Kenpo Roots & History Part 2

Doc

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From Combat Martial Sports Magazine

Part Two:
The “Kenpo-Karate” & JKD Connection

Ed Parker’s creation, “Kenpo-Karate,” has a brother and a sister art. The “sister” is Jeet Kune Do (J.K.D.). We’ll save the “brother” for another day. Kenpo-Karate and J.K.D. are both training concepts, as opposed to styles, or even real systems of the martial arts. Although the Bruce Lee vehicle unlike the Ed Parker version was never designed to be commercial, Ed Parker had a considerable influenced in its creation and concept.

Bruce Lee spoke extensively with him about his (BruceÂ’s) own personal goals and dissatisfaction with his Wing Chun training (even though he hadnÂ’t really trained that long). He expressed a desire to learn as much as he could without the restraints imposed by any one discipline. Bruce became bored easily when he could not readily see benefit to what he was doing. Ed Parker argued this was ambitious, but typical for a 22 year old. (I think we tend to forget Bruce was just a talented kid.) Parker further expressed there must be variables to allow for the physical, emotional, and intellectual differences in students.

For Bruce this was of little concern. He didn’t really care about students or teaching. Bruce Lee was on a personal mission to enhance his own skills and his salability to become a movie star. His teaching was primarily to insure he had training partners and of course, to learn from other accomplished martial artists to get to his personal goals. When Lee moved to Southern California his school was not open or known to the public. The local “insiders” knew where it was, but to get in you had to bring something special to the table. It was located about five minutes away from Grandmaster Ark Wong’s School in the Los Angeles Chinatown up on College Street.

Ed Parker once realizing Lee was only interested in his own self-development, gave him some history making advice. Acknowledging Bruce’s obvious physical gifts, he suggested he should explore as much as possible from diverse teachers. Although Lee had already been doing this to a certain extent, Parker felt he should be introduced to the top guys, and of course, Ed Parker knew them all. Bringing him together with notable martial artists like “Judo” Gene LaBell, Dan Inosanto (from Ark Wong) and Sea Oh Choi to name a few, Ed Parker helped Bruce immensely with his martial arts.

He advised Lee to study a variety of arts and take what he felt he could use. LaBell taught Bruce to grapple and became his stuntman in the “Green Hornet” TV show, while Choi was partially responsible for the awesome “Korean style” kicks Lee displayed on film. And of course, Dan Inosanto for teaching Bruce the many diverse weapons and for his Kenpo and Filipino Arts influence on Lee. Thus, the seed to ultimately what became JKD was planted. However, like motion based Kenpo-Karate, more a training concept than a style, and only a system within the confines of its own concept. His introduction by Ed Parker as well to William Dozier the director of the popular Batman T.V. series, who was casting for the Green Hornet, ultimately got him into television and jump-started his movie career.

JKD wasnÂ’t about any particular technique or way of doing anything. It was about personal development, and actually had no real curriculum. Although it promoted some basic concepts of fighting ideas and postures, it offered no real techniques or consistent methodology. BruceÂ’s Book, the Tao of Jeet Kune Do, was actually published after his death, and consisted of a series of disconnected notes and drawings. These were simply conceptual ideas he was exploring for his personal use.

Ed ParkerÂ’s approach however for his own commercial Kenpo-Karate vehicle was somewhat different, but not as different as you might think. He felt instructors needed to be well rounded to be of the greatest benefit to all of their students. As a teacher, your personal strengths and weaknesses should not be visited on your students. You never know at what a student may excel, even though you as a teacher may not. Kenpo-Karate is designed to be of maximum benefit to the singular individual, and only personal effectiveness is the primary goal. It was simple and ingenious on the part of both these men. They both borrowed from those around them. Bruce sought material for himself, and Parker, in an attempt to reach as many people as possible did the same.

Students and followers of both however, misunderstood. Kenpo-Karate practitioners continue to argue about the “right way” to execute a technique when there is none. They engage in “Hypothetical Kenpo” and intellectualize with no real foundation or basics, while conjuring up complicated “what if” scenarios. So-called JKD people argued about how to do JKD as well, while most of its original students don’t really teach it. What has emerged is “JKD Concepts” which is probably more appropriate considering its conceptual nature. Further JKD is closer to a “street style of sparring” and generally gives no solutions to self-defense or grappling scenarios, much like Kenpo-Karate. In addition, much unlike Kenpo-Karate, JKD doesn’t deal with modern street weapons, or surprise attacks.

That is not to say Bruce did not possess the knowledge or the ability to deal with these scenarios. To the contrary, much like Ed Parker, Bruce kept a lot to himself. Instead he chose to explore mostly the “street sparring” aspect with the majority of his student sparring partners. Most were not even aware Bruce could grapple, or had joint manipulation skills until he displayed them on film much later.

The most obvious JKD Kenpo-Karate connection can be seen in Kenpo-Karate’s “Freestyle Formulas.” These were derived from certain “Offensive Techniques” planned but never written for Ed Parker’s American Kenpo that was not completely evolved, and not to be confused with Kenpo-Karate. Once again watered down and presented as formulas, they were to educate and prod the Kenpo-Karate student into “flexible thought” when it came to sparring and competition.

By using the Kenpo-Karate concepts of Re-arrangement, Prefixing, Inserting, Addition, and Deletion, in conjunction with an established “base” formula and footwork, these Freestyle Formulas followed the same conceptual design as the rest of His Kenpo-Karate. I don’t think anyone ever had a better grasp of this component than Bob White, of Southern California, and his students. He has consistently proven this over the years in competition. There are “competitors,” and there are “fighters.” Bob White and his students are both.

Unfortunately, however, most found this formulaic approach too complicated, and over the years, chose to ignore or abandon them altogether. Drafts of the last version of some the technique manuals Ed Parker was working on eliminated these formulas. Ed Parker created Kenpo-Karate to be conceptually and commercially viable out of necessity. He had to design it to be taught to the masses with maximum flexibility of thought and action. The “hard curriculum” he wanted to teach was not possible. Even though ultimately, it is only a small part of the whole of his “American Kenpo Knowledge,” Kenpo-Karate did have its own unique structure, and like JKD, only one real “expert.”

Ed Parker borrowed a business plan from a chain of dance studios and created a business guide and teaching manual. The material in this big “Red Book” manual was multi-phased. First, Ed Parker created a guide he called the “Web of Knowledge.” This was a spiraling ascending chart consisting of the “theme” of the individual assaults in a progressive attack variable pattern. It was designed to insure students considered specific situations in their training process, and virtually dictated self-defense techniques and there order of presentation, as well as formed the basis for Kenpo-Karate’s lesson plan.

Student/teachers focused on “techniques” when the Web of Knowledge is the truth base. Although Parker insisted on individual flexibility on defense, he felt it was important to consider as many scenarios of attack as reasonably possible. Over time as the sociological climate changed, some of these scenarios have become outdated, while other new scenarios need to be considered.

Revolutionary at the time, written “technique manuals” were created as a companion second part of the lesson plan. These were to give instructors a generalized starting point of ideas from which to extrapolate their defensive strategies dictated by the Web of Knowledge, based on concepts taught by Mr. Parker. No mention should be made of the earlier writings without acknowledging Tom Kelley and Richard Planas. These gentlemen contributed tremendously, and understand the philosophy of the material better than most for obvious reasons. They followed in the footsteps of Chuck Sullivan who was essentially there from the beginning, supporting as well as creating with Ed Parker.

Coming in personal contact with the majority of his students infrequently, the need of a different approach is what brought about Kenpo-Karate. So Ed Parker began teaching, not so much a system but this Kenpo-Karate Lesson Plan he intended students to use as a general guide. The Web of Knowledge in conjunction with emerging concepts was supposed to be the center, with the technique manuals to provide ideas for a starting point for personal interpretations. Remember the primary objective was for the individual to defend himself with the information provided as quickly as possible. Ultimately the “technique manuals” became a sought after item, and were ultimately sold to students.

The problems of proliferating Kenpo-Karate were many. For one Ed Parker was constantly evolving and growing. New ideas replaced old ones rapidly, usually too fast for his students. That leads us to the next problem. All of Kenpo-KarateÂ’s instructors were also its students themselves. Most were converts from other arts who were attempting to learn Ed ParkerÂ’s ever-changing approach, and teach it at the same time. This in conjunction with the inherent flexibility of Kenpo-Karate, created mass confusion from school to school, instructor to instructor. What Ed Parker told one group in the morning, might be completely different from an afternoon session with a different audience.

Ed Parker knew the true sciences and more complex aspects of the whole of his “American Kenpo,” like traditional Chinese Arts, required very strictly taught basics and specific body mechanics to provide a solid long-term foundation. Additionally, even more specific continuing education under competent instruction would be necessary to move to advanced levels. Like JKD, limited competent instructors hampered this. Like Bruce Lee, only Ed Parker was the expert of his art. He also knew it would be impossible to teach his American Kenpo as he envisioned it in the recesses of his mind to the masses.

Kenpo-Karate is essentially a motion-based approach designed to foster reasonable self-defense skills, in a relatively short period. To this end, Kenpo-Karate routinely attacks soft human tissue such as the throat, testicles, and eyes to insure effectiveness. It teaches the student to overwhelm an opponent with multiple rapid fire flailing strikes and kicks. Conceptually simple, but it can be extremely effective in striking situations against the unskilled. It is very ineffective however in “hands on” or “grappling” circumstances because of the absence of other knowledge. This is the reason many practitioners have decided to augment their skills with grappling disciplines. Most instructors in Kenpo-Karate teach students to turn “grabbing attacks” into “attempted grab attacks.” Once grabbed, hugged, choked etc. they are hard pressed to teach students how to extricate themselves. In essence, Kenpo-Karate is a more sophisticated approach to many self-defense courses successfully taught in schools and colleges throughout the country. This is pure marketing genius on the part of Ed Parker.

As a limited layperson striking art however, this is where the genius of the man really showed. Because this creation is based on an “Alphabetical and Numerical Re-arrangement Concept,” its variations are literally infinite. Therefore, a student may study this Kenpo-Karate facet of American Kenpo on a superficial level, or if he/she chooses, explore its interpretations of motion endlessly into old age. This version is known for its “journey” approach, and is the method Parker chose to proliferate. It is extremely flexible and promotes personal development and style over and above structure. Kenpo-Karate is about 10% structure, and 90% personal interpretation. Ed Parker’s American Kenpo is actually the reverse, and more like the traditional Chinese disciplines, with 90% very rigid structure, and 10% of tailored flexibility, but this interpretation was forever evolving and not generally taught.

The reason is simple. Kenpo-Karate is completely dominated by what Ed Parker called the Re-arrangement and Tailoring Concepts of motion. This is its strength and its weakness. Remember Ed Parker said, “Tailored by self means limited by self.” He also adopted a saying from science. “General knowledge always produces general results.” Although Kenpo-Karate may be studied infinitely, and produce very positive results, there is specific knowledge not found within its structure. No matter how long you re-arrange and explore its movements and structure, this knowledge cannot be found. Consider this reality. There is no physical or mental discipline in existence, where you may extrapolate the higher echelons by re-arranging it, or tailoring it to your own personal preferences.

Your base of knowledge must be very specific and well defined before you attempt to build on it and move upward. You cannot do this with generalities. You cannot build a skyscraper’s first floor to your own whims. The foundation has to be rock solid and the physics of building construction will dictate its architecture in a manner you may not personally like. Kenpo-Karate’s popularity in part, comes from the lack of strict structure found in other arts, as well as its relatively rapid progress through its ranks. Nevertheless, the trade off is a hard foundation that is needed to sustain and create the base for advanced development and internal energy. This is the reason why there are so many young “masters” of Kenpo-Karate. All that is required is you “master” your own circumstances with regard to its structure.

As an entity, it has no real scientific principles outside of Kenpo, and is virtually conceptually driven. At its best, it is a “pseudo-science,” and according to Ed Parker himself, created by a process called “Comparative Analysis.” The so-called “principles” are actually simple rules whose validity is constrained by its conceptual context. The “rules” may be absolute, but only as they pertain to the individual using it at the time. That is, “Your rule may not be mine if it doesn’t work for me, no matter how well it works for you.” Students are encouraged to “find another way to make it work,” over and above “continuing to work on the move for years.”

Loyal practitioners truly want to believe itÂ’s hard science, but it isnÂ’t. It does however borrow ideas from science. What some may call principles, outside of the context of Kenpo-Karate, would have no meaning. The thought you could train in something for a few years, performing a group of techniques tailored to your personal preferences, and then take your experience and work your way to mastership is very illogical. You may get to higher levels, but only within the constraints of the limited concept. There are masters of Kenpo-Karate, but that doesnÂ’t mean they are masters of other aspects or higher levels of Ed ParkerÂ’s American Kenpo, or even the martial arts.

Intelligent teachers and practitioners have realized something is missing from Kenpo-Karate. Many like Bob White years ago, borrowed the sport concept of cross training. Some are flocking in large numbers to grappling and manipulation disciplines. Others are quietly talking about the techniques they wouldn’t use or the ones that “don’t work.” Others still, are really struggling to make sense of what they have been told and taught by teachers with a limited effective curriculum.

Although the idea of seeking knowledge from any source is commendable, some in search of real knowledge have even sought acupuncture charts in an attempt to “reverse engineer” techniques, and gain knowledge of nerve locations in combat scenarios. They are unaware of how much knowledge is missing, and cannot be found in that methodology. Kenpo-Karate doesn’t provide the structure for such a process. In addition, acupuncture charts are much like Ed Parker’s technique Manuals. They are a guide, and are not gospel. Especially when used in an active martial environment.

Others simply point the finger at the obvious deficiencies and abandon Kenpo-Karate altogether. This is much easier than looking inward and seeing the same deficient circumstances in oneself or ones teacher. You’ll find ex-Kenpo students in abundance in Russian, Filipino, and other eclectic arts. Some don’t mind being a beginner somewhere else as long as they keep their ranks in Kenpo. I have always found it curious that many speak as if what they know is all Ed Parker knew. They routinely suggest they pretty much “know” the material, and now are on the Bruce Lee journey sampling other arts. They do not seem to leave room for the possibility that Ed Parker like Bruce Lee was ahead of his students, and might have known things he didn’t teach them.

One of the things that kept Mr. Parker held in such high esteem was what students felt of his physical skill. No one seemed capable of physically duplicating what he did. Not understanding many thought the answer was simply to hit harder. As an example, many elements from the Chinese Sciences like the pak-sao, or “slapping checks” are evident in all of even his early movements recorded on film and tape. Yet, he never taught or wrote about them. Some have attempted to mimic him; not realizing “slapping” yourself in the wrong place at the wrong time can have devastating consequences in real combat. Other have simply followed the technique manuals and used Ed Parker’s written substitute, “positional check.”

He also made extensive use of nerve strikes and pressure points in all he did, but never talked about these things either after including nerve charts in his first book on Kenpo in 1961. He often told a story he called “The Menu of Death” that illustrated he had a knowledge of these things. Interestingly students laughed at the punch line but no one ever asked him the implications of the story. Still others attempted to duplicate Ed Parker’s awesome abilities by concentrating on speed, and hitting students extremely hard to get the desired effect. Although effective, it is Neanderthal in comparison.

Students of American Kenpo have to ask themselves if Ed Parker’s “Infinite Insights” books truly represents the sum of his knowledge as some Kenpoists have claimed. Ed Parker himself stated in the second volume of that series, that the material therein was from the early seventies, and it took him to the eighties to organize it. I have video of Ed Parker doing all of the techniques from the late sixties and early seventies, and they are essentially unchanged from what most are doing in a new millennium, over forty years later. Curious since that is not what Ed Parker was doing, or how he moved at the time he passed in 1990. “Traditional Kenpo” which many claim to perpetuate, by Mr. Parker’s own standards is an oxymoron. There is no such thing. Just those who have stopped learning, and choose to cease educating themselves.
 

Dark Kenpo Lord

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You see, this is what I find ironic, you say you were being trained by Ed Parker, in what I'm assuming is special Kenpo, not the normal (commercial) version everybody else got. Why is it then, you weren't included in the list of proteges in the 1979 Black Belt Magazine article? Seems to me, if Mr. Parker was taking this much time to caress your knowledge of the Kenpo system he would've elevated you to the general public a bit more. He didn't, I, and others, have to ask ourselves WHY NOT?

DarK LorD
 

Brother John

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Dark Kenpo Lord said:
Why is it then, you weren't included in the list of proteges in the 1979 Black Belt Magazine article? Seems to me, if Mr. Parker was taking this much time to caress your knowledge of the Kenpo system he would've elevated you to the general public a bit more. He didn't, I, and others, have to ask ourselves WHY NOT?

DarK LorD
I'd thought it was because Mr. Chapel didn't have the ambition to be a "protege", but just a student and friend.

Not everyone that Was listed ended up sticking around in the end, which is a shame perhaps.

Your Brother
John
 

Dark Kenpo Lord

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Brother John said:
I'd thought it was because Mr. Chapel didn't have the ambition to be a "protege", but just a student and friend.

Not everyone that Was listed ended up sticking around in the end, which is a shame perhaps.

Your Brother
John

The three listed in the article were Larry Tatum, Tom Kelly, and Joe Polanzo, they're still around and actively teaching as far as I know.

Ambition to be a protege, does anyone really have that, or just the desire to learn? Your instructor determines if you have the means and ends to be what they would determine, one of their proteges. I don't consider myself to be my instructor's protege, just a simple student trying to discover what more this art has to offer with his guidance.

DarK LorD
 

Brother John

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yeah, those gentlemen are still around and going strong, no doubt.
But what I meant was that, it seems to me that a "Protege" is someone that takes over where their mentor or leader/teacher left off. The men you mentioned are still teaching in their schools and active on the scene, but I don't think that they stepped up to bat or tried to 'pick up the pieces' after Mr. Parker's passing. They just kept on keeping on with what they'd been doing before his death, That's all I meant. Not "Sticking around" was probably a bad way to word it.

It did seem to me that you were trying to put Mr. Chapel down because he wasn't listed as a protege... yet I think that he's still just as active and still teaching just as much (if not more, I don't have all the info) as the gentlemen you listed as the "protege's".

I mean NONE of these men any disrespect at all, just making a point: that not being in that one articles list of protege is no measure for what Mr. Parker did or didn't do with any one of his students nor how he regarded them.
I thought you didn't regard Black Belt, or any martial arts rag, as really 'authoritative' as they Often misquote and rearrange the order of what people in their interviews already said....leave things out that won't spark contraversy....etc. But if you think it's a good measure of the facts, so be it.

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IWishToLearn

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Protege is a term used to describe the one who most embodies the characteristics of the "head honcho." It's been long said that Larry Tatum moves very similarly to Ed Parker. But none of Larry's students move like Larry does.


I think it's less conducive to the learning process to wax poetic about who is who and just get back to training. People have their own opinions and their own methodologies for everything in life - so long as you aren't hurting me or mine in the process - HAVE FUN.
 

BlackCatBonz

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nice insights, doc......opening doors the average joe doesnt get to open.
just shows, that like an iceberg, there is more beneath the surface.
 

Dan G

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Looking forward to part 3!

Is the brother art Kajukenbo?

Enjoyable article,

regards

Dan
 

Kembudo-Kai Kempoka

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Dark Kenpo Lord said:
The three listed in the article were Larry Tatum, Tom Kelly, and Joe Polanzo, they're still around and actively teaching as far as I know.

Ambition to be a protege, does anyone really have that, or just the desire to learn? Your instructor determines if you have the means and ends to be what they would determine, one of their proteges. I don't consider myself to be my instructor's protege, just a simple student trying to discover what more this art has to offer with his guidance.

DarK LorD

Intriguing. Each of the guys you list as the most-honorific of Parkers boyz either had a falling out w/ Mr. Parker during his lifetime for conduct unbercoming, or conducted themselves questionably after his passing in attempts to be the next king. I can see the place from which flying under the radar ould be more advantagous for long term rapport & relationship.

Contribute, Clyde. Don't just poke bears for kicks & giggles; offer something edifying. That Doc is presenting his stuff as "the way Mr. Parker showed me" shouldn't be surprising...it's what each one of the seniors & semi-seniors -- consensus, and self-declared -- say they are doing. How many kenpo seniors does it take to screw in a light bulb?

Or are you planning on joining the ranks of people that insist on things like, "Chape'l was never at the Parker house", even though there are pics of it, Jr. confirms it; Hale and others who were there confirm it...c'mon. You are presenting your kenpo as the way you've learned it from your guides in the journey, combined with your own experiences and insights. Quit being silly and antagonistic just for the heck of it. Do whjat you do well, pass it on as what you do, and help QUALITY kenpo grow and spread in an environment where there are too many guys with a lot of red and no talent.

Just my 2 cents

Regards,

Dave
 

Dark Kenpo Lord

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Kembudo-Kai Kempoka said:
Contribute, Clyde. Don't just poke bears for kicks & giggles; offer something edifying.


Or are you planning on joining the ranks of people that insist on things like, "Chape'l was never at the Parker house", even though there are pics of it, Jr. confirms it; Hale and others who were there confirm it...c'mon. You are presenting your kenpo as the way you've learned it from your guides in the journey, combined with your own experiences and insights. Quit being silly and antagonistic just for the heck of it. Do whjat you do well, pass it on as what you do, and help QUALITY kenpo grow and spread in an environment where there are too many guys with a lot of red and no talent.

Just my 2 cents

Regards,

Dave

Never said Chapel didn't train with Parker, in fact, I've never even insinuated it, and if you think I have, please post a link to where I've said it.

I don't know what Chapel is doing these days, but from what I've seen (on video and in person), and from his posts on Parting Wings, ie., changing the nature of Attack and the technique, he's not even close anymore.

Tell me how that makes me silly and antagonistic when I go out and ensure EPAK gets quality representation to other arts. They don't laugh and start slapping each other when they see American Kenpo after they've met me.

DarK LorD
 

jazkiljok

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excellent and insightful article Doc. thanks. in regards to the topic of "protege" and such just let me say...

excellent and insightful article Doc. thanks:)
 
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Doc

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jazkiljok said:
excellent and insightful article Doc. thanks. in regards to the topic of "protege" and such just let me say...

excellent and insightful article Doc. thanks:)
Mr. Parker expressed that he hated he ever went that way, but it was about expanding the business. Untimately all of the ones mentioned either quit and/or were fired. So much for the "protegé."

But Parker had many different types of students. Some were head guys/gal in the commercial Kenpo. Some were in place only because they made money and/or kept Parker's schools open. Parker was a businessman and he knew 'boosting' or promoting students in print who ran his schools or brought in the business was 'good busines.'

Later he swapped them for a new group he was using to promote his business. Jeff Speakman, Brian Hawkins (who replaced Tatum in the business), and Barbara Hale were to open additional schools after the 'Perfect Weapon' generated new interest. All of his print comments were always geared to supporting his 'business of kenpo.'

Personally I think the list of those he didn't list in that article was a much more impressive group of people, and oddly, all NOT listed were older students that predate the commercial business of kenpo. Not a coincidence I assure you.
 

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I guess Mr. Labounty (Another ancient) should be questioned regarding his training just as much as you Doc. After all, he wasn't mentioned in the highly regarded Black Belt article. Oh no, I guess that completely invalidates everything Mr. Labounty has to say... I'm sure his feelings were hurt. Maybe someone should send him flowers. ;)
 

Dark Kenpo Lord

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Bode said:
I guess Mr. Labounty (Another ancient) should be questioned regarding his training just as much as you Doc. After all, he wasn't mentioned in the highly regarded Black Belt article. Oh no, I guess that completely invalidates everything Mr. Labounty has to say... I'm sure his feelings were hurt. Maybe someone should send him flowers. ;)

Steve LaBounty is known by nearly every Kenpoist around, simply because he's a helluva nice guy and a tough Hombre to boot. I've laid hands on with him, and I can tell you first hand, what he does, works.

DarK LorD
 

Atlanta-Kenpo

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DKL,

OK, well then whom do you think of the top seniors are the ones with the skill knowledge and talent?

I would expect you to put someone other then Mr Tatum.
 

Bode

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Dark Kenpo Lord said:
Steve LaBounty is known by nearly every Kenpoist around, simply because he's a helluva nice guy and a tough Hombre to boot. I've laid hands on with him, and I can tell you first hand, what he does, works.

DarK LorD

So, with that, your point about the Black Belt article and Doc not being mentioned is quite moot. Steve Labounty was not included, but yet, as you admit, possesses skill.

Given your comment, it's not about a black belt article or Doc's history lesson, but on your crusade to discredit those who's kenpo you believe "doesn't work." We've been through this time and time again. On Martial Talk your words fall on deaf ears because so many of the people here know Doc and have experienced what being hit (more like tapped) by him feels like. We can run down the list of high ranking black belts if you like? Some are even part of the vaunted LTKKA, which you so vehemently support. Does that make them lesser Kenpoists or puppets in Doc's game of hypnosis? Likely for you, hypnosis is a convenient excuse that assuages your bruised ego.

Take what you can Clyde, from everywhere. Dismiss what you like. That is your right, but attempting a crusade on those you dislike is akin to children calling each other names. Doc is not some self promotional megolomaniac who sleeps with students, takes their money at will, and gives little in return, like a few of the internet warriors out there. We're he, your wrath might be justified.

You have a following Clyde. Use it to become the best teacher you can. It's obvious you care about Kenpo, but why not let bygones be bygones. We can all learn from each other, regardless of rank, age, gender, or otherwise. Hell, you could be pink with three arms and I'd listen long enough to see if you had something important to say.
 

arnisador

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Doc said:
Later he swapped them for a new group he was using to promote his business.

I have to say...it would be easy to take some of your posts as disparaging Mr. Parker as yet another Soke McDojo wannabe. I realize you respect him and that peopla are complex and neither wholly good nor wholly bad, yet when I read things like this and consider that he was self-promoted to 10th degree, I think of the Fred Villaris and Soke Calkins of the world.

I don't mean to offend, but...aren't you basically stating that he was a McDojo propenent, because he wanted to make money?
 

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