THE ZEN OF KENPO - MEANINGFUL QUOTES by Ed Parker

Tenacity is that driving force which if you faithfully employ can help you to
surpass yourself.

Tenacity is that driving force which students anchor their faith to surpass
themselves.

Isolation invariably leads to formulation.

Being authentic doesn't make it right (good).

Doing things diligently often leads to doing things fervently, which in turn
leads to doing things permanently.

To desire something is not the same as making an effort to acquire it.

A block becomes a strike when injury occurs.

A hop is no more than the same foot jumping from one spot to another.

Perseverance is a key ingredient that can cause a student to surpass what he

feels to be his limits.

The eyes of an opponent are to be viewed as a point of reference and not fixed
as the only point of focus.

Don't get caught up in the mystical, but the practical.

Avoid unreality and strive for simplicity.

Never show one a preview if he in fact can be part of the main show.

Generalize then specialize.

Don't complicate, sophisticate.

While the ultimate in proficiency comes from simplicity and repetition, the use
of logic is what makes learning functional and practical.

Even if a smaller individual can develop equal power he is certainly not capable
of withstanding equal punishment.

To "compound" your technique without a solid foundation is to "confound" your

art.

Let pain become part of your opponent's environment (anatomy?).

Those who criticize are often covering up their own incompetence.

Teach me how to think, but not what to think.

Kenpo teaches one HOW to think and not WHAT to think.

Circular moves, used within the framework of reason (logic) indisputably
balances the blend of motion which, when given time, inevitably leads to useful
and practical movements.

Show no pain and your opponent will think that he is exerting himself in vain.

If in doubt, bow out.

If you can't pay, stay away.

If you're strapped and can't pay,

You can make it up another day.
If you won't pay no matter what we say,
We'll get you one day in another way.

Going with the flow can often help you to defeat your opponent.

Balance -- don't loose it, use it.

If you don't cover, you will allow your opponent time to discover.

Precise synchronization relies heavily on the principle of "Point of Origin".

Old age is the preparation for punishment.

Rectify then gratify.

VANITY

When you think you have arrived,

You have wrongfully hypothesized;
When you think you have surpassed,
You are destined to become an outcast.

SUPPORT TEAM - Stands for

S - SUPERB
U - UNSELFISH
P - PROFICIENT
P - PROPONENTS
O - OF
R - RELENTLESS
T - TALENT

DIVERT, SEIZE, CONTROL, DISARM

IN KENPO, THE ABOVE MEANS TO:

DIVERT THE COURSE OR DIRECTION OF YOUR OPPONENT'S WEAPON.

SEIZE THE WEAPON OR ARM (HAND-WRIST) THAT'S HOLDING IT.
CONTROL THE WEAPON FROM TURNING BACK TOWARD YOU.
DISARM YOUR OPPONENT TO ELIMINATE FURTHER THREAT.
IN LIFE, THE ABOVE MEANS TO:

GUIDELINES TO SUCCESS

DIVERT NEGATIVE VIEWPOINTS THAT OBSTRUCT SUCCESS.

SEIZE EVERY OPPORTUNITY THAT MOTIVATES SUCCESS;
CONTROL YOUR DESTINY BY PURSUING ALL AVENUES OF SUCCESS;
DISARM AND ABORT ALL OBSTACLES THAT HINDER SUCCESS.

Prepare for the worst and avoid the hearse.

 ED PARKER'S TERMINOLOGY

Included in the encyclopedia are all the knife and club terms and the check on
following terms in the encyclopedia:

Define - weapons, etc.

KNIFE TERMS (KT)

1. CLEAVER or CHOP using a snap of the wrist.

2. CLUB - using the side or edge of the handle.
3. CORE - a large REAM.
4. FILLET - a deep peel.
5. GOUGE or DIG - insert the knife then pry to the flat side.
6. HAMMER - using the butt of the knife or by having one blade
hammer the second blade.
7. LEVERAGING or FULCRUMING using a second knife as a fulcrum or
opponent's own bone or body contour as a fulcrum.
8. PARE or PEEL.
9. RAKE or SCRATCH with the side of the blade.
10. REAM or TWIST while inside.
11. SCISSOR using two blades in opposition.
12. SCRAPE - using the large as well as the sharp edge of the
blade.
13. SLAP or FLAP (with flat of blade).
14. SLICE or CUT.
16. TENDERIZE or FLICK - with the blade flat while using the tip.
17. THRUST or POKE - deep puncture.
18. LONG-HELD - the blade of the knife is extended out.
19. SHORT-HELD - the blade of the knife is cradled in.
20. SPIRAL TRACKING - tracking while spiraling on his body

CLUB TERMS (CT) (Storm)

1. LONG-HELD, EXTENDED, or FORWARD-GRASP - are terms that refer

to a club or knife that is held when it is extended out.
2. SHORT-HELD, CRADLED, or REVERSE-GRASP - are terms that refer
to a club or knife that is held when drawn in.

GUN TERMS (GT) (Rod)

ADJUNCT - An extra move that is inserted between two techniques in bringing them
together when grafting. This added move does not stem from either of the two
techniques, but nevertheless adds to the flow of your grafted action.

ANALOGY OF FILE CABINET - A double strike, where one fist is vertically above
the other, can be best described as two hands closing two cabinet draws,
simultaneously. Although the intensity of the action in both cases are
different, they nevertheless are identical in application and principle.

ANALOGY OF IGNITING DYNAMITE - There are three ways in which we can ignite
dynamite -- using a fuse, plunger, or electronic detonator. All three methods
can be compared to the expulsion of air (use of the kiai) when striking. The
effectiveness of internal explosion depends upon how we time the expulsion of
air with our strikes. If the expulsion of air is prolonged when striking, it can
be compared to a fuse on a stick of dynamite. It takes time for the fuse to burn
before it can be set off. Plungers react faster than a fuse, but, they too,
require time. Internal explosion must be instantaneous to be effective. Strikes
must explode instantly. They must be triggered as rapidly as an electronic
detonator. Electric detonators discharge dynamite and other types of explosives
without delay. Accordingly, to further increase the effects of your strikes, you
should breath in before striking. As you strike expel the air with short,
concise and precisely timed breaths with the strike. When this is accomplished,
spontaneous and explosive action occurs.

ANALOGY OF PATH OF ACTION - When a baseball player is up to bat his swing

employs a path of action and not a line of action. The bat follows a path of
action so that the entire length of the bat is used to hit with, thus allowing
him favorable room for adjustment. Then too, the extension of the bat
significantly increases the torquing action of the hitter. Hitting the ball with
just the end of the bat requires a forward thrust employing a line of action.
When striking in a line of action the advantages of torquing is void and the
chances of missing the ball is exceedingly greater.

ANALOGY OF PICASSO, REMBRANDT, MICHELANGELO - Although Picasso,

Rembrandt, and Michelangelo used a brush, paint, and canvas; and their paintings
give us the illusion of height, width, and depth, they, nevertheless, had
distinct styles of their own. Their distinctive styles stemmed from their
individual methods of execution. It was how they executed their brush strokes,
the paint and colors they used, the subjects they picked, characterization of
their subjects, etc., that made each of these artists distinctive. Like them, we
too differ when we are employing the martial arts. Although we all basically
learn similar principles and concepts of the martial arts, it is our individual
methods of execution contingent upon our physical and mental abilities that
provide us with our own style. Then, too, it is how we apply our knowledge to
the variables that confront us that further determines our choice of methods
when we are defending ourselves.

ANALOGY OF ROMAN GESTURES - The action employed when executing an inverted

vertical punch is identical to the Roman gesture of turning their thumbs down
when deciding that a gladiator or slave was to be put to death.

ANALOGY OF A WINDSHIELD WIPER - Circular moves that use an axis to pivot from,
can be compared to the action of a windshield wiper. These are usually follow-up
moves that occur after a specific type of strike is delivered. For example, a
heel palm strike to an opponent's jaw can be used as a pivot point as the
fingers circle to the right or left while raking or slicing. You can compound
your action by clawing or slicing to the left and right as many times as
necessary. Action that uses one part of a natural weapon as a pivot point and
the opposite end as a weapon that circles from side to side is said to employ
the windshield wiper principle.

ANGLE MATCHING - (To be added to.) Associated with moves when doing FORMS
(Katas) that give symmetry to your moves.

ANGLE MATCHING Versus FRAMING - While ANGLE MATCHING and FRAMING are basically
synonymous ANGLE MATCHING is employing defensive postures which give symmetry
when you are performing FORMS (Katas). FRAMING are moves that are generally
employed offensively.

ANGLE SWITCHING - The converting of two linear moves when you are switching to
one linear and one angular move, or to two angular moves. The difference with
this method of switching lies in the direction and angle in which your feet
travel. It is the altered angle(s) that makes this method unique and effective.
When comparing both, the angular method takes on an entirely new perspective.

ANGULAR CROSSOVERS - Crossovers that proceed in one direction and then angles to
another.

BLADE TO BLADE - This term describes the Kenpo method used when employing two
knives. The principle learned is that when two knives are used to defend or
attack with, they cross each other -- BLADE TO BLADE. To have either of the
knives cross any of your body parts could prove disastrous.

BLEED IN - the blending or grafting of moves and techniques.

BRAKING - A concept that is discouraged when you are blocking or striking. This
concept is best explained by the statement, "When skin kisses skin tension
begins." Students are taught not to prematurely tense their moves prior to
contacting a target. Such action slows one down and literally puts the brakes on
prior to contact. As a result the force of the move is proportionately reduced.
To overcome braking, students are encouraged to strike through and not to a
target. To state a quote, "No skid marks prior to contact." In other words it is
the target that brakes or stops your action. Premature tensing does not help.

CALENDAR WATCHERS - Those inactive Martial Artists who observe the calendar on a
regular basis to determine when their next rank is due
gratuitously. See RANK INFLATION.

CENTRIFUGAL HARMONY - Refers to the simultaneous execution of your limbs, and

natural weapons while effectively rotating your body so that all of your weight
and force flows in the same direction.

CIRCULAR GRAFTING - are grafted techniques that follow a circular path during
execution. As each move or set of moves are selected out of their respective
techniques they are blended and harmonized to follow a circular path around the
opponent.

CIRCULAR PARALLELS - This principle applies to body limbs as well as clubs when
you are employing circular moves. When two limbs, or clubs are simultaneously
used, traveling in opposite directions, the circular action of both should
closely parallel each other while avoiding collision. Such action shortens the
time of delivery, adds to economy of motion and, surprisingly, renders greater
force.

COMPLETED PATHS OF TRAVEL - The completion of one action before continuing with
another. Such action excludes overturning, includes directional harmony (that
insures maximum power), and places you in proper position to activate your next
follow up with greater ease.
COMPOUND(ING) - (To be added to present definition.) Refers to moves that are
primarily used for offense. Like an INSERT, but associated with offense.

CONCEPTUAL SHADES - Concepts are not always clear cut, or cut and dry. They
often blend with others thus causing various levels, degrees, and shades of
concepts. Each shade deepens your perspective on specific subjects thus
broadening your understanding of what really exists. (Write more.)

CONTACT MANIPULATION - is the fourth stage of the FOUR STAGES OF RANGE. It

entails the orchestration of control, once contact is made, to contour,
leverage, twist, sprain, lock, choke, restrain, dislocate, break, fracture,
strikedown, takedown (groundwork), etc. Such moves help to increase the
effectiveness of your action on an opponent who my be standing with you, on the
ground with you, or in any other combination of positions and postures you may
both be in. These same techniques, postures, or positions could be used to cause
greater damage or injury to you as well. Therefore, make every effort to be the
victor. To be looked over and added to THE ENCYCLOPEDIA OF KENPO.

CONTOUR JAMMING - Methods of contouring the body to prevent retaliatory action

from occurring. For example your hands or the surface of your limbs can be used
to contour large surface areas of your opponent's body. While traveling from one
point to another, contact is kept constant to disallow your opponent from taking
action. With his limbs and body continually kept in check, it is difficult for
your opponent to strike back.

COVER Versus CONCEALMENT - DIFFERENCE OF

CUTTING THE CIRCLE - Refers to a specific method of executing a club strike (or
natural weapon). It involves, (1) following a circular path then, (2) while
halfway through, having your club follow a linear path as you proceed to strike
your target. Applying this method not only enhances economy of motion, but
greatly adds to the speed and force of your action.

DIAGONAL LEVERAGING - Refers to specific methods using a club on another club,

or a club on an opponent's body to fulcrum your action thus giving it greater
leverage when it is executed diagonally.

DIRECTIONAL GRAFTING - The combined use of segments from various techniques

which when linked all follow the same direction.

DIRECTIONAL HARMONY VIA PATH OF MOTION - The principle that directional harmony
not only follows a line of action, but a path of action as well.

DISHARMONY OF DIRECTION - The concept that splitting your action into several
directions diminishes your force when you are striking. See DISHARMONY OF FORCE.

DISLOCATE - The disengaging and separating of joints.

DISTANCE OF TRAVEL - Moves which maintain the proper depth in securing maximum
force and results.

EDUCATIONAL PROTECTION -
EVALUATION SESSIONS - Class sessions that allow students the opportunity to
critic other class members as they take turns doing the moves or techniques.

FEED THE CIRCLE - This principle involves going into a circular path of a
roundhouse punch, a roundhouse club attack, etc. where for the moment, there is
calm -- a void of action.

FRAMING - (To be added to.) Like ANGLE MATCHING, but associated with defense in
self-defense techniques.

GAUGING ANGLE - the calculation of postural positioning of limbs and body to

obtain ideal and effective distances whether defending or attacking. See UP THE
CIRCLE.

GRAVITATIONAL REBOUND - The simultaneous use of gravity to enhance or boost your

strike traveling in the opposite direction.

GUIDELINING VERSUS TRACKING - GUIDELINING follows a path of action, where

TRACKING follows a line of action.

HUMAN BLOCKADE - The strategic positioning of an opponent as a blockade to

prevent his partners from having easy access to you.

INSERT(S) - (To be added to the present.) While the term INSERT is a method of
COMPOUNDING, it is mainly used defensively, where COMPOUNDING is primarily
associated with offense. Is a form of COMPOUNDING that is used primarily for
defense.

ISOLATING A MOVE - Taking a particular move out of a sequence of movements and

practicing it independently to analyze the principles involved meticulously.

ISOLATED TECHNIQUES - Segments out of a technique, or a specific technique

sequence taken from a grafted series of techniques which allows one the
opportunity to analyze these moves closely.

KENPO SENSE - Use of good old common logic or horse sense.

LAW OF DIMENSIONAL ETHICS (?)

LINEAR ADJUSTMENT - Like an Orbital Adjustment except that the action continues
to follow a line of action although it converts into a path of action.

LINEAR PARALLELS - The alternate use of limbs or clubs that parallel each other
when you are following linear paths that avoid colliding with each other.

LINE OF ACTION - SEE PATH OF ACTION

NIPPING THE TIP - A compounding action that includes striking the tip of the
penis during its travel.

OPEN END TRIANGLE - The crossing of your arms, clubs, knives, or weapon and
natural weapon, the formation of which patterns an open end triangle that can be
strategically used to trap or check your opponent's action.
OPPOSITIONAL ENHANCEMENT - This principle involves the action of one move going
in one direction contributing to the action of another move simultaneously
traveling in the opposite direction. See GRAVITATIONAL REBOUND.

ORGANIZED RETROGRADE -

PARALLEL LINES OF ENTRY - the striking of targets at various heights, widths, or

depths that follow parallel lines. (Write more.)

PATH OF ACTION - Any action that covers a path, or follows a specific direction.
SEE LINE OF ACTION

PERSONALIZED SESSIONS - An isolated class session within a group session where a

student is taken off to the side by an instructor who makes corrective
adjustments on a one to one basis.

POINT OF NO RETURN - A specific angle that results when executing a step through
kick that places you in jeopardy if you attempt to return to your point of
origin. You are discouraged from returning to your point of origin because of
the unwarranted exposure that is created.

POINT OF OVERTURN - Is that point or angle which when overshot departs from
directional harmony.

POINT OF PREMATURELY TURNING - Is that point or angle which you arrive at when
your block or strike turns too soon, the effect of your action is
proportionately decreased. In the case of a strike, your action ends as a push
lacking impact.

POINT OF THE TRIANGLE - Similar to the "T" CONCEPT where you end midway between
two assailants after covering out. The location of your opponents form two
points of an imaginary triangle with your concluding position completing the
third point of the triangle. .

PRIMARY ACTION - Moves that require major emphasis.

PROPORTIONAL DIMENSION - The designing of stances, postures, positions, blocks,

and strikes to fit and adapt to your body structure in order to obtain maximum
results.

PROPER FORMATION - Refers to the detailed structuring of your natural weapons

and defenses so that you not only increase the outcome of your efforts, but
prevent injury to yourself as well.

RANK INFLATION - The ever pressing demand to obtain higher rank without working
or earning it. These are individuals who constantly look at the calendar to see
whether one, two, or three years have gone by so that they can claim rank
although during this time they have not had a workout or lesson during the time
which has elapsed. See CALENDAR WATCHERS.

REELING - Allowing slack to occur between you and your opponent who is being
grabbed before he has strategically been pulled in. It is a form of deception
which momentarily allows an opponent slack before the intended action occurs.
RESTRAIN - To check, control, and restrict an opponent from taking further
action.

ROLL OUTS - Anticipated moves that occur after your strikes are blocked. For
example, when your straight punch is blocked, you can instantly roll your
forearm onto his forearm to act as a check prior to executing a back knuckle
strike to his temple. Your rolling action can follow a number of paths -- up,
down, around, under, over, etc. Refer to STRIKING SET #1 which offers many
examples of ROLL OUTS.

ROTATING AXIS - A center or pivot point which is used to revolve around or to

spin from.

SECONDARY ACTION - A move that has substance, but is not considered to be your
PRIMARY ACTION.

SET(S) - SETS, like FORMS, are offensive and defensive movements incorporated
into dance-like routines. While FORMS are skeletal structures of self-defense,
SETS are basics in motion. The purpose of SETS is for the development of basic
principles and skills. SETS (Stance, (Coordination, Blocking, Finger, Kicking,
etc.) are considered appendices since they are supplementary catalogues of
motion that add to the specifics as well as general knowledge of a Kenpo
student.

SLIDING DEPTH - A term used when you are applying a club that requires executing
a front crossover while you are retreating to enhance body momentum as well as
have the club make contact at the right depth. This method of execution prevents
your club from jamming and allows the most effective section of the club to make
contact.

SPRAIN - The twisting and wrenching of an opponent's joint which in turn

stretches and tears his ligaments.

STAGES OF TECHNIQUES - A method of teaching self-defense techniques in

progressive stages where each stage, when repeated, link additional principles
to further one's knowledge of the underlying technicalities that exist.
Sophistication is the end result of this method of instruction.

"T" CONCEPT - That point of cover that places you at equal distance from two
attackers once you have countered and covered out from them. If you were to draw
a straight line between your two attackers and a second line from your
concluding position to the midpoint between them, you would form the letter "T".

TRACKING VERSUS GUIDELINING - TRACKING follows a line of action, whereas

GUIDELINING follows a path of action.

VARIABLE EXPANSION - (1) The ability to randomly select solutions, or build upon
precepts, as a result of having a thorough knowledge of the principles and
concepts of the Martial Arts. (2) The number of additional weapons and targets
that can stem from a specific point of origin. (3) The ability to expand and
expound on the number of alternatives that can stem from significant sequences
in a form. These alternatives may be the result of the statement, "To every
move, concept, theory, principle, or definition, there is an opposite and a
reverse."
VERTICAL LEVERAGING - Refers to specific methods using a club on another club,
or a club on an opponent's body to fulcrum your action thus giving it greater
leverage when it is executed vertically.

WINDSHIELD WIPER PRINCIPLE - This principle normally occurs immediately after an

inward or outward heel palm strike is executed. At this point the heel of your
palm becomes a pivot point using your opponent's jaw as an axis as your fingers
slice clockwise or counterclockwise across your opponent's eyes.

WRAP AROUND - The concept that the body, when maneuvering from one position to
another, rotates around a block or strike immediately after its execution. The
block or strike, during the maneuver, becomes a rotating axis which then
beneficially transforms into a positional check. This concept is quite prevalent
when you are performing Kenpo forms.

The term for a punch and an elbow combination on the same move? Residual
action, grafted principle, sophisticated move. Is there another term that might
be better?
*********************************************************************

FROM CURT COKELEY --

BORROWED WEAPON - Involves defending yourself against a weapon, disarming the

weapon, and then using your opponent's weapon against himself or his assistants.

COLLAPSING STRIKE - An existing strike, which when dropped, gravitates into a

secondary offense.

DIRECT TORQUE - The synchronization of body torque and strike as they both move
in the same direction.

DIVERSIFIED FORCE - Distinct forces that travel in separate angles that oppose
the principle of directional disharmony. The scattering of these forces
proportionately decreases the effectiveness of the strike.

INDIRECT TORQUE - The synchronization of body torque and strike as they both
move in opposite directions.

SCANNING - Use of peripheral vision to note the specifics of your environment in

order to help you decipher the proper strategy to be used.

SCANNING FOR COVER - The turning of your eyes and head to ensure a 360 degree
field of vision so that your route of escape is free from encumbrances when
covering out.

WEAPON TRANSFERRING - The shifting of a weapon(s) (club, knife, gun, etc.) from
one hand to another or from one position to another, without danger of dropping
it, loosing it, or having it taken away.

-----------------------------------------------------------------

COLLAPSING ORBIT - given that there may already be forward and rotational
momentum as well as gravitational marriage, the inward looping overhead elbow
gains its own special sort of power through the build up of centrifugal force of
the arm accelerating for one third of a circle. At that point, called the point
of tangency, the elbow collapses downward on a linear plane. Borrowing that
energy built up thus far and coupling it with the anchoring concept, the strong
pulling muscle of the biceps pulls the elbow down at an even greater velocity.

COMPLIMENTARY WEAPON - is a natural weapon that is employed either just before

or just after another natural weapon of the same body part, such as a palm heel
preceding a claw of the same hand.
CONTINUOUS FLOWING CHECKS -

COORDINATED INDEPENDENCE - The process in which two or more body parts perform
functions independent of one another, but work toward a common goal.
DIRECTIVE PRESSURE - After an opponent has been restrained, tell him what you
want him to do by talking to him while using he pressure of your restraining
hold.

GHOSTING EFFECT - The fading image that is left by a strike if focus did not
occur at the point of impact.

LAUNCHING EFFECT - is the pushing against one body part to create thrust to act
as back-up-mass for a strike in the opposite direction.

MILKING - Whereas it ia good to know the concept of relaxation during movement

and tensing during impact, the beginner often finds himself constantly opening
and closing his hands which resembles milking a cow. This is not good unless
done for a specific reason.

PREFERENTIAL TECHNIQUE - All of the strikes and movements in Kenpo must be

learned to have a good vocabulary of motion, but some times during the heat of
the battle you'll find yourself using a strike or technique that you are more
comfortable with.

POINT OF TANGENCY - That point at which a body part changes from linear to
circular or vice-versa. tangent in the direction of the step during a double
cover out

STRAIGHT-LINING - The "feeling" you get through a series of body parts that all
end in a straight line and therefore strong.

"T" CONCEPT - To cross out from two or more opponents, draw an imaginary line
between the two outermost persons and cross out at an angle perpendicular to it
and ending equal distance from those opponent's.

TARGET RESTRAINTS - is a method of controlling the opponent's movements or

positions to maximize the effect of your strikes by using your weapon to place
him in a precarious position by holding him with the weapon on a given target.
(Same idea as lockout strikes.)

WHIPLASH EFFECT - The striking of a body part to create a whipping effect of

another body part such as a strike to the kidneys to whip the head back for a
strike from behind. Another term for this would be "reactionary set-up".
FROM HOWARD SILVA
1. Rules are made to be broken, but if broken on a constant basis, it
becomes habit. (In my mind I have concluded that if one freestyles
at all the tournaments it becomes habit. When on occasion a
serious crisis arises, that person would probably resort to
fighting as he does when freestyling instead of using Karate.
Freestyle is fun until it becomes necessary, then Karate is the
answer.)
2. Laziness is the mother of invention, thereby, the evolving to
economy of motion. (This thought occurred to me as I was working
through the years. It seems as you grow older and more tired you
develop shorter and more economical ways of doing things.)
3. With every foot movement there should be a corresponding hand
movement, but not necessarily the reverse.
4. Those who have learned, but do not share their time and knowledge
have missed the point.
5. Principles remain the same. Styles and systems differ as to their
interpretation, application and methods of execution. (Ed Parker)
6. Not knowing how is not an excuse for not trying.
7. Trying is the first street on the road to success. (Mine - Trying
is the fist step when wishing to traveling on the road to
success.)
8. The more you know, the more you see. (Mine - The more you learn,
the more you see, and envision what can be.)
9. The three levels prior to fulfillment:

1) DESIRE - (the wish to kick ass)

2) INTENT - (the decision to kick his ass)
3) COMMITMENT - (the pledge that you will kick his ass)

10. Your opponent's body is often your stabilizing base. (Mine - Do

not overlook using your opponent's body as a stabilizing base.)
11. Keep in touch and let your opponent assist you in his destruction.
(Mine - Keeping in touch is a key to destructive aims. It helps to
guide, align and track your natural weapons to targets of your
choosing.)
12. Once you pay the price of admission, stay in until the show is
over. (So often I see people take two or three hits or kicks to
get in and then only hit once and then back out, why?)
13. The more you share of yourself, your time, and your knowledge, the
better you become.
14. You are only as fast as you see yourself. (Self imaging.)
15. Momentary levitation is the reverse of marriage of gravity.
16. If you know "why", "how to" becomes much more effective.

HOWARD SILVA
1812 HOOVER COURT 415 676-6591
CONCORD, CA. 94521
OTHER TERMS AND IDEAS
STRIKE, ROLL, AND LEVERAGE (using club) - Strike and roll your club on
opponent's neck with your right hand, then have your right hand use the club to
leverage on his shoulder to force club under opponent's chin, check his height
via his shoulder, and then check his width by leveraging shoulder and turning
opponent away from you. Immediately strike to back of his left knee and continue
the circle as you strike the right side of his head with the club. (Depending on
the angle of your leverage you can also check the action of your opponent's
right arm as well as check his height and width, thus forcing him diagonally
down.

DISCIPLINED DETERMINATION -

ENERGETIC CONVERSION -

CRADLING the club on the forearm through HUGGING.

TRACKING - follows a "LINE" of action.

GUIDELINING - follows a "PATH" of action.

STRIKING SET - demonstrates a concentrated overview of variables that can stem

from a single action, whereas, these same moves are lost in techniques.

STANCE SETS #1 AND #2 - (1) compels you to view and perfect stances while in
motion without being distracted with movements of the arm.
(2) they also teach you to properly coordinate your arms along with your stance
changes to insure effective positional checks.

MIRROR IMAGE CONTINUANCE - The immediate duplication of one sequence of moves in

reverse order to the opposite side. When viewing the starting sequence of moves
to the opposite side it is a delayed mirror image of what had originally
transpired. For example, immediately after the right back knuckle to your
opponent's ribcage is executed when employing "Reversing Mace" on your
opponent's left arm, you can execute the same move in reverse order should your
opponent pivot clockwise and execute a right back knuckle strike. When the
second or right back knuckle strike is executed you can immediately commence
with a left inward/right outward parry and conclude with a left back knuckle
strike to the right ribcage of your opponent. As you can observe, the second
sequence is the mirror image of the first sequence of moves or the left side of
"Reversing Mace".

TRIANGULAR TRANSMITTANCE - The perpetual transmittal of "Open End Triangles" to

strike and/or check an opponent. For example, you can strike an opponent's
throat with an "Open End Triangle" then flow into a second "Open End Triangle"
onto your opponent's shoulder to check his height and as you move your
opponent's shoulder clockwise you will control his width as well. An immediate
follow-up with a third "Open End Triangle" could then be applied to the outside
of your opponent's right biceps to further check his width and depth.
 ED PARKER NOTES

NOTES ON OPPOSITES AND REVERSES:

1. ORBITAL ADJUSTMENTS / LINEAR ADJUSTMENTS

2. PARALLEL MOVES OF DEFENSE / CRISS-CROSS MOVES OF OFFENSE
3. MASS BEHIND OF THE WEAPON / MASS IN FRONT OF THE WEAPON
4. ORBIT TO LINEAR / LINEAR TO ORBIT -- "When the circle ends, linear
begins, when linear ends, the circle reoccurs, again."
5. INCREASE THE CIRCLE (CIRCUMFERENCE) TO BUILD AN OFFENSE INTO A
DEFENSE / DECREASE THE CIRCLE (CIRCUMFERENCE) TO BUILD A DEFENSE
INTO AN OFFENSE.
6. IF A PRINCIPLE EMPLOYS ONE OF THE DIMENSIONS (DEPTH) IT
INEVITABLY EMPLOYS THE REMAINING TWO (HEIGHT AND WIDTH).
7. WIDTH ZONES, WHEN PROPERLY CHECKED, CAN CONTROL YOUR OPPONENT'S
ACTIONS / WIDTH ZONES, WHEN PROPERLY POSITIONING YOUR NATURAL
WEAPONS WHILE STRIKING HORIZONTALLY, CAN INCREASE THE
EFFECTIVENESS OF YOUR STRIKES.

NOTES ON STUDENT POINTERS:

1. Do not be over anxious. Take your time learning. "Quick to learn,

quick to forget, slow to learn, slow to forget.
2. Do not be influenced by the progress of others. Progress at your
own pace.
3. When learning, absorb, understand, and practice that which you
have been taught.
4. Be loyal to yourself as well as your instructor.
5. Accept your instructor as being a guide to learning -- no more.
6. Look upon criticism as being a journey to acquiring wisdom.
7. Hold yourself accountable for your inadequacies.
8. Although praise can often be compensation for your efforts, do
not allow it to over-inflate your ego.
9. Allow your perfected skills to lead you to paths of humility.
10. Avoid the pitfalls of thinking you have arrived or have
surpassed. Such beliefs lead to conceit and to dangerous thoughts
of being a legend in your own mind.
11. Respect all, but fear none except our creators.
12. Do not be intimidated by one's reputation nor his appearance.
13. While power can be effective, speed in being illusive can make it
ineffective.
14. Learn to relax at all times. Tense only at the end of your
strike. "When skin kisses skin, tension begins."
15. "Show no pain and your opponent will think that he is exerting
himself in vain."
16. Striving for physical perfection will inevitably lead to
spiritual enlightenment.

GENERAL NOTES:

TITLE FOR MOVIE - MENU OF DEATH

Make special belt knife that you can take off of your pants and when the knife
is pulled an attachment makes spikes pop up from the belt. The spikes are angled
flat and then pops up when attachment is pulled simultaneous with the pulling of
the knife.

DIFFERENCE BETWEEN SEAGAL AND SPEAKMAN

Difference can be compared to a strawberry and a watermelon. Both are fruits,

but if you had the choice of one or the other Ia would choose the watermelon.
There is a lot more to eat, besides being watery and sweet.

:<;=Ë%Q
DG 2H[`cuy ñ ù
-
:
°
˜
˛
)
YypjyjyjyjyjyjyjyjjjjÄÄ
Y
m
n
z
ê
ë
ì
ö
∑
∆
Ù
%
'
ú
≥
¥
¿ysyyysyyyssjassysyÄÄ
¿ËÈÙ¯"/2zÜêö•®∂∏˙ysyyyysyysysyysyysysyyÄ%(Fáãçîô≠Jfû≠∑≈ŸËysysysysysysysysysysysÄ(7ô∆
R S o!+!M!ü!Ø!”"
#ú#∂#π#«# #˝$$,ysysysyysysysssysyysysyÄ$,$.$N$T$b$g$o$à$ó$„$È$Ú$˙$˛%.
%@&¥&µ&∂&À''"'ŒyysysysysysyssysysysysÄ'Œ'fl(5(@(s(}(æ)l)n)†)¶**
*1*8*A*C*ß*Æ*±*∑*Ê*˙ysysyssysysysysysysysytÄ*˙+Ä+é+ë+ß,X,k-P-e.‡.˚/N/Z/d/x/Ó/
˚0F0X0`0f0Ü0öysysysysysysysysysysysuÄ0ö1™1¡1»1‹1Ú44R4T4e66-6.6B7ú7≤8d8z8‚9
9-ysyysyjysysysysysysyreÄ9-929r9s9t9é9◊9ÿ9˘9˙9˛::: :K:`:Ø:∞:±:…:Ã:
‚;2ysysysysysysysysysysys Ä;2;3;d;e;f;w<<
%<<<J<Ö==)=C=f=n=q=w=®=©=™=∂=»ysysysysysyyysysysysyynÄ=»=fi=Ï>>>>)>ó>ô>ö>•>”>Ÿ>È>
Ù??'?ã?û?Ë@&@'@(ysysysysysysysysysyysysÄ@(@>@|
@â@ê@Ê@Á@Ë@ıA$AAACAWA€AÓBwB≠B∞B√CCCÇCìyssysysysysysysysysysyDÄCìC›C˜D°D∂DπDœD—
DÎETEcEπE—FsFtFuFáGGâGäGùGÏH ysysysysysysysysysysysaÄH
H›HıIIIÂIıJJ3J¡J¬J√J÷KÇKìL”L‰LÁLÒM—M€N
%N1ysysysysysysysysysysysÄN1OÅOêOØO∏OªOÀPP)PePsPvPÖPäPëP
‰PÈQQQ=QBQyQ~ysysysysysysysysysysysÄQ~QÜQáQ∆Q—RRRbSûSßSŸT T
T
T$T£TÎU*U+U,U:UaVcVÅysysysysyysysyyysysyysÄVÅVäVîV¢V¨V∏V¬V–
V”VËXdXeX„XÏXÚX˘X¸X˝X˛YY∆Y◊Y·ysysysysysysysysysysyyÄY·Y„Z•Z¶ZˆZ˜Z¯[[∆[”\Z]Z]
[]k]m]˚^^]^m^≈^Ÿ_&_<ysysysysyssyyysysysysydÄ_<_ö_
´```í`ßa;aBaOaQbbbbFbHb[c{cådmdÑysysysysssysyjysysysamÄdÑe0eKeMehe‚e˜fÑfñfggyg
ÉhÅhöi|iêj
j2jûj¨knkÇysysysysysysysysysysysnÄkÇlxläm\mmw/wFwnyºyÔyÒy˙zz!z$z/z9z@zJzYzdzjzwy
sysyssysysysysysysysysÄzwzÑzÜ{{%||
2wëÅßÅ∂ÅπÅÿÅ€Ñ˝Öäóä¶äßä»ã≈yysysysysjsjjsjsjsys..ÄÄã≈ãÌå«ysGroup...
Preferences...
Hot Keys...Help... About LogoLogo
SICNNameLDEFWhereIs?<PéX}ˇˇˇˇÄ GHI©™./]^ŒœDEã{{{qqqqqqqqqqqqqqqqqq¬Z
å˝0ãåÒÚ^_óò√ƒ &'GH“”FGöõ€uuuuuuuuuuuuuuuuuuuuuu‰ å˝0€‹--
MNÑÖ78áàûüºΩflˇ ' M N é èuuuuuuuuuuuuuuuuuuuuuu å˝0 è
≤ ≥ ˆ ˜EFqràâùûø·

,
-
G
H
S
a
puuuuuuuuuuuuuuuuuuuuuu å˝0
p

Ü
ï
†
°
¿
¡
fl
‡
R
É
µ
∂
”
‘
ˆ
˜
)
Y
ì
«uuuuuuuuuuuuuuuuuuuuuu å˝0
«
»
%
&
'
õ
ú
≥
¥
≈
∆
ˆ,Je•Í
S袔¯uuuuuuuuuuuuuuuuuuuuuuuuu å˝0¯)l|®ø/l®ËÈGàÕˇuuuuuuuuuuuuuuuuuuuuuujyj
å˝0'(IJòô⁄ R S!,!-#∏#π$-$.%-%.&µ&∂''(4uuuuuuuuuuuuuuuuuuuuuusys
å˝0(4(5(r(s*Â*Ê+n+ê+ë,W,X-O-P.fl.‡/Ì/Ó0Ö0Ü1©1™4S4Tuuuuuuuuuuuuuuuuuuuuuujj
å˝04T666-6.7õ7ú8c8d8·8‚9s9t:::J:K:∞:±:À:Ã;e;fuuuuuuuuuuuuuuuuuuuuuu
å˝0;f<<<Ñ<Ö=*=+=©=™>>>ô>ö?ä?ã@'@(@Á@ËA#A$ABACuuuuuuuuuuuuuuuuuuuuuuysy
å˝0ACA⁄A€BvBwBõBúCCC‹C›D∏DπD–D—
ESETE∏EπFtFuGâGäuuuuuuuuuuuuuuuuuuuuuuysy å˝0GäGÎGÏH‹H›I‰IÂJJJ¬J√KÅKÇLÊLÁM–
M—N$N%O∫OªPPuuuuuuuuuuuuuuuuuuuuuusys å˝0PPuPvRQRRSùSûT
T
U+U,VbVcV“V”X˝X˛Y≈Y∆Z˜Z¯\U\Vuuuuuuuuuuuuuuuuuuuuuusys å˝0\V\¸\˝]C]D]Y]Z]
[]˙]˚^\^]^ƒ^≈_ô_ö```ë`ía:a;buuuuuuuuuuuuuuuuuuuuuufer
å˝0bbbGbHdldme0eLeMe·e‚fÉfÑfÔfgxgyhÄhÅi{i|jj uuuuuuuuuuuuuuuuuuuuuu å˝0j
jùjûkmknlwlxmnmom∂m˝n=n}nøoooRoóo‹pp^pçp”uuuuuuuuuuuuuuuuuuuuuuå
å˝0p”pÓq4qzqØqır3rArÜr∑r‚r„s
s;sys~s¬ttMtît◊tÊu)uuuuuuuuuuuuuuuuuuuuuu33
å˝0u)umu®uÔvvEvÖv¬v√v⁄wwEwFyªyºyÿyŸyyÒz#z$zKzLuuuuuuuuuuuuuuuuuuuuuu
å˝0zLzvzw{
{{ó||vwÅ∑Å∏ÅπÅ⁄Å€ÇÇEÇÅÇ»ÉÉFÉãɆuuuuuuuuuuuuuuuuuuuuuuñ¿
å˝0ɆɋÑÑ]ÑüÑŸÑ¸Ñ˝ÖÖÖ`ÖïÖ€ÖÍÜ.ÜEÜ{Ü¿áá8á|á®áÎuuuuuuuuuuuuuuuuuuuuuutU
å˝0áÎà(àoàòàÕââWâiâ©âflä#ä:äxäñäóä¶äßä«ä»ãƒã≈ãÏãÌuuuuuuuuuuuuuuuuuuuuuu
å˝0ãÌå∆å«uues7
@Ìñ¿Ú–Ì󖡡˝˚FontStyleY»-91012141824- å˝0fiã«å«
Y
¿$,'Œ*˙0ö9-;2=»@(CìH N1Q~VÅY·_<dÑkÇzwã≈å«- !"#$%&'()*+,-./01〠è
p
«¯(44T;fACGäP\Vbj p”u)zLɆáÎãÌå«23456789:;<=>?@ABCDEFGH