Uechi-Ryu.com

Even better it would be for the fighter/defender _ to know what the opponent is going to do even before the opponent knows it, ahead of before the opponent executes it.

This goes to anticipate ‘temptation’ …

...like you do or say things that gives people ‘ideas’ ahead of them 'acting upon' the ideas…

...a great self preservation concept.

_________________
Van

There has GOT to be a T shirt in that somewhere

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FEARS Ltd
"Art meets Reality"
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In his book “How to recognize and respond to potential threats” Joshua Pellicer writes


Then he goes on to explain the actual techniques to achieve this.

For example even in talking to someone, you can learn a lot from these eye accessing cues

Here, we see a very important lesson…I was talking to George, discussing past things some of us have said to others where we felt we were being misconstrued etc. _whereas…according to Pellicer…we were giving subliminal signals of what we really meant to say…which were being received by the ‘scanning radar’ of the listener's primal brain.

So when we wonder what the hell happened and why/how people took what we said or did ‘out of context’ _ which is the usual ‘cop out’ _now we learn some of the ‘communication secrets’…teaching us serious lessons.

A fascinating book I am studying in depth.

_________________
Van

What is the actual title of that book? I cant find it on Amazon.

_________________
FEARS Ltd
"Art meets Reality"
www.fearsltd.com

_________________
Van

Thank you !!

_________________
FEARS Ltd
"Art meets Reality"
www.fearsltd.com

_________________
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"Art meets Reality"
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Look at these points and study them:

1) The first thing that hit my attention was the crowd cheering. The cheering is NOT in sink with the threat sequence of the actions. Everyone is cheering (simultaneously, almost on cue) at the same intensity level, exactly like on a film set where they have been coached. Why would there be such loud cheering before the two square off to engage----I've never seen that except on a film set.

2) I've seen some of these coporiea fighters before fight down in Florida. None of them, although poor fighters as a whole, waste that much energy performing ritual nonsense just before they engage for real.

3) Note that "victorious" fighter barely reacts to anything even though the coperriea "fighter" comes within attacking distance a couple of times before any knockout attempt?

4) Notice how the two set up the final knockout---each is stationed at far ends of the fighting area. Why all of a sudden does the knockout artist back up so far to set the staged distancing for the copoeira's final run across the floor---almost to get a running start? Note, the one arm hand stand is his cue to draw in the audience and then, okay...here I come.

Here are the real clues:

5) The crowd is too preset in a perfect sized and measured square, almost like a ring. Everyone remains on their mark----not so in a real fight.

6) The camera just happens to be set up high on a perfect angle to capture the exact final knockout strike. How did anyone know in advance where to place the camera?

7) The "winner" begins his punch long before the capoeira fighter gets close enough to be hit or has come up out of his flip. What is he---psychic? Impossible timing for a REAL fight.

Be smart and use your pause button with your mouse. Note that the puncher's fist shoots past the right side of the capoeira's head before the capoeira's head snaps back----this is impossible. In film work, the chin is suppose to follow the incoming blow---bad film work here.

9) The real clue is: The punch never hits anything----it's a complete miss. Watch it in stop action if you missed it. The punch travels----not in a straight line to the chin----but curves over the capoeira's right shoulder. A total complete miss.

10) When it seems too good to be true, it probably isn't---especially in martial arts.

There are several other clues, but ten is enough.

_________________
FEARS Ltd
"Art meets Reality"
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_________________
Van

Okay friends,

Now, after I had been tested.....and since I never go to movies, I only like reality stuff like documentaries......a film director informed me about where this clip "Knock Out Punch" originated. I may be getting old, but my eye sight still works. Case settled?

That was from the movie "Never Back Down." The white guy is Cam Gigandet.
.


Van ....(re: Threat Awareness Techniques: HOW TO RECOGNIZE AND RESPOND TO A POTENTIAL THREAT by body language expert Joshua Pellicer.)
now that's a good read........

_________________
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"Art meets Reality"
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CHECKING VS. BLOCKING

People tend to think in simple terms: Blocking is a form of defense, so all defensive motions are some form of blocking. But when you examine most defenses, youll see that they break down into three simple possibilities, each of which uses less force than the previous: Block: a forceful defensive action that stops an attack and may have a counterattack component.

Parry: a redirecting action that helps an attack along its path but makes it miss its target.

Evasion: a movement that takes you out of the way of an attack.

You are free to mix and match defenses. For instance, you can evade as you parry. However, you still will not be using a checking skill because, technically speaking, checking is the countering of a movement before it becomes an identifiable strike. In other words, a check stops an assailant before he can even start his attack.

BEST OPTIONS

The following are four of the most effective ways kenpo teaches students to execute a checking-hands maneuver: Active Check: It involves simply laying your checking hand over your opponents limb. For instance, he throws a right punch, and you block it while checking his left punch which he had probably planned as his next attackwith your right hand. You can then simultaneously deliver a left strike to his face.

Position Check: The opponent throws a right punch, and you block it on the inside using your right hand. You simultaneously raise your left hand into a cover hand that is positioned near your right shoulder. If he attempts to throw a high left punch, your check can intercept it and allow yourself a bit of time to duck. If he attempts a low left shot to your ribs, your right (anchored) elbow is already in position to close that line of approach.

Drag or Friction Check: Dont misinterpret checks as just frozen hand motions, for they can be very lively. For instance, you toss a right hand at your opponent, and he blocks it with his left hand. Before he even thinks about it, you wipe down the length of his arm while driving forward with a left palm strike. You have used the friction check to prevent his strike and aid your counter.

Pinning Check: Your opponent grabs your lapels with both hands. Rather than try to disengage from him, you cover and pin his arms with your left hand while you strike his solar plexus. The pinning check ensures that his limbs stay where they are, at least for a while, and it can be a perfect lead-in for a follow-up technique.

OTHER CHECKING METHODS

Leg Checks: Probably the simplest pinning check is stepping on your opponents foot. Not only is it effective to prevent backward motion, but it also wreaks havoc with potential kicks. The best part is it requires less skill than many other lower-limb checks.

Locking Checks: The foot bone is connected to the ankle bone, and the ankle is a perfect place for a locking check.

Your inner ankle can be used like a ratchet to fit and turn your opponents foot while your shin and knee drive in the opposite direction. The torque can be amazing.

Off-Balancing Checks: The simple knee check can be used to break an opponents balance. It involves a gentle but persistent pressure from your knee directed against your opponents knee. Not only does it effectively stop a kick from either leg, but it can also instantly be transformed into a knee-buckling technique when the situation calls for it.

Body Checks: They are similar to their football counterparts in that virtually any part of your bodyhip, shoulder, torso, etc.can be used to check your opponent. Although they offer tremendous power and authority, you must get rather close to your opponent to use them.

NEXT LEVEL

There are almost as many ways to apply checks as there are to deliver strikes, but the essence of the study of checking might be called ìsecond-level thinking.î It exists in contrast to ìfirst-level thinking,î wherein you block or punch with only that action in mind at the time. As you gain experience and develop confidence, you will want to prevent further attacks from happening, and that is where second-level thinking begins. It enables you to not only halt the immediate problem, but also to thwart your opponents next attempt sometimes before he evens starts it.

Think of checking as an insurance policy that protects you if he tries a counterattack. Perhaps the hand that you have lightly rested on his sleeve wont stop all possible strikes from every angle, but at least it will prevent him from attacking without warning.

What makes kenpos approach to checking different from that of other arts is its skillful and gradual method for introducing the associated principles. At first, you learn how to execute a movement just as every other martial artist does. Once you attain a certain level of competence, the ìdead handî that you had kept cocked at your hip is placed in a cover position that guards your torso.

Next, you learn movements that require active participation of the dead handsuch as pinning and grabbing techniques. Then you are taught to use that hand to perform strikes and manipulations, including flicking and slicing actions that dont require extreme power. Next, your backup hand is coupled with your primary hand, and they share power as they execute simultaneous block-and-punch sequences. At the penultimate stage, your other hand is completely active, executing its own strikes along its own angles. Finally, you practice the techniques using your non-dominant hand, thus training your entire body as a lethal weapon.

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Good stuff, Robb.

_________________
Van

Have you ever been involved in a match, whether in competition or a sparring session,
whereby one of the judges made a call against you? Either you or your student ending up
losing the match, mainly because of a controversial decision or some call that one of the
judges failed to make in your favor? We’ve all been through this at one time or another
and it leaves a bitter taste in our mouths.
Unfortunately, scoring a fight can be a very difficult and complex endeavor. There are
just so many styles of fighting as well as several different types of opponent strong points
that you have to deal with during a match or competition. Quite often, we find ourselves
losing a match or being involved in a controversial decision when we would have
preferred to avoid the situation altogether. Many times, I’ve seen my own sparring
partners lose a match, and be simply incapable of figuring out why or what went wrong.
They look at videotapes of the match, and they just can’t come up with the appropriate
answers. What went wrong?
Since there are hundreds of different styles of martial arts, and dozens of different styles
of fighting, there can’t be any easy quick-fix answers. However, there are what I call
Cardinal Rules of Fighting—rules that everyone, regardless of the style, should subscribe
to and totally commit to whenever they’re in a training match or in active competition.
No one can fight successfully outside of the context of these rules.
I feel strongly that using these rules will enable many of you to make sparring quite a bit
easier. You’ll be able to take advantage of resolving some unanswered questions you’ve
had in the past, and put yourself on a winning pathway to success in your future matches.
Utilizing these rules will make it much easier for you to totally and fully commit, with all
of your heart, with each and every attack or counter attack or defensive movement
henceforth.

Don’t Get Hit

Simply put, the most important cardinal rule in fighting is: Don’t Get Hit. If a man can’t
hit you, a man can’t beat you. If a man can’t hit you, a man can’t hurt you. The easiest
defensive principle you can utilize to keep your opponent from hitting you is denying him
access to the target at all times. This can mean a multitude of things, but basically two
principles prevail.

 Stay out of the man’s line of fire, especially if he has a reach advantage or if he’s
quicker than you are or more aggressive.
 Make sure you maintain a strong defensive posture at all times. That means keep
your hands up, and make sure that you, the target, or your position is always in
motion. A moving target or a moving position is hard to hit.

Don’t Let Your Opponent Get Set

The easiest way to beat a quicker, more experienced, stronger, or more
aggressive fighter is not letting him get set in the first place. Keep his position weak. Of
course, it’s impossible to do this at all times against all opponents, but at least this rule
will point you in the right direction.

Get Off First(this refers to the firing line get your mind out of the gutter)


Beat your opponent to the draw. Do not
allow him to fire first. If he starts firing first, there’s a good chance that he’ll back you
up. He’ll start controlling your set point, and the momentum of the match will shift
against you in his favor. Nine out of ten times, this scenario holds true. This is the case
even though you may be an exceptionally talented counter fighter. Even if your game
plan is to do what we call Attack By Drawing – causing him to fire first by utilizing some
sort of a fake or drawing a feint set-up type of movement – there’s still a dangerous
possibility that you might lose the momentum of the match.
Commit With All of Your Heart at All Times
Momentum is one of the keys to being a successful fighter, especially at the very
beginning of the match. Remember that there is a basic philosophy that permeates all of
these rules, and it must be integrated and utilized at all times.

Commit With All of Your Heart at All Times.

When you fail to do this, you are relinquishing responsibility
and yielding the advantage to your opponent. In doing so, you will proportionally
disintegrate your fighting spirit. When your spirit bankrupts, and you lack that confidence
access, you can’t fight.

Close the Door after You Fire.

That means after you have gained a position against your opponent by penetrating his
defensive perimeters (both his kicking and punching defensive perimeters), you must
therefore be able to maintain that position or hold that position until you pull out,
regroup, reload, and begin to set your opponent up for your next attack.
Herein lies one of the most prevalent defensive problems in fighting today, whether it be
point fighting or full contact. We find ourselves firing our punches, our kicks, or
combinations with too many gaps in our offense. Those gaps in our offense create the
weaknesses in our defense. In the fight game, there’s a simple procedure that we use in
teaching the most basic attack. Here it is—three words: Fire, Cover, and Maneuver.
To dramatize this point, imagine watching a couple of black belts spar at a tournament.
Opponent A steps in to fire a very fast side kick at Opponent B. Right at the end of his
kick, he stops. He pauses. Take note of the fact that Opponent A, at the end of the kick, is
still on Opponent B’s firing line. Can Opponent B execute a counter punch or counter
kick at this point? Yes, he can. Bad training habits and uncorrected sparring problems
have perpetuated this habit. At the end of a punch, kick, or combination, you don’t stop.
You want to prevent your opponent from being able to answer your attack. You must
therefore make sure you check your opponent. The only way to do this is to close the
door behind you as you pull out, or as you hold on to that position to finish your
opponent off. Therefore, at the end of firing, make sure that you immediately fire again
so there’s no gap between the executions of your techniques.
Or, in the place of firing, you can choose to move. There are only two things you can
move, and this is where we use the word maneuver. Fire and maneuver. You can choose
to move the target, such as when the target is the head. You can slip your head from side
to side to keep your opponent from executing a counter kick or counter punch. Or you
can rotate your body in a circular fashion from side to side, to keep him from hitting you
in the midsection or the trunk of the body. This is called target relocation.
A second choice of movement or maneuver can be accomplished by executing some kind
of a counter step. Whenever a counter step (such as a slide step or a little stagger step to
the right, left, forward, or back) is utilized, we call this process ―breaking ground‖. What
you’re doing by breaking ground, as you use a counter step, is moving from one side to
the other and staying out of your opponent’s line of fire, or varying your distance. You
might bump your opponent and pull back before he can execute a counter punch or a
counter kick, keeping him off balance, and making sure that you keep him in check so he
can’t hit you or grab you for a takedown.
Now let’s review the procedure. Remember: Fire first. Cover. Then maneuver. There are
three ways you can maneuver. You can move the target, move your position, or you can
move your opponent. Any way you look at it, this is very basic when it comes to being a
well-schooled fighter. If you want the match, you have to close the door behind you.
Your opponent can’t follow you back through that door, penetrate your defensive
perimeters, and get you with some sort of a counter technique. You must practice making
sure that you don’t pause or stop at the end of your attacks. A number of times I’ve seen
black belts in tournament competition going in with a real fast back kick or a hooking
heel kick. Right at the end of their execution, they’ll sort of pause, almost as if they’re
admiring their performance, waiting for someone to take their picture, or waiting for the
judge to call the point. These are bad habits. Do not repeat this mistake.

Conclusion

Practice these rules, not only when you’re sparring, but also when you’re doing your
drills in class—or working against focus pads or heavy bags, or whatever training aids
that you utilize. The next time you begin a sparring session, start practicing and
developing this thing we call mental toughness. Give yourself the mental assignment that
you’re going to commit your body to go out there and execute.
Utilize these cardinal rules in the process. It will make sparring a lot simpler in the future.
If something goes wrong, play the previous attack back on that mental video tape in your
mind. Ask yourself questions. Were you thinking about denying your opponent access to
the target before you attacked? Were you allowing him to get set, or were you preventing
him from setting first? Did you take the momentum out of his attack by making sure that
you beat him to the draw? When you fired, were you certain that you properly closed the
door afterwards? Did you fire, cover, and then maneuver? Try going to your training
environment in the future, and remembering these three words – fire, cover, and
maneuver – every time you execute any type of offensive maneuver—especially you full
contact fighters.
We’ve only mentioned a few points on a list of many cardinal rules. The use of these
rules will make the difference between an amateurish-looking, undisciplined fighter as
opposed to a well-educated, well-schooled fighter. If you’re serious about being a
competent martial artist you’ll discover that these rules make all of the difference
between winning and losing.

_________________
FEARS Ltd
"Art meets Reality"
www.fearsltd.com

I. Shadow fighting is a discipline enabling a fighter to accomplish a number of
precise purposes, both physical and tactical. Successful trainers always look
ahead in their fighters’ preparation and ask the question, “What could possibly
go wrong in a fight?” Many of these potential problems can be prevented by
purposefully working on these ten keys during your daily warm-ups.
1- Warming up joints and muscles.
2- Sharpening defensive and offensive skills.
3- Improving balance and fluidness of movements.
4- Developing new skills (e.g., earning a new attacking combination or
building on another).
5- Breaking bad habits and expunging weaknesses.
6- Learning and improving transition skills (e.g., offensive-to-defense while
avoiding lingering or hang time, especially when turning an opponent).
7- Learning to fire from both position and from motion.
8- Developing penetration and clearing skills without gaps.
9- Rehearsing tactical setups, especially the surprise attack. (E.g., force
opponent to look for one technique such as a straight right, then hit with
another.)
10- Practicing keys to basic footwork mechanics.

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FEARS Ltd
"Art meets Reality"
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I had the privilege of attending a pot-luck dinner this last weekend hosted bya Scout troop, during which, one of the boys demonstrated three different knife defense techniques.

The attacks were:

Underhand stab with the right hand

Overhand slash with the right (angle #1 for you Filipino martial artists)

Vertical, reverse-grip stab straight down with the right hand.

If you’ve served in the military, you’ve seen the defenses performed, or learned them yourself in basic training. They are very basic, stiff, and unrealistic, but you had to perform it by rote. I’ve learned and taught them myself, and proper performance of the techniques depends on a cooperative and reliably predictable partner feeding you the attacks.

By contrast, please take a look at the video below from the program, “Fight Quest,” where the hosts learned some techniques in a short time and have to compete or demonstrate them against exponents of the style or system that they’ve learned. In this case, Filipino martial arts.
http://www.youtube.com/watch?v=gG4zK0HP ... _embedded#





The first fight on this video is of one of our hosts, the white dude squaring off versus a Filipino representing their Marine Corps. As you can see, it’s not even close. The knives are coated with dye or ink to simulate the damage that would be caused by cuts or stabs, and it' isn’t pretty.

The problem with standard knife defense techniques taught all over the world, including in military service and police academy class environments is that people don’t attack that way. Only an extremely unskilled attacker will attack in those fully-committed stabs or slashes. Same goes for displaying the weapon; even a moderately skilled knife attacker will not display the weapon, but instead, use it before you knew it was there.

What’s the solution? How can you defend against something you can’t see, or of which you aren’t aware? What are the differences between what you need to know as a civilian, law enforcement officer, or soldier?

Training Solutions

Get a rubber knife and eye protection (important), a reliable partner, and try to defend against a knife you can see, on displayed openly, and against reasonable telegraphed attacks.
Then, have the partner do everything in his/her power to cut or stab you without letting you grab him or strike him. In other words, upgrade his level of skill to something more realistic.
Integrate a hidden knife into any sparring session where you do wear eye protection. It doesn’t matter whether it’s grappling, kickboxing, or MMA-style integration.
Add magic markers to the mix whenever possible and strike versus white t-shirts to display what will really happen.
I think what you will find is that the knife almost always will cut you, regardless of your skill, especially if you try to defend it in the manner that you’ve been taught in the past.

Finally, seek qualified instruction through seminars, and drill, drill, drill. Once you become aware of the danger and iniquitousness of knives in most areas, you’ll learn to carry one yourself, and watch the hands of anyone who makes your “spidey-sense” go off.

Or get a gun....

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"Art meets Reality"
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