Tag Archives: kyokushinkai

Monster Newsletter #297–Bodies for Bullets!

Good Day!
And one heck of a work out!
I tell ya,
work outs is golden!
They just make you feel so good.
Especially when I have worries.
I just work out,
the worries leave,
and a solution comes in the door.
Man,
I love martial arts.

I’m reading a huge book
on the Korean War.
Fascinating stuff.
And the battlefield strategy
is phenomenal.

The communist strategy is summed up easily,
Charge if the enemy runs.
Flee if the enemy attacks,
Maintain contact and apply pressure
if they are neither charging nor fleeing.

That’s it!
That’s the whole strategy!
Now,
the key to this strategy is
you must be willing to trade bodies for bullets.
The communists believed that
if they charged with a million men
and the enemy only had 900,000 bullets,
then they would win.

So they used guerilla warfare,
and when they found a weakness,
they charged,
hundreds of thousands of men at a time.
The only problem was
the US didn’t run out of bullets.

What a waste, eh?
And for what?
Belief systems.
Pah!
What a waste.

Anyway,
it’s a huge book,
1000 pages
of facts and figures
and absolutely fascinating,
and it gives me lots of ideas
for matrixing.

I mean,
I read the book,
get the overview of the overall geography,
an idea of the terrain,
an inkling of freezing/muddy/blood boiling weather.
I think about the kinds of weapons
that were used,
(The Chinese often had one gun for three men,
they would charge
and pick up weapons
as they could)
and I matrix the whole thing.

What if the US army used guerrilla tactics a bit more?
What if the North Koreans and Chinese
used ideas of modern warfare a bit more?
What if the UN forces fought at night?
What if the communist forces
paid attention to establishing supply lines,
and tried a little more slow but sure tactics?
What if they went around hills,
dug tunnels there,
cut off retreats there…
So many things to think about.

But the weakness here,
the thing to understand about all this,
is that the communist strategy is fine
for individual combat.
It does not work
for modern warfare.

think about it,
it is a martial arts strategy
taken to an unworkable extreme,
unless you are willing to spend
bodies for bullets.

Anyway,
the funniest thing about all this,
if anything about it can be considered funny,
is the Communist general.
His name was Lin Paio
I believe,
was considered a huge hero,
he had just pushed Chang Kai Sheks armies
out of China proper.
Fought all sorts of wars,
always won,
and then he lost in Korea
(or, at least, didn’t win)
so they sacked him.

But what was his strategy?
Follow orders.
Charge waves of humanity to their deaths
without even the benefit of weapons.
And this was their great strategist?
If it wasn’t so incredibly and untterably sad
I’d be LMAO!

Anyway,
it’s a hell of a read,
The Forgotten War
by John Costello.

That all said,
let me leave you with a poem I once wrote,
which sums up my true feelings about war
and suffering
and man’s inhumanity to man.

TREBUCHET

We built a trebuchet
in class today
and risked the parents’ ire

talk of the cow
flung over the wall
caused us to laugh without tire

then we grew grim
remembering then
as plagues piled bodies ever higher

Thank God we can laugh
at war in class
not smelling the rot and the pyre

okey dokey,
amigos
and amigettes.
I put Temple Karate back on the website.
it’s at the bottom of the home page,
and it is a real deal.
Eleven forms,
applications
including finger takedowns
intention throws,
and all sorts of stuff.
It’s the kind of classical you can believe in.

Temple Karate Link

Have a great week,
and may you go home with bruises,
wake up stiff and sore
and know that
the art has been writ upon your bones.

Al

:o)

This is a really nifty article that will make you think!
How To Have Sixth Sense Abilities In The Martial Arts
Leave a comment, it helps my statistics.

The object of life is not to be on the side of the majority, but to escape finding oneself in the ranks of the insane.
Marcus Aurelius

How To Make Power Kenpo!

You can make your system of Kenpo into Power Kenpo fairly easily. Of course, you’re going to have to go against the old school boys, but this isn’t always bad. In fact, if you do make your system into a Power Kenpo system, you will be following the footsteps of Ed Parker more closely than the old school boys.

The concept of Power Kenpo is something I coined many decades ago, and have never really talked about. It actually grew from an incident in 1968 in which I asked my instructor to take a look at a form I had been working on. My instructor stepped on to the mat and I took a position and began to move.

The form was actually out of a series of books on Japanese Karate, and it is called Heian Five. It is a strong form, with solid stance and large, significant movements. As such, it seems to stand opposed to the fast whirling arms of Parker Kenpo theory.

I finished the form, and my instructor observed, “Yes, definitely a Japanese form.” He didn’t say much more, and I had the feeling that he was displeased. Many decades later, I understand the displeasure, he was trying to teach me one thing, and I was straying in an entirely different direction.

To be honest, Kenpo Karate does not fit well with classical Shotokan Karate. Kenpo, as I have intimated, relies on fast hands and circling motions. Shotokan holds a disdain for subterfuge, and preaches the power of a strong stance, facing your enemy squarely, and attacking in a linear manner.

Each system has its strengths, and its weaknesses, but they don’t fit together. It is difficult even to shift from one art to another in the middle of combat. The funny thing about all this is that original Kenpo was built upon the Heian forms of classical Karate.

Most people blink when I say such a thing, but it is true. If you can find a copy of one of Ed Parker’s first books you will find that it is nothing more than a sequence of the applications of the Heian forms. Indeed, if you link the applications in his book, you are actually doing the Heians.

In conclusion, now you understand what I mean when I remarked about Power Kenpo and being true to the footsteps of Ed Parker. The fact is that true and dedicated martial artists should study as many systems as they can. The truth of the matter is that if you want power in your Kenpo, or accelerated weapons, or better kicks, then study a separate system that has what you want, and let the power of that other art bleed back to your kenpo, and that is how you will have Power Kenpo.

Monster Newsletter #295–Tales of the Kang Duk Won!

Monster Newsletter #295–Tales of the Kang Duk Won!

Good morning and Good Work Out to you!
The very best work out, you know?

Let’s talk about work outs.
Let’s talk about the Kang Duk Won.

I had a fellow wrote me an email
that he really enjoyed those classical forms,

I train in it every day and I like it a lot, I like the way you break it down, it has really made it simple for me to learn

and it made me think.
Memory lane,
you know?

In the following description of the Kang Duk Won
I want you to remember
that I was a white boy from suburbia,
didn’t even see a black person until I was 17,
was very protected,
not very intelligent,
and really ready to meet something of the real world.
Also remember that before I went to the Kang Duk Won,
I spent two years
in a classy dojo.
Full length wall mirrors,
the best in matting,
rows of kicking bags,
the shelves lined with trophies…
and I gave it up for the Kang Duk Won

The Kang Duk Won was born in Korea,
and had a unique lineage line to the founders of karate.
I wrote a bit about the lineage on the Monster Martial Arts site.

The San Jose Kang Duk Won was located on The Alameda,
right next to the Towne Theater,
which was a filthy theater,
physically and morally.
It showed a movie starring some gal
name of Linda Lovelace
for a couple of years.
Men in grey overcoats came and went.

To the left of the Towne Theater was the Kang Duk Won.
The big front window was cracked and duc taped.
There was a box office that had been covered up on the left.
Walk through the door onto indoor outdoor carpeting
that was, you guessed it, duc taped.
Bob’s office was on the left.
A beat to crap desk
a few business cards.
A lamp.
A radio that was always kept so low you couldn’t hear it.
When I started my own school I found out why the radio was so low.
Sitting in that office with nothing going on,
you get hypersensitive to sound.
The lowest volume tended to blare and irritate.

He had a pic on the wall,
don’t recall exactly what it was.
At one time I think it was a blow up
of the artwork on a version of
the book of five rings.
I think there was a calender on one of the walls.
The office was small, cramped,
and there was barely room for two chairs.
If you didn’t unfold them.
I always remember standing around before class
with six or seven very large bikers,
laughing and joking.
Really golden moments.

Visitors sat on a picnic bench under the front window.
The mat was actually made from sailboat canvas.
It was filthy,
and there was a wicked stitch up the side of the thing,
and where forms turned
the mat had ripped and been duc taped together.
There was a small mirror in the front of the room,
you could do one pose,
and if you stepped to the side
the mirror lost you.
Above the mirror was a pic of Norman Rha,
who taught Bob KDW.
To the sides of Norman
were mismatched Korean and American flags.
To the sides of the mirror were planter boxes,
one with sand,
one with pebbles.
Before class people lined up and thrust their fingers
into the sand and into the pebbles.

Waiting to pound sand,
other students would do their forms,
or do their hundreds.
Doing hundreds meant
doing hundreds of kicks before class.
Not ten or twenty,
but usually around two hundred kicks
each kick you knew,
right and left,
was considered a good warm up.
While we did forms and hundreds
the building would shake rhythmically.
and a dull pounding sound
came from the back room.

The back room was the changing room.
The kicking bag hung there.
Bob packed it himself,
and he was always taking it down
and getting it restitched.
The thing looked like Frankenstein’s manhood.

There was a bag of sand on a ledge
against one wall.
Somebody was always pounding on that.

To the left and rear was the water heater.
It had fallen over and was propped up.
When it fell it apparently ripped some piping loose,
and you could see sky.
The amount of sky you could see
became larger
with every rain.

To the right was the bathroom.
The toilet was the first toilet ever built,
and the floor under it had broken,
and it was slanted so bad
you had to do a one legged squat to, uh, squat.

Back out in the front,
I have to tell you
about the physical dimensions.
If I stood in the middle of the mat
and did long stances in pinan one
I could take up almost the whole room.
Serious.
It was maybe 15 wide
maybe 22 or 23 long.
And the people crowded on.

Classes were usually 15 to 20 people.
I remember one class
over 30 people.
You’d think there was no room to stand,
but,
we all did our forms.
And,
as the class progressed
we did different forms,
beginners beginning forms,
and up through twenty different forms.

I learned how to navigate
by doing forms in such crowded conditions.
You just learned how to move
and where to place your feet
and nobody ever tripped or stumbled.
We just didn’t.

Now,
you’d think,
from my description…
well,
who knows what you think.
Dirty.
Beat to crap.
And filled with joy.
Dirt can’t suppress a spirit.
And we would have a machine of twenty people
moving in unison,
working together,
feeding their energy
in a way that no other school had.

Now,
I know every school is unique,
and there had to be energy like this somewhere,
but I couldn’t find it.
I went to various schools and watched,
and nowhere was there this energy.

That filthy,
dirty room
glowed.

It got warm.

In the summer,
San Jose being a bottleneck,
the temp would hit 130 in that room.
In the winter
we would not suit up
until just before class,
then we would run out there
and do our forms maniacally,
just to get the blood going in our freezing feet.

Now,
the most important part.
The people.
There were so many people over the years,
College students,
the glass blower,
a couple of grave diggers,
the Ames Research Center Scientist,
the gas station owner
the reserve cop
and all the bikers.
Lots of bikers.

I should probably write a single newsletter
about these guys,
they really made my art real.

If you did your technique weak,
they frowned,
and you suddenly got a little worried and tried to hit harder,
and yet were terrified to hit harder.
Only after a couple of years
and finally learning how to put some oomph in my strikes,
did they stop frowning.
And,
a few times,
I really remember the first time,
I hit too hard,
knocked this big Hells Angel to the floor,
and he got up grinning and shook my hand.
He just said,
‘Yeah, man. Yeah!’

Anyway,
I survived.
In fact,
I flourished.
People would come to class
and leave.
Nobody hit them too hard,
we all had good control,
but there was just this dedicated feeling
that frightened people.

You have to be a zealot
if you want to learn the true art.

You have to be willing to experience
a controlled craziness,
be willing to learn how to hurt people
so that you never hurt people.

Anyway,
here  a link.

Kang Duk Won

I always think this is the best deal I have.
Get it as part of the Evolution of an Art,
a monstrous amount of sheer, pure
right from the ancients information,
and you have the heart and soul of me.

No matter where I go,
no matter what I do,
my bones have been imprinted
with the fists of the kang duk won
and the wonderful people
who gave me their best.

I know you all have your own stories,
your own experiences as to how you learned the art,
write me a good one,
maybe I can use it for the newsletter.

You guys have a great work out.

Al

:o)

Google Sewing the Legs of Calves on in Kung Fu
Leave a comment, it helps my statistics.

History is not a burden on the memory but an illumination of the soul.
Lord Acton

Matrixing to Find the True Martial Art

To Matrix is to scientifically correct your body motion.
Look, you have a car, don’t you have to tune it up every once in a while?
Of course you do.
So why not the body?
The thing about the body is that if you learn the exact right ways to use it, the tune up process becomes part of your life. Simply, every motion becomes a tune up. Every motion becomes simple and efficient, and you do not fight your body.
When you learn the martial arts the instructor comes around, tells you to turn your wrist, maybe straighten it out, but that’s about all.
You never learn how to move the energy in your body and put it into the strike; you are left with the instruction that if you do forms for a couple of decades that you will suddenly get this mystical energy called chi and people will fall down if you flick a finger at them.
But when you matrix you learn what energy is, how to use it,and your education becomes complete.
The education merely consists of learning the right way to use your body. It consists of the real reasons, all the reasons, behind the martial arts.
The martial arts are a problem, and Matrixing is the solution, and through matrixing all the mystical things disappear, and you are left with a cold, hard science, a science which manifests such thigns as Chi easily and quickly. That’s the truth of Matrix Martial Arts.

Don Buck, The Tiger of Kyokushinkai

One of the instructors you never hear about, and should, was Don Buck. He was the first to open a Kyokushinjai school on the continental United States. Following is a list of his accomplishments.
Sensei Buck joined the army at 16, the tail end of world war 2. He so excelled at the physical tests that he was slated for commando school. He studied martial arts and boxing.
He was trained by Mas Oyama himself. He studied judo, jujitsu, and many kung fu systems, including hung gar and tai chi chuan. Mas Oyama liked Don, which meant that he was extra brutal in his training.
He is said to have completed the 100 man kumite without a loss. This statement alone is an eye blinker of massive proportion.
He was a champion powerlifter.
He was a police officer who, in spite of being injured in the line of duty (being hit from behind with a tire iron), went on to train intensively in the martial arts.
Many, many Kyokushinkai students can train their lineage back to this man.
There are biographies of Don Buck on the net, and they are interesting, to say the least. Students of Kyokushinakai will be fascinated, and proud, to be able to point at their lineage and know that this incredible person was responsible for their Kyokushinkai.

This is the kind of instructor we like to point at as a true inspiration at Monster Martial Arts.