(from left to right)
unknown, Jhoon Rhee, Ed Parker, unknown, B C Yu, Chuck Norris, Bruce Lee, Gary Alexander, Henry Cho, George Mattson, unknown
Sunday, November 15, 2015
Saturday, November 14, 2015
The famous "West LA" studio
(photos from Skip Hancock's Facebook page)
Training ground of many of the kenpo greats.
11104 Santa Monica Blvd.
-----------------
Santa Monica and Sepulveda blvd.
Saturday, November 7, 2015
The Secrets of Speed
(Black Belt Magazine Oct. 1989 V-27 No. 10)
Legendary karate pioneer Ed Parker begins his sojourn as a Black Belt columnist this month in our continuing effort to bring readers the most knowledgeable essayist in the martial arts. Parker, one of the true greats of the martial arts world and a Black Belt Hall of Fame member, is a storehouse of memories and anecdotes about people ranging from Bruce Lee to Elvis Presley. He is also perhaps the world's leading authority on Kenpo karate. We think you'll find his monthly column amusing, informative, and downright fascinating. – Ed.
To understand karate techniques and how they function, you must have knowledge of physics. You must study the body and learn how the senses - through the principles of mass, speed, body alignment, angles, momentum, gravitational marriage, torque, focus, stability, power, and penetration - can make the body function intuitively. An in-depth study of these principles of physics will also reveal the sophistication contained within basic techniques.
"He who hesitates meditates in a horizontal position" is a statement that I use to imply the need for prompt action. It is a statement referring to speed. "Do it now," “I wanted done this instant," You’d better be fast," and "Be quick about it" all are phrases that imply speed or hasten velocity regardless of direction. As we study these terms, we learn that they are concepts related to distance and time. By definition, speed is equal to the distance divided by the time it takes to move.
Speed, however, goes beyond this definition. Like the Eskimo who uses a number of terms to describe the types of snow, we too must distinguish and categorize speed to make it meaningful to the karate enthusiast. There are three categories of speed: perceptual, mental and physical. However, while the categories are separated in order to analyze why to speed in tales, they function as one.
Perceptual speed is the quickness of the senses in: monitoring the stimulus they receive; determining the meaning of the stimulus; and conveying the information to the brain so that mental speed can arrange the proper response. To the karate practitioner, it is the feel or smell of trouble, a sound, sign or gesture that suggests trouble, the site of an incoming strike, or the opportunity to attack or counterattack. The speed of this type can be increased by maintaining alertness and by conditioning the senses to develop environmental awareness.
Mental speed is the quickness of the mind to select appropriate movements to effectively deal with the incoming stimulus. Speed of this type can only be increased by practicing various karate techniques on a regular basis. This involves learning the techniques to a point of total familiarity and instinctive response. As you broaden your knowledge of combat alternatives, and can tap into the movements and concepts stored in your subconscious, the speed of your instinctive response increases.
Physical speed is the quickness of physical movement - fluency in response to stimulus, and the speed in which one executes the technique. The speed of this type can be increased through stretching, body conditioning, and other methods of training. Stretching exercises helps increase elasticity, which automatically develops a reach. Body conditioning prevents fatigue and allows a high level of speed to be maintained for longer periods of time.
Knowledge of the principles of economy of motion also contributes to speed. It helps you avoid erroneous angles and teaches you how to administer your strength. This principle stresses the importance of: being relaxed when striking, tensing only at the moment of impact; making one aware that time is crucial; using movements that follow direct angles and paths; eliminating "telegraphing" of techniques unless as a means of deceptive strategy; continuity, flow, and rhythm; responding to combat from natural postures; learning about target accessibility; and distance, or range.
In conclusion, while speed often enhances power, it is not the root of power. Synchronization of body mass and speed is a major ingredient that creates power.
Legendary karate pioneer Ed Parker begins his sojourn as a Black Belt columnist this month in our continuing effort to bring readers the most knowledgeable essayist in the martial arts. Parker, one of the true greats of the martial arts world and a Black Belt Hall of Fame member, is a storehouse of memories and anecdotes about people ranging from Bruce Lee to Elvis Presley. He is also perhaps the world's leading authority on Kenpo karate. We think you'll find his monthly column amusing, informative, and downright fascinating. – Ed.
To understand karate techniques and how they function, you must have knowledge of physics. You must study the body and learn how the senses - through the principles of mass, speed, body alignment, angles, momentum, gravitational marriage, torque, focus, stability, power, and penetration - can make the body function intuitively. An in-depth study of these principles of physics will also reveal the sophistication contained within basic techniques.
"He who hesitates meditates in a horizontal position" is a statement that I use to imply the need for prompt action. It is a statement referring to speed. "Do it now," “I wanted done this instant," You’d better be fast," and "Be quick about it" all are phrases that imply speed or hasten velocity regardless of direction. As we study these terms, we learn that they are concepts related to distance and time. By definition, speed is equal to the distance divided by the time it takes to move.
Speed, however, goes beyond this definition. Like the Eskimo who uses a number of terms to describe the types of snow, we too must distinguish and categorize speed to make it meaningful to the karate enthusiast. There are three categories of speed: perceptual, mental and physical. However, while the categories are separated in order to analyze why to speed in tales, they function as one.
Perceptual speed is the quickness of the senses in: monitoring the stimulus they receive; determining the meaning of the stimulus; and conveying the information to the brain so that mental speed can arrange the proper response. To the karate practitioner, it is the feel or smell of trouble, a sound, sign or gesture that suggests trouble, the site of an incoming strike, or the opportunity to attack or counterattack. The speed of this type can be increased by maintaining alertness and by conditioning the senses to develop environmental awareness.
Mental speed is the quickness of the mind to select appropriate movements to effectively deal with the incoming stimulus. Speed of this type can only be increased by practicing various karate techniques on a regular basis. This involves learning the techniques to a point of total familiarity and instinctive response. As you broaden your knowledge of combat alternatives, and can tap into the movements and concepts stored in your subconscious, the speed of your instinctive response increases.
Physical speed is the quickness of physical movement - fluency in response to stimulus, and the speed in which one executes the technique. The speed of this type can be increased through stretching, body conditioning, and other methods of training. Stretching exercises helps increase elasticity, which automatically develops a reach. Body conditioning prevents fatigue and allows a high level of speed to be maintained for longer periods of time.
Knowledge of the principles of economy of motion also contributes to speed. It helps you avoid erroneous angles and teaches you how to administer your strength. This principle stresses the importance of: being relaxed when striking, tensing only at the moment of impact; making one aware that time is crucial; using movements that follow direct angles and paths; eliminating "telegraphing" of techniques unless as a means of deceptive strategy; continuity, flow, and rhythm; responding to combat from natural postures; learning about target accessibility; and distance, or range.
In conclusion, while speed often enhances power, it is not the root of power. Synchronization of body mass and speed is a major ingredient that creates power.
Friday, November 6, 2015
Beginnings
(Black Belt Magazine Nov. 1989 V-27 No.11)
It seems as though only a short time has elapsed since I began my venture into the karate profession. I started teaching commercially in 1954 at a gymnasium in Provo, Utah, and also held a self-defense course for law enforcement agencies at Brigham Young University. After graduating from college with no experience in business, I moved to Pasadena, California, and opened my own school in September, 1956. I was determined and confident I could make it, and as I look back, I found that my ignorance really worked in my favor. Had I listened to my experienced business advisors, who would have warned me of all the pitfalls of my profession, I would never have been successful.
The following true story is a good analogy. A black belt was hired to protect a rock group on tour. A party was held on closing night, and a gate-crasher and his friends got out of hand. Their leader attacked the black belt, but he found he had overestimated his ability and was badly defeated. As his friends escorted him out, they yelled to the black belt "You'll regret this! This is the national heavyweight boxing champion!" Would the black belt have been as effective had he had previous knowledge of the party crashers identity? Would I have been effective if I had been told about the pitfalls that awaited me in the martial arts business?
At the time of my schools opening, there was no one in the karate business to appraise me of their experiences; there was no track record for me to follow. Learning the basic principles of business is not enough, because they are not the same for all businesses. A recent case in point: a very successful insurance executive decided he wanted to get into the karate business. I was consulted and gave him my advice. His plan to have big businesses sponsor underprivileged kids was a valid idea most of us in the profession had not considered. We have brought sponsors into the tournament scene, but not into the schools. After listening to his plan, I was impressed. However, as he revealed other aspects of his plan, I knew that his business practices would clash with ours. His monthly overhead, not including salaries and other miscellaneous expenses, was $15-16,000 a month. To meet these expenses he would have needed 400 regular students. To pay salaries, another 100 to 150 regular students would be required. I predicted he would stay in business a year. I was wrong. He closed in six months.
"Tailoring" is a very important concept. In Kenpo karate, tailoring describes your ability to fit moves to your body size, makeup, speed, and strength in order to maximize your physical efforts. Tailoring is also viewed as the ability to adjust your attitude to fit each situation. These concepts also apply to business. What works in one business may not work in another. Likewise, teaching and business procedures at a karate school will vary from one country to another, state to state and city to city. Economic conditions, ordinances, age groups, an annual income are some of the considerations that change with time and must be heeded.
One of those considerations is competition. Many of us have read about the Old West, with its gunfighters and challenges. Similarly, during my early years in business, I too became acquainted with challenges. Since karate was virtually unknown during the early 50s, I had my share of challengers. Because I had the only commercial school listed in the Yellow Pages, I was frequently sought out. I once had a challenger who said he was a "jujeeti" expert. He couldn't even pronounce the word "jujitsu" correctly. As much as I tried to avoid a confrontation, he persisted. You can only take so much, so I gave in. He proceeded to stalk me, traveling clockwise, and I faked a right punch. He attempted to grab my punch with his right hand and I instantly contoured the underside of his right arm and executed a right inward elbow strike to his upper rib cage, cracking a number of ribs. It was my intention to knock the wind out of them, not the fracture his ribs. As I escorted him out of the school, I felt remorse for what I had done, but I was angry with him for placing me in such a position.
I recall another incident where the gentleman in question did not actually challenge me, but felt he had the fastest hands in town. He wished to prove to me that he could block any punch directed to his head or body. I shot a right punch, and he blocked it successfully. I've been shot a left punch, which he blocked. I commented "Hey, you're really good." As his head swelled, I asked if he could block a right and the left punch combination. He again succeeded. I then delivered a left and a right combination. He beamed as he successfully blocked my blows. I commented that I had met a lot of martial artist, but that he was the best I had seen. His head was now so swollen he could have floated to the ceiling.
My last comment to him was "Can you block a right “with” a left combination?" He nodded his head, indicating he could. As I simultaneously delivered both punches, he blocked my right punch and was drilled in the face with my left. He did not expect to punches delivered at the same time, which is what I countered on.
That was one of the ways I used my wits to survive in the early days of karate.
It seems as though only a short time has elapsed since I began my venture into the karate profession. I started teaching commercially in 1954 at a gymnasium in Provo, Utah, and also held a self-defense course for law enforcement agencies at Brigham Young University. After graduating from college with no experience in business, I moved to Pasadena, California, and opened my own school in September, 1956. I was determined and confident I could make it, and as I look back, I found that my ignorance really worked in my favor. Had I listened to my experienced business advisors, who would have warned me of all the pitfalls of my profession, I would never have been successful.
The following true story is a good analogy. A black belt was hired to protect a rock group on tour. A party was held on closing night, and a gate-crasher and his friends got out of hand. Their leader attacked the black belt, but he found he had overestimated his ability and was badly defeated. As his friends escorted him out, they yelled to the black belt "You'll regret this! This is the national heavyweight boxing champion!" Would the black belt have been as effective had he had previous knowledge of the party crashers identity? Would I have been effective if I had been told about the pitfalls that awaited me in the martial arts business?
At the time of my schools opening, there was no one in the karate business to appraise me of their experiences; there was no track record for me to follow. Learning the basic principles of business is not enough, because they are not the same for all businesses. A recent case in point: a very successful insurance executive decided he wanted to get into the karate business. I was consulted and gave him my advice. His plan to have big businesses sponsor underprivileged kids was a valid idea most of us in the profession had not considered. We have brought sponsors into the tournament scene, but not into the schools. After listening to his plan, I was impressed. However, as he revealed other aspects of his plan, I knew that his business practices would clash with ours. His monthly overhead, not including salaries and other miscellaneous expenses, was $15-16,000 a month. To meet these expenses he would have needed 400 regular students. To pay salaries, another 100 to 150 regular students would be required. I predicted he would stay in business a year. I was wrong. He closed in six months.
"Tailoring" is a very important concept. In Kenpo karate, tailoring describes your ability to fit moves to your body size, makeup, speed, and strength in order to maximize your physical efforts. Tailoring is also viewed as the ability to adjust your attitude to fit each situation. These concepts also apply to business. What works in one business may not work in another. Likewise, teaching and business procedures at a karate school will vary from one country to another, state to state and city to city. Economic conditions, ordinances, age groups, an annual income are some of the considerations that change with time and must be heeded.
One of those considerations is competition. Many of us have read about the Old West, with its gunfighters and challenges. Similarly, during my early years in business, I too became acquainted with challenges. Since karate was virtually unknown during the early 50s, I had my share of challengers. Because I had the only commercial school listed in the Yellow Pages, I was frequently sought out. I once had a challenger who said he was a "jujeeti" expert. He couldn't even pronounce the word "jujitsu" correctly. As much as I tried to avoid a confrontation, he persisted. You can only take so much, so I gave in. He proceeded to stalk me, traveling clockwise, and I faked a right punch. He attempted to grab my punch with his right hand and I instantly contoured the underside of his right arm and executed a right inward elbow strike to his upper rib cage, cracking a number of ribs. It was my intention to knock the wind out of them, not the fracture his ribs. As I escorted him out of the school, I felt remorse for what I had done, but I was angry with him for placing me in such a position.
I recall another incident where the gentleman in question did not actually challenge me, but felt he had the fastest hands in town. He wished to prove to me that he could block any punch directed to his head or body. I shot a right punch, and he blocked it successfully. I've been shot a left punch, which he blocked. I commented "Hey, you're really good." As his head swelled, I asked if he could block a right and the left punch combination. He again succeeded. I then delivered a left and a right combination. He beamed as he successfully blocked my blows. I commented that I had met a lot of martial artist, but that he was the best I had seen. His head was now so swollen he could have floated to the ceiling.
My last comment to him was "Can you block a right “with” a left combination?" He nodded his head, indicating he could. As I simultaneously delivered both punches, he blocked my right punch and was drilled in the face with my left. He did not expect to punches delivered at the same time, which is what I countered on.
That was one of the ways I used my wits to survive in the early days of karate.
Thursday, November 5, 2015
Memories of Bruce
(Black Belt Magazine Dec. 1989 V-27 No. 12)
I traveled extensively throughout Northern California during the 1960s. My travels afforded me the opportunity to meet and become friends with many kung fu masters and their students.
Among the close friends I made during this time was the late James Lee. He and I spent hours comparing the concepts and principles of his kung fu and my Kenpo. Although he was not a big man, he was tremendously powerful. He could break a six bricks with a single back fist. You could select the brick you wanted him to break, and he could break it without disturbing any of the other bricks. He was wiry, full of energy, and always seeking the ultimate challenge.
In September or October of 1963, I received a call from Jimmy. His voice is full of excitement and he could hardly contain himself. "Ed," he said, "I just met this kid from Seattle who you've got a meet. He is a Wing Chun man and he is something else! Not only is he fast, but boy does he pack a wallop! He isn't big, but he hit me with a one-inch punch and sent me clear across my garage - at least 15 to 20 feet. Unbelievable, unbelievable. I've never seen or felt anything like it."
I was finally able to get a few words in and ask him who this guy was, where he was from, and where he got his training, and other questions. Jim said "his name is Bruce Lee. He was born in San Francisco, and spent most of his life in Hong Kong, where he practiced Wing Chun."
I consented to meet Bruce in Oakland, California, where James Lee lived.
When I first met him, he struck me as clean-cut and handsome. He was extremely friendly, joked continually, and was obviously a philosophy buff, judging from his conversation.
He proceeded to discuss his martial art and its merits, along with his own concepts. Then he began to punch, and the sleeve of his windbreaker literally "popped" the air. His movements were graceful, crisp, and powerful. As I observed his technique, I could see his unyielding balance as his body settled with each punch. He had obviously mastered the concepts of body momentum and precise angles of impact. These factors contributed to his power.
Once I observed Bruce’s extraordinary talent, I knew that I should introduce Bruce to the film and television producers and directors I knew. A number of TV and movie people were expected to attend my first International Karate Championships in 1964 in Long Beach, California, so I asked Bruce to demonstrate his skills there. Bruce's demonstration was captured on film, and after the tournament I show the film to producer Bill Dozier, who hired Bruce as Kato for his Green Hornet television series. The rest is history.
I still think about the times that Bruce and I have spent traveling from coast-to-coast, and the memorable discussions we had. He once asked me which of the nation's three top point karate fighters generated the most power on contact. When I gave him my answer, he was shocked, because I had made the same choice after he had worked out with all three of them.
"Tell me how you knew," he said.
I answered, "because of the synchronized timing of body mass with the strike. That's why you're good, Bruce. Upon impact, your whole body is in focus with your natural weapon."
He looked at me for a while, and with a slight smirk on his face, comfortably sat back in his chair.
On another occasion, Bruce told me of his experiences on a live TV show in Hong Kong, where he and four other kung fu masters were asked to demonstrate their skills. The first master settled into a stance and invited a second master to throw him off balance. The second master was not able to do so, nor was the third. The first master then told Bruce, "hey, you young punk, you come up and try."
Bruce, ignoring the gentleman's impoliteness, calmly stood before him, settled into his stance, then punched the master in the face and dropped him. Bruce said "When I fight, I punch, I don't push."
That was Bruce.
I traveled extensively throughout Northern California during the 1960s. My travels afforded me the opportunity to meet and become friends with many kung fu masters and their students.
Among the close friends I made during this time was the late James Lee. He and I spent hours comparing the concepts and principles of his kung fu and my Kenpo. Although he was not a big man, he was tremendously powerful. He could break a six bricks with a single back fist. You could select the brick you wanted him to break, and he could break it without disturbing any of the other bricks. He was wiry, full of energy, and always seeking the ultimate challenge.
In September or October of 1963, I received a call from Jimmy. His voice is full of excitement and he could hardly contain himself. "Ed," he said, "I just met this kid from Seattle who you've got a meet. He is a Wing Chun man and he is something else! Not only is he fast, but boy does he pack a wallop! He isn't big, but he hit me with a one-inch punch and sent me clear across my garage - at least 15 to 20 feet. Unbelievable, unbelievable. I've never seen or felt anything like it."
I was finally able to get a few words in and ask him who this guy was, where he was from, and where he got his training, and other questions. Jim said "his name is Bruce Lee. He was born in San Francisco, and spent most of his life in Hong Kong, where he practiced Wing Chun."
I consented to meet Bruce in Oakland, California, where James Lee lived.
When I first met him, he struck me as clean-cut and handsome. He was extremely friendly, joked continually, and was obviously a philosophy buff, judging from his conversation.
He proceeded to discuss his martial art and its merits, along with his own concepts. Then he began to punch, and the sleeve of his windbreaker literally "popped" the air. His movements were graceful, crisp, and powerful. As I observed his technique, I could see his unyielding balance as his body settled with each punch. He had obviously mastered the concepts of body momentum and precise angles of impact. These factors contributed to his power.
Once I observed Bruce’s extraordinary talent, I knew that I should introduce Bruce to the film and television producers and directors I knew. A number of TV and movie people were expected to attend my first International Karate Championships in 1964 in Long Beach, California, so I asked Bruce to demonstrate his skills there. Bruce's demonstration was captured on film, and after the tournament I show the film to producer Bill Dozier, who hired Bruce as Kato for his Green Hornet television series. The rest is history.
I still think about the times that Bruce and I have spent traveling from coast-to-coast, and the memorable discussions we had. He once asked me which of the nation's three top point karate fighters generated the most power on contact. When I gave him my answer, he was shocked, because I had made the same choice after he had worked out with all three of them.
"Tell me how you knew," he said.
I answered, "because of the synchronized timing of body mass with the strike. That's why you're good, Bruce. Upon impact, your whole body is in focus with your natural weapon."
He looked at me for a while, and with a slight smirk on his face, comfortably sat back in his chair.
On another occasion, Bruce told me of his experiences on a live TV show in Hong Kong, where he and four other kung fu masters were asked to demonstrate their skills. The first master settled into a stance and invited a second master to throw him off balance. The second master was not able to do so, nor was the third. The first master then told Bruce, "hey, you young punk, you come up and try."
Bruce, ignoring the gentleman's impoliteness, calmly stood before him, settled into his stance, then punched the master in the face and dropped him. Bruce said "When I fight, I punch, I don't push."
That was Bruce.
Wednesday, November 4, 2015
Taking the Fall
(Black Belt Magazine Jan. 1990 V-28 No. 1)
Falling, diving and rolling are essential ingredients of the martial arts. While most people associate falling with jujitsu, judo or aikido, Kenpo karate also encourages its study and practice. The ground can be an enemy; knowledge of falling, diving and rolling can avert injury.
A person falls to avoid being hit (defense), or falls after being hit or thrown (offense). Falling is an exaggerated method of “riding” an attack. Although riding normally is done while remaining upright, it can be combined with a fall, roll or turn.
When learning to fall, students must contemplate methods of landing safely. They must learn to: dissipate the force of the fall to reduce or limit injury; control breathing to limit loss of air upon impact; and make every effort to quickly regain a proper defensive posture.
Falling also requires proper use of the kiai (yell). Employing the kiai reduces natural buoyancy, so exhaling on impact prevents hitting the ground with air still in the lungs. If the lungs are even partially filled with air, there is the possibility of broken ribs, because tightening of the abdominal muscles is limited. However, exhaling completely tightens the abdominal muscles during the fall and minimizes injury and damage by helping the body to absorb the shock. It is also necessary to tuck the “hard corners” of the body (head, shoulders, elbows, knees, etc.) toward the more muscular areas of the torso. This allows the body to support and brace its joints prior to impact with the ground. This tuck posture not only decreases injury, but places the body in proper alignment to defend or attack with increased effectiveness.
The limbs also play an integral part in dissipating the shock of a fall. The limbs are used to slap the ground upon impact, which disperses the body weight over a wider surface, like having a book fall flat rather than on its corner. Your limbs can also be used aggressively; instead of breaking your fall, you may with to direct it toward an opponent already on the ground in the hope of hurting him. With proper timing, the power of gravity can be added to the power of the fall.
Dives are unique moves that employ springs and flips. These maneuvers are quite exaggerated and are used to avoid an attack, work in conjunction with an attack, or can be combined as a defense and offense.
The same procedures used to reduce injuries during a fall also relate to dives. While a forward stomach dive may require use of your arms to help disperse the weight in your fall, most dives are followed by a roll. It is the momentum of the dive and roll that disperses the weight throughout the body upon impact, thus reduces shock and injury.
Rolling consists of two types; a standing method employing a ride and turn to avoid an attack, and a revolving maneuver using the ground to travel from one point to another. It is the continuous, revolving flow of action that helps to cushion the impact of the body when meeting the ground. This revolving maneuver may be used to avoid an attack by increasing distance, or can be used strategically to close the distance between you and an opponent, as well to increase the force of your counterattack. In either case, rolls revolve from a 180-degree radius to a 360-degree radius. Rolls have the same flexibility as other falling methods and can be employed while simultaneously counterattacking.
Falls, dives and rolls come in several varieties. There are back, front and side falls. There are shoulder, head-and-shoulder, and back head and chest dives. Rolls can go to the front, side, or back. These may be combined with other foot and body maneuvers, such as step through, shuffles, crossovers, jumps, flips, turns and rides, to achieve maximum effectiveness. These maneuvers may be used in any combination deemed necessary to serve the purpose. The combinations you choose should be appropriate for the situation.
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