll stay at Hakim who will be reciting some lamentations from us inshallah. a spin voicemail till his cry hosane sportless cap once in hosane's hotness azain as hoh his cry hymns and scar our treasure ishia hosane's flag is our treasure it's we stand tall saluted and we then call to you hosane who are small we cried hosane when we cry hosane's flag is our treasure it's forever oh hosane just like a bus we'll plant the flag with our hands one for every grain of sand throughout each and every pledge our promise that we'll do everything that you said to this flag we will stay true to your saints flag is our treasure salutations and blessings as usual as we end every show to our master imam is saying as you're all well aware tomorrow is the day of ashura it's not a normal day it's the day when every heart that loves truth that believes in Allah swt truly that loves ehlul bayt imam is saying in the holy prophet is in mourning is it weeping and as we know some of the etiquettes of ashura just to remind ourselves is that not to treat it as a normal day don't spend your time at work or your business wake up in sorrow be sure that you live your day in sorrow from the morning fudger until motherhood continuously in sorrow whenever you meet a believer whenever whenever you meet a believer a love of mountain sane condol him for the tragedy of marmosin as well be sure to shake hands enjoy or rather hug each other and be in a continuous state of distress and whatever you do tomorrow remind yourself not to eat too much because the mountain sane ason was killed not to drink too much because the marmosin was killed thirsty and whenever you see someone that is lonely or upset this marmosin was killed alone first in the land of caliphate inshallah we will not forget you my two eyes and we will not forget your eyes and we will see you once again tomorrow for the final show to be meant to be off the love of the world i mean my guests salam aleykum wa rahmatullahi wa rahmatullahi i mean and by saying the bakery ahsain the bakery ahsain


Hey, this is Yasha from Coburn the Lotus. Hi, this is Charlie from Coburn the Lotus Hanging out here outside a revolution venue in Amityville, New York. We're here in our tour bus We're following fear factor in 8 eternal across the States for over 40 gig tour pretty extensive and We're playing black stars when I can say about the tone and the black stories that well It's a high gain amp. It's a very heavy middle amp dude You don't have to worry about the gain problems because the gain is there all the time the clean channel on the amp is actually really great to Super versatile you can go anywhere from that classy, you know pristine sort of shimmering clean all the way to a creamier sort of You know more mellows sort of thing So it's it's pretty neat with the ISF Function on the amp you can actually switch it from the class a to class ab style of amplifier So you can go all the way from that American, you know kind of tight sound to that open British warmth.  So it's actually really awesome to have water control Built into your amplifier I know a lot of people a lot of players that I know and I've gone in the past looking for third-party options to do the same thing But to be able to squeeze your 200 watts down as low as you know 50 You can crank your volume up on the amp the tubes will break up more and you get that raw tube tone That you know, everyone's always after well We are Charlie and Yasha from Covern the Lotus We want to thank you all for the support to this day and we're gonna be very close to your city Probably with our blacksters there to rock on


Human capital is everything that an individual brings to a task at hand. It's a repository of skills, of health, which can be used for economic activities, but more generally for realization of the potential of an individual. Human capital is, of course, the capital that's in human beings, instead of just machines and things like that.  People have traditionally focused on a very narrow understanding of human capital, thinking about education and in particular schooling within formal contexts. Any skills or knowledge that makes people more productive. So human capital for me is really the ability to take control of your life. A more empowered life, the ability to read and write, increase political participation, more knowledge for women, more and more the profession moves towards not thinking about development in this narrow sense or just per capita growth rates of income, but something that improves quality of life. Human capital itself can be considered an indicator or a measure of development. There is a clear relationship between education and the income and the future of the households and the individuals. With better health and education, people can be more productive. They can then become wealthier, they can contribute to society. It drives growth, but also as countries grow, people learn, people become healthier and so growth itself produces more human capital. The more educated people are, the easier for them it is to produce more and to come up with inventions and to increase the amount of resources available for everybody around. People in developing countries, they know best what they need to make their lives better and increasing their human capital will actually help them, help themselves. It's very important to try to understand which institutions, both formal and informal institutions, matter. We don't totally understand how to increase individuals' human capital and we also don't always understand the interaction between people's human capital. So to understand human capital is not only to understand, you know, how humans have evolved but also how humans can translate the knowledge that they have which has been accumulated over centuries into progress, both economic and as individuals.


make the Sandinistas cry, uncle. The election. Do you think they're liking to do that? Or are they going to give up the same job because you want democracy and Central America to do it? Since they are not going to be talking about it in this speech. But Senator Noye says that you knew about the money, sir. Senator Noye says you knew about the money to raise funds for the kind of military aid. Is that right or not? Yes, I was aware. But there was nothing in the budget anyone to do that. When you say you were aware, sir, were you aware that they were giving money for military aid? But even for military aid, sir? I had no detailed information. I did know, and the people that I met with, I met with the fact because they had raised money to put commercials on television, urging the Congress to support the Congress. Well, Senator Inouye seemed to suggest today that maybe you knew more than that. No, as the program went on, I listened to him very carefully. He made it plain what he was actually saying, that, you know, I did not have knowledge of things of that kind. What he had said in the first place was that I was not off someplace on an island, not paying any attention. Generation of Reverend Billy Graham. Stingless Gansburg up in the York Times. Shall we pray? All of this afternoon to celebrate the 200th anniversary of the Constitutional Convention, we thank you for our Constitution, which is your proud freedom of the press. We remember with deep gratitude and racial justice for all our citizens. Our Father, as we remember your faithfulness and mercy to us in the past, so we pray for your future, that we are dependent on you. We need to carry out their tremendous responsibilities. We pray the same for the publishers here today that wield such an influence on our lives. We also pray for our world, tomorrow vision, and may we be zealous in building our future on its foundation. We pray that during the larger measure, the opportunities and responsibilities that are ours as a nation. We remember also your word, which says, the house they labor in vain to build it. Accept the Lord, keep the city, the watchman, wake it in vain. So we pray that this will become a year of moral and spiritual rededication for us all. Bring us the very moving and momentous message that we anticipate. We are honored that that man accepted our invitation. Ladies and gentlemen, the President of the United States. Thank you all very much. I'm just looking for the other woman in my life. It's a great old lady who for a hundred years now is going to watch over this gateway of freedom. It couldn't be more appropriate that a year later we gathered here on Ellis Island to celebrate with all of you, the ladies and gentlemen of the Fourth State, who also have stood watch over our freedoms and who have been the guardians of our liberty. It is, if those of us in government and press sometimes think of ourselves as antagonists, it's only in the context of transitory events, the rush of daily business that can obscure for us a deeper truth that we are two complementary institutions. Once again, the freedoms Americans enjoy. But my job today is more difficult. It's not about those who came to this land, but it's about the dream that brought them here. Today, another people are in search of that dream. I speak of the people of Central America. And let me begin in 1981. I wonder how many remember that when we first drew addition, they didn't want the chance for democracy that we offered.  But then one day, the silent, suffering people of El Salvador were offered a chance to choose for themselves a national election. And despite the bullets, the bombs, and the death threats of the communists, the people of El Salvador turned out in record numbers, standing in line for hours waiting to vote, to vote for democracy. Congressional absurdity speech and free press offers the only real hope for the long-term peace and security of the region. They know such a system provides a check and balance on any government, discourages the buyers of the place to their own people, that our objective in Nicaragua is clear, free elections. On the other hand, the Soviets and the Sandinistas have also been reduced. They've done the same. The Soviets are challenging the United States to attest to wills over the future of this country. The future they offer is one of ever-growing communist expansion and control. It's a choice before Congress and other people, a base that these Marxist leaveners never intended to honor those promises. We've seen them use negotiations time and again simply to delay, to manipulate world opinion. That's why the choice. World War II, without the pressure of the Central American democracies and the freedom fighters, the Soviets would soon solidify their base in Nicaragua and the subversion in El Salvador would reignite. And policy. Democratic Party, the party of Franklin Roosevelt, Harry Truman, and John Kennedy have stood in firm support of democracy and our national security. The survival of democracy in our hemisphere requires a US policy consistent with that bipartisan finish. So today, I want to describe the framework of that policy. A policy that begins with support for the stable, long-lasting democracy in Costa Rica and the democracies taking root in El Salvador, Guatemala and the diplomatic efforts to achieve a lasting peace. Earlier this year, President Arias of Costa Rica put forward a proposal aimed at achieving a peaceful settlement of conflict in Nicaragua, that the center of his administration has always supported a mutual diplomatic initiative aimed at peace and democracy. Whether it be through Contador, through face-to-face meetings and the removal of the Soviet and Cuban military personnel from Nicaragua. And in policy. While I do not endorse everything in Nevada, I certainly join these countries in calling for the restoration of freedom of the press. Freedom of religion, freedom to assemble, freedom of speech and free elections. All of us are now denied by the government of Nicaragua. Our Senate passed by a 97 to 1 vote. Thank you, Mr. President.


Hi everyone, Joe for Jaspy's casebreaks.com coming at you with a pack of 2022 Panini Capstone Baseball, pack number 72, and at the end, we'll re-randomize everybody's names. Top 5 will win spots in that hip-rate Cooperstown break. Each of those hip-rate Cooperstown spots are $200 a spot, so pretty nice stuff. Big thanks to this group for making it happen, appreciate ya. Let's do the break first. All 30 teams are in, no combos. Let's roll it randomized. Both lists, three and a three, six the hard way, one, two, three, four, five, and six. Now we do have to do a couple more of these filler packs. Next one's already loaded up, if you're watching live, let's keep chipping away at that. It's a very good chance. We should be able to do that tonight. Two more filler packs should be pretty easily doable, so check it out, Jaspy'scasebreaks.com. All right, there's the first half of the list, all right, there are no trade windows in these little filler pack breaks, and we're just going to print and rip. Why is that so tiny? All right, so let's crack this pack open, let's see what we got here, Spencer Strider getting things off, Junior, Cortez, Bryant, Luis Gill, 14 out of 99, Giancarlo Sten, Kirby, and Nolan Aronato. All right, no hits in there, but we got this numbered card for the Yankees, I'll go to Edward. But there are five monster hits inside this pack break. If you think about it that way, it's those five spots we're giving away. So let's gather all of your names, one through 30, new dice, new list, and it'll be just the top five after nine, four to five, nine times, good luck, everybody. One, two, three, four, five, six, seven, eight, and fingers crossed, ninth and final time. There's been a lot of sad faces here, unfortunately. The saddest face is probably Chris, who's very close, but just not quite. We'll get him next time, Chris. Thanks for getting in. Ultimately, six to 30, everyone's sad. Top five, though, you're happy. You're in that hip-rate-cooper sound break. Jimmy is happy. Jimmy's happy again. Stephen is happy. Jimmy's happy a third time. And there's Chris Walker. Look at that. Nothing to worry about, Chris. We got you already. Four to five, nine times. There you go. Congrats. I'll see you next time for the next filler pack break. Bye-bye.


Good day mate. My name is Bisma and welcome back to another episode of your way weekly here from the Auckland University Student Association. Wookiee Fire Holder Week is back. We have over 23 events running over multiple campuses such as Carnival Spectacular, Dogs on Campus, Free Breakfast, Artwork Shops and even Free Access to the Rink Centre. Keep an eye out on our socials for giveaways. The New Zealand Youth Film Festival presented by Enzid Herald is calling for entries. Submit films for free by October 27th to be into win from a $25,000 prize pool. Anyone from any degree and background can enter so be sure to check it out. Check out the Midtown Street Party on Thursday 28th of September from 6pm to 9pm. Listen to vinyl, dance to K-pop and eat a ton of freebies. Come along to our fun-filled trivia night on Wednesday 27th of September at Shadows Bar, hosted by the fabulous Chavon Abrialis. Tickets include a $10 drink voucher and some free food. AUSA is on the hunt for talented soloists, DJs and bands to perform at the ultimate end of your celebration. AUSA will bring the stage you just see to bring the talent. Do you want to have the opportunity to influence life at the university? We are asking for your feedback on the Student Voice Policy and Guidelines by October 4th. Enter your feedback and begin to win one of four $50 prized card vouchers. Do you have what it takes to be the voice of students? The call for candidacy for the university representative is now open until Tuesday 10th of October. That's all from us this week. For more information and to contribute to your IWEEKLY, head on over to the What's On page at the University of Auckland website.


The annual Bell Zade Memorial Football Festival returns with its 38th staging on Monday, the 16th of October, at the St. George's College playing field in Kingston, Jamaica. The football festival, which is staged in honour of two of Jamaica's most influential football figures, Winthrop, Jackie Bell and Dennis Zade, both of whom died in a bus crash while attending the 1986 World Cup finals in Mexico. We'll see four teams, Christian Ambassadors, St. George's Old Boys, a Referee's team and an All-Star team participating and joining us in the studio to tell us more about it, organiser Clive Bizzy Campbell and Mariah will be talking with one of the players and organises in a short while as well. Bizzy, welcome to the new studios here of Sportsmax. Great that you have been able to keep this going for so long. I know that on every public holiday, you make a festival out of the occasion and this is the, well, you have a one love on Ash Wednesday and different events for your public holidays. But the Bell Zade is very special to football fans in Jamaica and it's good that you've been able to keep this going for so long. Well, it's great to give this train to go on and good day to your viewers in here. And this has been a 38th annual fun day, we decided because we always have to honour people on the day. Like Mr. London, a former regular coach, he'll be one of the honorees. Well, a month ago you wouldn't have said former, but go ahead. Well, we had put him down from, you know, months before that he would be one. And they have Calvin Strott, a former Jamaica footballer, a Cavalier player, Calvin Strott, one of the best centre I've seen and played with. That's not Heidel? No. Heidel is a different person. He played against Casey, then played Cavaliers in Jamaica. Yes. 1970, both myself and him was invited by George Thompson in the Jamaica squad. Then you have Granny Marshall, Carnel Marshall, his son is Tyrone Marshall, he'll be honoured also. And there's a gentleman by J.C. they call him Dalfi, Othdale Garden, the curator. He will be honoured on the same day. But as I said, you know, I've been four teams, it will be just fun, run, you play 30 minutes, you play against each other. And it's just to keep Belzealia alive. Because a lot of people don't know what it meant to me reaching as far as Miami. And someone said the football is on TV and I turn back. You know? So I said the only thing I could do, and I said Viverich was the first person, Carl, 86, because Jackie had met him early, I mean he was a captain, West Indies. And he said we have to do something. And that's all. You know, I said yes. And I remember Viverich came the very next year, he and his brother, over by Winchester Park there. Yes. And you know, I'll never forget, because Bonnegudson was there, and DeGalagi, former Jamaican, George's old boy, he was one of the first honorees. And there were so many people I can remember, just off the cap, that I've been honored under Heroes Day. Yes. Because I said Belzealia, both of them, they were my heroes, my friends. And I know what they meant to Jamaica football, a lot of people don't know. They were from a senior coach and on the 20th coach also, both of them. And when I think of it, as I said. You know, Jackie cared a lot about football. I remember as a teenager playing football on the street near Barbican Square, where the supermarket was. At that time it was Masters Supermarket, it's now Hilo. And we were there playing, I was probably 15 or 16, no I was a little older, maybe 18 or so. And Jackie Bell was driving past and he just saw the football being played. And he stopped. He stopped and just wanted to talk to the youngsters to inspire them and give them, you know, some words of wisdom. So he was that kind of person where he cared about young people and cared about the football. And I remember very, very vividly like yesterday, the Sunday morning when we got the news that there was this bus crash in Mexico and both Jackie Bell and Dennis Sadie had died in the crash. Ed Barnes was on radio. He went in to do updates live on RJR because it was sudden breaking news. And I was at home at the time hearing. I was working at RJR, but Ed was the boss. So Ed took on the job of reporting the news of Sadie and Bell's tragic passing. They were, I think, traveling from one venue to the next to go to see a Brazil game because they were huge Brazilian fans, weren't they? Like you are. I was born there. I don't think so. But you know, when I think of it lands, I remember a girlie coming from Trinidad and said to Joseph, two former captain and players, they came and you interviewed Gally at RJR. I have that tape. I already remember it because Gally team didn't make it to the World Cup 1990. And it was so sad for him. Just missed out. I remember. Gally is a good man. Very, very good man. And you know, a friend of mine, we keep in touch every day, you know, I can hear from him. But as I said, this game, when we play the game, and we ask for a donation, it's just to help kids, basic schools, because I try to get as much computers and printers into the basic school. And last year, you played in the classical, we had combined it with the gift. And I'll never forget when I got a call that they break into the marina to basic in waterhouse and took away the TV and everything. Yes. Computers and so on. And I said, I'm going to make sure they got it back. Yeah. Well, a good thing we got back some funds from the game and it was provided. Yeah. All right. That's Clive Busy Campbell, organizer of the Bell Zade Festival, the 38th staging coming up on Monday. And Mara is now seeking with Everaldo Creary, who will be a part of the action as well. Yeah. I'm happy to be sitting on this side of the table. Are you excited for this competition? Yeah, man, always, because all the poppies and salad, they all get you easy, yeah. What makes you want to be associated with this Bell Zade Memorial? Well, I mean, I know Busy over the years. I don't know if you know me, but as you grow up in Franklin Town, you know, see the icon going to school and thing, you know. And then at KC, I was a cricketer, you know.  But I wanted to find a routine. So I taught myself how to play football and things. But when I saw that Busy was doing this thing, I was like, what do you mean? Busy, you know, Shepi, you know, Shepi is a member of the normal stuff. I could play some game and things, but it was used to test my, oh, good. I am in football and it was very impressive. So I keep going every year because, you know, loving the crowd, seeing Pukapu and the score, you know. Yeah, yeah. Yeah. And of course they love you and they love your music. So tell me a bit about the band. What's been happening? Any new music coming soon? Yeah, you know, we released some music, an album with Walsh Fire from Majelais just before the COVID. So we were on our way back from South Africa. You know, we were invited by Nelson Mandela's Gunson and Ting. And I think the last trip we had was we played for a team. I think Busy took us to Miami, Miramar. Yeah, yeah. How was that? That was awesome, you know. It's another whole set of icons, you know, vintage icons over there. Artists, everybody. But with no much now, we have been busy since the pandemic with like movies and so forth, you know. Manchelain is also in the Babmahali movie that is coming out soon, you know. So, you know, we're not going to stop work. It's a multifaceted group, you know. Yeah. It's a music drama. I mean, theater, I'm doing a play with Deila Harris right now. It closed, but we're bringing it back on the 22nd for one night only. So we keep bubbling, you know. It's many disciplines. So it's not like, you know, if you don't hear music, we're busy in the movie or no movies, it's theater. Or like, for instance, just giving back to schools. I was at Mona yesterday morning talking with the students about, you know, just taking the craft serious and how it requires a level of intelligence. So it's not like you can just, you know, think about it.  You know, you just said that, right? Taking the craft serious and instant.  Are you pleased with the direction to make your music is heading? Whoa, that's a good question. It's a heavy question. Yeah, it's a very question. Well, I can say sometimes I fall into the trap of like being very judgmental about how the youths express themselves. But if you know the history of music, something like maybe mental was slack when mental was heavy in the fifties.  And then Ska become an iconic part of our musical journey. So my thing is maybe you have, you know, some ill-flavored kind of music, you know, fast food type of music there. But I don't think it's the majority. It might be so popular here. But if you kind of step outside of Jamaica, where most of nomads shows are, which is ironic, yeah. So when you check the Europe place and all the reggae circles, and just deep across the world, you see more quality being perpetuated, you know. Yeah, anything you want to say to our viewers who are tuned in about the Bell Stadium Memorial Football Festival and why they should support because they'll be missing out. You're going to be playing.  But let's come out and support the thing, you know. I mean, I like old lands referred to it as a festival. Yes. Yeah, it is a festival. It has come out. I mean, George is a very good feel. I was going to say good school, but you don't know. Casey is on the other side, so. I don't, I would not tell you what I think about Casey now, but we'll talk offset. You're going to throw back the lands. But come out, man. It's a fun time, you know, the grass green. It's going to be very entertaining, you know what I mean? Artists, whatever artists, they can get to meet them personally, you know what I mean? And kids would like that to run up and support the thing really, because it's a good cause, a great cause. Yeah, football for a great cause. Lance, it's back to you. Yeah, I can give you a sneak preview. Mariah is not a huge fan of Kingston College, but I'd leave it there. And we'll be back with more on the zone after this.


The Perfect Weapon is undeniably the ultimate Kempo film, but whatever happened to the sequel? We have Master Just Speakman with us today in the final of a four-part series analyzing how Kempo is represented in The Perfect Weapon. First we're going to wrap up how the essence of Kempo culminates in the final battle and then Mr. Speakman shares some insight with us on whatever happened to Perfect Weapon 2 and what it might have looked like. And you also won't believe what major Hollywood blog-quester almost became his second film. Let's talk about it. I think this is a pinnacle for every, or a staple for every Kempoist out there to have. It's like a requirement, almost, just to train in the art to see this film. I want to talk about this last thing because we've focused on different themes and different scenes as these episodes went on. This one in particular, the final battle is really interesting to me because you've now infiltrated the Warhouse and you're now facing off with Carrie Tagawa and James Hong and you are attacked and right off the bat, I believe you used Jamie Mase looks like and you do a standard Kempo defense and you pretty much take out Tagawa pretty fast. What were your thoughts leading up to this final confrontation? I always, I really pushed for trying to use Taming the Mace. So once again, good on you for recognizing your Kempo techniques. And then right after that, you know, there's a really, right before that, there's a really important thing that happens when Carrie Tagawa comes up and pulls a gun on me first and I'm stuck and James Hong tells him to move to the side to get me through the temple and the primary mandate of Kempo versus firearm, your empty hands and the attacker has a firearm, is to divert. So if I can just take the barrel of the gun and move it a little bit, now it's going to miss me even if you do fire. Now if at the same time, I also move in the opposite direction. So I double I increase the probability of not getting hit by the bullet by doing both move the barrel and move the target. Then your next concern is to be close enough to the person with the firearm to be able to control their next movement and it's almost counterintuitive that somebody comes at you with a gun or a knife and you want to get closer to them. You know, that just that first thought that really doesn't work. But then if you go into it, then you realize, well, if the guy's here to kill me and he's using a deadly weapon, you have to control and contain that distance. So he doesn't get a second chance to use that weapon on you again. You must choose an extremely aggressive response. And that is always going to be take your sight, take your breath or both. I'm never going to try to do something, divert the gun and then step back and then command your second time. You've got one time if you're lucky enough and fortunate enough to get out of the line of fire, you will not have that chance again. And what's fun for that for me as a viewer watching that is you dispose of Tanaka. I'm not sorry, you dispose of Tagawa so quickly that in the distance you see Tanaka showing up on the boat. Now we're expecting this big epic Kemple battle. And what I love is when he shows up and comes at you, it seems at first that the Kemple doesn't work against him. So this is what kind of like almost a step back. It's the first time in a movie where you're really the techniques that we've seen at this point, the perfect weapon isn't working against this foe who and you're hitting him hard and or at least it perceives as hard and just not affecting them. Just what was the approach to fighting the character like and what did you and Mr. Parker want to achieve with this scene? We needed to make it abundantly clear what you just highlighted, which is we wanted to make his character bigger than life. And the odds of me being able to use my Kemple on this guy diminish greatly because of his size and the skill and his general attitude on life. Funny thing, not so funny, but interesting thing that happened that first we're filming nights. So, you know, you show up on the set when the sun is going down so that you can get into makeup and get into war bulbs. So now the sun is set and you're going to shoot until the sun comes up. And those are difficult because yesterday you might have been shooting in the afternoon. So you get six hours off and I got to come back and do a fight scene for 12 hours. Those are the days are particularly taxing. But as you recall in that fight scene, there's a point where he's got the best to me and he grabs the back of my hair and he grabs the back of my belt and he pulls back and he throws me into a whole bunch of barrels. Okay.  I know there's a, we look in the mirror and there's a bruise that wasn't there last night. So after that fight scene the next morning, I get up and I'm doing that same, wow, I'm like, holy cow. That was a lot of work and I got hit and all that. And I kept getting up and the small of my back was so sore. Like I've never had it before. And I thought, God, that is really, you know, no matter what I do, the pain is still there. So I go to mirror and I turn around and I look behind me and there are five blue dots of bruises on the small of my back where his fingertips hit before he grabbed the belt to throw me. So that tells you how strong that guy's grip was. That's that wrestler's grip right there. Wrestler's grip, he was unbelievably strong. This guy was a monster. You know, and he would come into the West LA school before we did the movie. I had actually met him before, just walked in every now and then and hang out. And I think which we mentioned in one of the earlier chapters of this particular sequence, that, you know, the really the unsung heroes of a movie like this understand them.    And I want to kind of return back to the fight with Mr. Tanaka. There's a particular pattern I noticed watching this part of the movie in the first part in the flashback to beginning when young Jeff faces off with the football player that that hits his younger brother. There's a sequence of kicks that you deliver or that your character delivers. Jeff in the film delivers almost the exact same sequence of kicks to Professor Tanaka. And I find it interesting because at the beginning it worked too well. And now it's not working at all. Is there any sort of symbolism that you guys were trying to strive for this? Or is that just a happy accident? No, it played back into the motor. What we needed to do was throughout the movie and toward Tanaka's introduction into the film as continue to build him as this unmovable, unbeatable force, a killing machine on such a huge level that even though I was able to get some ground work covered with him, I wound up having to blow him up at the end of the fight scene because I couldn't do it. That was part of the logic of that escalation of how serious this guy is and what kind of trouble that I was in. And then the real point of all of that being taken to that level was at the very end of the movie when I bring James Hong's body slung over my shoulders and the fireman's carry to my dad and I lay him down and he kind of unrolls from the sheet I've got him wrapped in and he's still alive. And my dad can't believe it. And that I would spare his life, that I wouldn't take his life in to know he was responsible for taking the life of my friend. That's the moral equivalence because here's the question that plays out there in that scene and then in life for all of us, which is if you kill the killer, do you suddenly become that thing you used to fight against? And that's the human dilemma. Where is it appropriate to use deadly force and not? Jeff Sanders made the choice not to kill James Hong. And that's a theme that's introduced earlier in the film when your character is leaving town and you're going up to your Kemplemaster and he's describing the difference between the tiger and the dragon, which I want to kind of deep dive into just a little bit here, that the whole concept of the tiger being, you know, brute power, brute strength, earthly strength and then the dragon being also powerful but wise, he makes the point to saying that the dragon has a choice, but the tiger does not. And it's many times in the film we see your character rely on the tiger, rely on the tiger. So the tiger takes out the football player, does a lot of damage. You're resorting to the tiger, you know, with Professor Tanaka, it doesn't work. It was only when your character starts to embrace the dragon and thematically start thinking on a different level, thinking in an approach a different way that you start to have success in the film. And I think that's at the end of your talk about when you let James Hong live, that your character has made that final balance between the two halves. Yes, and exactly the writer Dave Wilson, who did an amazing job, I got to know him quite well, and exactly what you described is sort of how I spoke to him. You know, these are the iconic metaphors of the martial art world certainly of the Chinese and Japanese, which you laid out perfectly, which is the tiger is this master of the physical, the main, and the dragon really doesn't exist. It's an amalgam of different animal parts, the body of a serpent, the head of a jackal, the wings of a dragon, the talons of an eagle. And so really doesn't exist. It's a metaphysical collage of different ideas. And it's always above looking down at the tiger, and the tiger is always down below looking up at the dragon and that duality like that and the dragon always is holding this pearl, which is the pearl of wisdom, right? He's the guardian of the wisdom, the ethereal, the non-physical, and the tiger down here is a little bit of red in his mouth, but he's gold, and the serpent's body is completely red with some gold fins or flames along the back. So it is a perfect example of the yin-yang symbol. There's this with a little bit of that, and there's the opposite of that with a little bit and they are interdependent on one another. And so that brings us to the conclusion of what is your perspective? How do you look at life? What do you think is right and wrong? All those things play out in that symbology of the tiger and the dragon and how they work paradoxically in opposition to one another, but yet they both work in tandem to one another. There has to be this to be that. And we see this throughout the film. We see in Mako's apartment who's your mentor, he's got a dragon statue, and it's in the foreground as he's advising you. And we see that the ring, people ask about that ring all the time if it's a real ring, but I love the symbolism of the ring in the movies, that your character is always changing it, like you're always showing closest of it and you're touching it, but there's one moment in the end fight with Professor Chinaka where you're on the ground and he's like, he's putting a flower in his pocket, he's getting ready to deliver the killing blow, where your character touches the ring, but the way you did it and the framing and the camera shot actually looks like you're in the salutation stance. It's as if the tiger and dragon in that moment are finally coming together and that Jeff has found that balance. Right, when I began to get close to Ed Parker, started going to his house every week, which we did for three and a half years, I realized that I was in the presence of a very special person, a man who I refer to as the Einstein and Marshall Arts, because don't get me wrong, I'm very proud of what we've done. How far we've gone, where we're going to go, that's a home run, but we did not invent it. We were not the innovators of how to think this way, how to move this way, how to create solutions as Ed Parker was, so we took his spirit and his philosophy and his intellect and we went farther down that road, and I'm very thrilled that we did that, but let's not you know, mince words here. I'm not Ed Parker. I didn't create the kind of thinking and the presence that he had. He was the creator of one of the things that sets him apart is they can be with a group of really, really smart people and everybody looking at the same thing, but there's one person that sees something there that nobody else sees. They have the ability to see beyond the pragmatic, into the theoretical, and moving forward and that's what he was. He was a guy who would look at the ancient Chinese fighting techniques and figure out how to apply physics and principles and cause and effect relationships, moving your body through time and space at a particular angle to be able to deliver a maximum impact strike to a given target to create a reaction that you're aware of that you take advantage of that reaction before the person can recover, right? Think about how brilliant that is. That is truly groundbreaking and truly amazing and that's why he deserves all that credit. Those are the gifts he gave to us. I would like to end this on a little bit more of a hypothetical fun note. Every time we do an episode, our viewers really react to the FIO material and our topics together, but there's always a comment that comes up a lot. A lot of people will say is when are we going to see Perfect Weapon 2? I just thought it might be fun to kind of dip into that. If I understand correctly, at one point in time there was a sequel in development. Is there anything that you could tell us about that project or what it might have looked like? It was in theoretical concept back when Paramount was in that business, but what happened was so I had associated myself with a particular, I signed with a producer who made his name through Van Damme's first three movies. His name was Mark DeSalle. He was done with his Van Damme contract. The guy that wrote Van Damme's second movie, Kickboxer, he was one of the acting coaches at the studio I studied acting at for five years. So we became friends and then I found out he wrote that movie. I said, oh, I do this thing called Tempo. Why don't you come down and see it? And so he did. And after he saw it, he called DeSalle and he said, you got to come see this Tempo stuff because I've never seen anything like this. And it took him several times to try to, so finally Mark DeSalle showed up at the West Los Angeles Dojo and I did a demo for him. We signed a four picture deal and then he took that and went to Paramount. So he's tied with all four of those pictures. After we did the first one called The Perfect Weapon, they immediately went into what is Speakman's second movie going to be because we got them for three more for sure. So they had all those options. So they were moving together putting together a Perfect Weapon 2. What storyline they were adapting into that I don't know because I wasn't a part of that conversation. But before that developed further the next head of Paramount came in Brandon Tartacoff and a wonderful man. I met with him several times and he was so kind and the other people that were around him that I knew outside of Paramount said he was 200% in the Speakman camp going to make him one of the pillars of the new Paramount model that's coming out and then few months later he died of a tragic heart attack. So the first person that was running the studio was gone. Tartacoff came in, he's gone. Now the third person comes in, Sherri Lansing, who again was wonderful and very very kind to me but now I'm three levels away. So mostly if Paramount did another Speakman movie and it was successful no matter who did it, they're going to go give their credit to the first person that brought me to Paramount. And that's what nobody wants. So I can't go anywhere because Paramount owns all the options they paid for them so they don't want to do another movie. So they don't want to let you out to do another movie because what if I went to Warner Brothers and they had a huge hit? You know somebody's going to get in trouble for that.  And that's exactly what happened. I watched a previous interview with you from a couple years ago where you had discussed that you were at one point attached to a script that would eventually become the film speed. Can you elaborate on that a little bit? And if it had been produced for as a just to confirm how would Campbell have been implemented into a film like that? We were in the process of doing that. This goes back to what happens when somebody at the top loses their job or they pass away or whatever and then a whole new regime comes in. Especially with the big company. There is so much going on in a very little amount of time. So Paramount had me in a read a script that they owned. And I sat there in their office and read it in, you know, an hour or so. It was incredible. And I said, this is it. If this is the second Speakman movie after Perfect Weapon we're done. You know, we're at the top of the pile and we're going anywhere you want to go.  We accepted it. That's the one we're doing this movie for Speakman. Then in an interim area where Brendan Tarracoff was no longer there before Sherry Lansing came in there was a person temporarily running Paramount. He took that script and put it in what they call turnaround. Which is if you're a studio and there are the other three studios and you want to get rid of a project that you've invested in, you just put it up there and go, okay if you want the script you can have it for 200 or 400,000 whatever we got into it you can buy it. He did that and Warner Brothers picked it up in a heartbeat and it was the movie Speed, which was the movie they were developing for me. So we actually hired a writer and he was writing rewriting the script so that the direction of the bad guy would be you have to stop the bus at this location get out and go get a whatever. And that would put me out of the bus and I'd be into a fight scene and then I'd have to jump back on the bus and we were wrong. So it would be this milk run on the bus going from one fight scene to the next. And then when that whole so he put it in turnaround they picked it up made it with what's his name Keanu Reeves and it was a huge success and that was actually slated to be my second movie at Paramount and as ridiculous as that sounds that kind of thing happens really pretty regularly in Los Angeles and Hollywood but that's what ended my career at Paramount. So imagine that you know you come off a perfect weapon you work that hard you do such a good job selling totally committed right after the movie is finished you lose Ed Parker he dies of a heart attack at age 59 we were supposed to be together traveling all over the world the master and student though but I mean it was perfect right we're just out the gate and then I go through his death then we go through this travesty with the movie speed and there's no more movies for Speakman to Paramount but I'm still tied to the other producer that brought me in there the guy who started Jean-Claude Van Damme so he took his three options and went out and that's when we did Street Night 2nd movie I did for Warner Brothers if you were to make the perfect weapon to today in a hypothetical universe how would you implement 508 it in the particular scenes in the particular locations fight techniques any any elements that you would love to have seen come together for an ideal sequel I would put going to the ground by choice in a mass attack at the end when I'm fighting the last guy because then I don't have to make the conscious choice to go to the ground and put myself in a very vulnerable position no matter how good you are down there you're much more vulnerable on the ground than you are standing up when there's more than one person so I would try to implement it in that logical sequence and then I would put in how Temple 5.0 ground is different than Brazilian Jiu-Jitsu or MMA what is it that we do down there that makes us stand out to the point where I can say to you and everybody listening in all good conscience what we did was we made a Kempo ground system we didn't take Kempo Karate and Jiu-Jitsu and say okay Monday and Wednesday we're doing Kempo Tuesday Thursday we're doing Jiu-Jitsu we put it together in one cohesive system so that was always my intent to make it a Kempo ground system not a extension of Jiu-Jitsu because who's got 20 years to throw on top of 20 years of Kempo to get that good at Jiu-Jitsu I'm a white belt in Jiu-Jitsu I went 4 years to Mr. Nathan's school I never got out of being a white belt I'm not going to die a white belt even though I wore white gear and a white belt I'm great with that you know I'm not there to get belts or to compete I'm there for information and then to figure out how to bring these two worlds together into one system and that's the world we live in today well I personally want to thank you so much for the work you've put into Kempo 5.0 the effort you've spent and the dedication and investment of time getting it out there I had a taste of it years ago I find a lot of value in it and I'm really happy to see how big the family has gotten and that it's actually prospering and I would especially like to thank you for your time to spend with us today and not just today but these other episodes where we talked about you know these hypotheticals and the symbolism of Kempo in the movies and so again I just can't express enough gratitude and is there any message like years to have who either seen the film or not seen the film and what does the name Perfect Weapon mean to you? The thing that I would like to express to you personally is my gratitude you have helped enormously with getting the word out of 5.0 and who we are and what we do and why we do it so you have my gratitude and my respect for doing that and just I would say to all people that respectfully question authority creates solutions instead of more problems as you move forward and this is what we have done in the 5.0 system and if those words resonate to you if you find value in them then please look at who we are you can go online study clandestinely from our online academy in which you go to jettspeakman.com go to the top right hand corner click on the 5.0 university and you will see the online academy you can just study online and get an idea of who we are and what we are and if you are of the same energetic value in how you think of the world then you have found a new home if you don't think that way this is not your place I am not after students I am after living a certain way for the rest of my life on planet earth and I am doing exactly that I am going to do that tomorrow well said and thank you so much sir I really appreciate everything and I really appreciate your time thank you sir so while we never got a sequel to one of the best martial arts films out there it is fun to explore what it could have looked like now I would like to thank master speakman for spending so much time with us and sharing his personal experiences on making the perfect weapon this was a four part series and you can find the links to the other three episodes in the description down below if you are hungry for more, master speakman has an entire catalog of films that he made that feature kempo as well as building and establishing his kempo 5.0 system which is one of the largest and most prominent branch-offs of ed parker's art so if you want to know all about kempo 5.0 you can find it all right here