Locking Horns

[jfarnsworth]

Thank you Dr.Chapel for posting your comments and insight. The reason I practice with my JJ friend is that I feel he knows more than I do on material such as joint locks, chokes, holds, and manipulations. He also however asked my opinion on 2 man techniques, flow drills, striking, and I gave various examples of methods of execution for his students in striking. We have more of a trade off situation. We covered extensively on weapons defenses as well. He is also close and a very good friend. Our wives go shopping together to boot. Anyhow I was seeking out his nitche so to speak to gain more insight for myself. Seek out those who are more knowledgeable bring it back, refine it, plug it into as many techniques as possible. This is what I feel training in the martial arts is all about.

 

[SingingTiger]

Originally posted by Doc
Ed Parker used to say 99% don't even have a cup.

I'd guess they've never been kicked in the groin. I always wear mine!

Rich

 

[Doc]

:asian:

 

[Doc]

Originally posted by kenpo3631
Thank you Mr. Chape'l for the kind words. I've been at this for 17 years ( a drop in the bucket for most) and I am still finding information everytime I read Mr. Parker's books or train with my instructor or go to a seminar. You're right that what we learn is the tip of the iceberg. As a matter of fact I tell people that what I know is just that~the tip of the iceberg. Anyway thanks for sharing your knowledge on this forum with us. It's great food for thought!

PS- I am a Raider fan too... :asian:

GO RAIDERS!

Thanks much. It is also important that I not give anyone the impression I'm "selling" SL-4. I'm not. I AM advocating your perspective however. Methodologies may vary but real knowledge crosses all barriers including style. 46 years and still trying to figure out all the stuff I don't know.

 

[Doc]

Originally posted by jfarnsworth
Thank you Dr.Chapel for posting your comments and insight. The reason I practice with my JJ friend is that I feel he knows more than I do on material such as joint locks, chokes, holds, and manipulations. He also however asked my opinion on 2 man techniques, flow drills, striking, and I gave various examples of methods of execution for his students in striking. We have more of a trade off situation. We covered extensively on weapons defenses as well. He is also close and a very good friend. Our wives go shopping together to boot. Anyhow I was seeking out his nitche so to speak to gain more insight for myself. Seek out those who are more knowledgeable bring it back, refine it, plug it into as many techniques as possible. This is what I feel training in the martial arts is all about.

You must be commended for continuing to educate yourself. The more you know, the more you know.

 

[Doc]

Originally posted by Michael Billings
... and has a hole in the bottom of it. I keep trying to fill it up, but at my age, I also have braincells dying every day.

Thanks for being more specific about the attack. I have always gone under the neck with the right, grabbing left with right, but then somehow over the years, I started snaking the left arm over the back of the opponent's neck, almost an inverted sleeper attack, that could easily turn into a neck break or choke. The degree of lethality went up because it was no longer a lock, rather a choke, and the necessary response time got much shorter, hence the execution of the technique as soon as you feel the arms circling the throat. And yes I do it after I am locked up also, tucking the chin to protect the airway ... but still scary if someone is cranking on the neck the way I encourage them to do. Will try the variation you described next class.

Yee-Haaaaaaa!!!!

Oss,
-Michel

Yeah my cups obviously has a leak as well. I just can't seem to get in filled.

You'll find by turning into the headlock at the bend of his arm and bracing your chin against your clavicle, it PREVENTS a choke momentarily.

 

[cdhall]

I also want to thank Doc for sharing.
I do want someone, preferably Doc now that I think of it, to get a picture of this Front Headlock and put it up so I can see what it is. And then the next move about where to turn and step would be great.

I will see about getting something up about Entangled Wing and Twisted Twig perhaps by taking some photos tomorrow night after class.

Like they used to say on the great cartoon classic GI Joe "Knowledge is Power!"
:asian:

 

[jfarnsworth]

Gentleman I think were all here on this forum for the same reason. Learning more about kenpo.

 

[Goldendragon7]

Jason take note..........

6. LOCKING HORNS (Front headlock)

1. With your feet in line with each other and your body bent forward (caused by your opponent applying a front headlock using his left arm to lock you with) simultaneously (1) step forward with your right foot toward 11 o'clock into a right wide kneel stance between your opponent's legs, (2) deliver a right underhand reverse handsword to your opponent's groin, (3) have your left hand check just above your opponent's right knee while (4) turning your chin to the left, and tucking it against your chest to prevent your opponent from cutting off your air supply. (Your opponent should loosen his grip and bend forward at the waist. Depending on the effectiveness of your strike, your opponent's legs can conceivably move back and away from you.)
2. Immediately follow up with a right vertical obscure elbow strike to the underside of your opponent's jaw, "with" your left hand still checking the knee, and while keeping low in a right neutral bow. (This elbow strike should force your opponent's head up in preparation for the next strike.)
3. After snapping your opponent's jaw upward with your right obscure elbow, simultaneously (1) shuffle forward, (2) deliver a right inward horizontal elbow strike to the left side of your opponent's jaw, along with (3) a left heel palm strike that hooks in and to the right side of your opponent's jaw. (The force of this sandwiching effect may cause your opponent to pass out and fall to the ground.)
4. Right front crossover, and cover out toward 7:30.
:asian:

 

[GouRonin]

Originally posted by Doc
Nope! If one arm is on top and the other on the bottom, you have nothing especially not a head lock.

One thing I like about you Doc is that you talk about the attack as well as the defense. Something I notice that many have not even talked about in this thread. I have seen about 3 different ways people slap the attack on someone. Most often when people do this technique they just bend over and allow the attack.

I have seen people apply this with the head centre to the chest and expect it to still work. I think that it might help a lot of people to study the attack as well as the defense. More often than not the people who say they have trouble with X technique are often not dealing with the right attack or how they got there in the first place.

 

[jfarnsworth]

Are we all doing the attack as the right arm snakes around the head/back of the neck to left side moving to our right? The left hand can have various grabs but clasp the hands together or the attacker's left hand grabbing their right wrist applying the headlock?

 

[Kenpomachine]

Originally posted by Doc
I also do not want to give anyone the impression that SubLevel Four is the ultimate answer or the only "advanced Kenpo." It is only one of many perspectives and all instructors and interpretations must be evaluated according to an individuals personal needs, and/or desires in study and training and seek the level that satisfies them.

The term itself, "SubLevel Four Kenpo," was created by me based on a phrase Ed Parker used in my teaching. I am not saying he called it that. Also it is not really my mission to promote SL-4, only to promote a more specific and knowledgeable thought process that benefits all in Kenpo as Ed Parker wanted.

Thanks for the information, now I'll know what people is talking about when they say SubLevel 4 Kenpo

 

[Kenpomachine]

Originally posted by GouRonin
Most often when people do this technique they just bend over and allow the attack.

We're are taught to punch first in the stomach to make the defendant bend over, and then do the headlock.

 

[rmcrobertson]

Gou's quite right, I think. I'd argue it's because people try to stay at an embryonic level--that's how the tech's taught for some very good reasons, but we forget that we're not actually going to bend over and receive it (yes, Gou, that means exactly what it looks like it means) in real life.

There are other places in kenpo where I see the same thing, or get chewed out, quite properly, for making the mistake. People who hand the attacker their arm in Locked Wing, Twisted Twig. People who launch what should be a straight ball kick as an outward crescent to "help," the defender with the block.

I got weaned off this starting early. About 1995-6, I was in a morning class that Rick Jeffcoat was teaching. In a technique line, I handed the attacker a stick; I think we were running, "Evading the Storm." Rick stopped the class, and yelled moderately, one of the only times I saw him yell. "Don't you EVER hand a guy a weapon to attack you with, not even in line! Throw it on the ground and at LEAST make him stoop over and pick it up!" Good for him, and boy did that little lesson ever stick with me.

As for Locking Horns, I'm used (well, partly used) to having somebody either shove my head down into the lock, or jump on top of me first, or yank me forward. Eeek.

 

[SingingTiger]

Originally posted by rmcrobertson
"Don't you EVER hand a guy a weapon to attack you with, not even in line! Throw it on the ground and at LEAST make him stoop over and pick it up!"

That's great! We're also often reminded not to make the attacker's job easier, arm locks being the most common type of attack where the "victim" helps out without thinking.

If I ever make it up to club attacks and the like, I'll remember not to hand the weapon to my attacker. Hehe, I like that!

Rich

 

[Doc]

Originally posted by GouRonin
One thing I like about you Doc is that you talk about the attack as well as the defense. Something I notice that many have not even talked about in this thread. I have seen about 3 different ways people slap the attack on someone. Most often when people do this technique they just bend over and allow the attack.

I have seen people apply this with the head centre to the chest and expect it to still work. I think that it might help a lot of people to study the attack as well as the defense. More often than not the people who say they have trouble with X technique are often not dealing with the right attack or how they got there in the first place.

6. LOCKING HORNS (Front headlock)

1. With your feet in line with each other and your body bent forward (caused by your opponent applying a front headlock using his left arm to lock you with)

simultaneously (1) step forward with your right foot toward 11 o'clock into a right wide kneel stance between your opponent's legs, (2) deliver a right underhand reverse handsword to your opponent's groin, (3) have your left hand check just above your opponent's right knee while (4) turning your chin to the left, and tucking it against your chest to prevent your opponent from cutting off your air supply. (Your opponent should loosen his grip and bend forward at the waist. Depending on the effectiveness of your strike, your opponent's legs can conceivably move back and away from you.)
2. Immediately follow up with a right vertical obscure elbow strike to the underside of your opponent's jaw, "with" your left hand still checking the knee, and while keeping low in a right neutral bow. (This elbow strike should force your opponent's head up in preparation for the next strike.)
3. After snapping your opponent's jaw upward with your right obscure elbow, simultaneously (1) shuffle forward, (2) deliver a right inward horizontal elbow strike to the left side of your opponent's jaw, along with (3) a left heel palm strike that hooks in and to the right side of your opponent's jaw. (The force of this sandwiching effect may cause your opponent to pass out and fall to the ground.)
4. Right front crossover, and cover out toward 7:30.

This is what I have been saying for years. The technique description above as taken from the Ed Parker Manuals by Big “D” actually tells you nothing at all about the attack or the proposed defense. It is only meant to get an instructor started and provide a beginning place (or not) for a teacher to work from.

As Gou said it doesn’t even really define the attack, and that is where you have to start. Physical martial interaction is so dynamic, how can you meticulously define a response without a specific attack? And that means you must teach the attack first doesn’t it?

“1. With your feet in line with each other and your body bent forward (caused by your opponent applying a front headlock using his left arm to lock you with) …..”

What does that mean? How do you get bent forward? Is there an offensive action that gets you there and you are already hurt? Are you just tying your shoe? HOW do you execute the headlock? From the front, or do you “snake” around and hook? Now it says, “using his left arm to lock.” Now does that mean the left arm is locking and the right hand is bracing, or does that mean the right arm is the primary with the “left locking” as it implies?

“…simultaneously (1) step forward with your right foot toward 11 o'clock into a right wide kneel stance between your opponent's legs,…”

What stance were you in to begin with? Which leg was forward or back? Clearly if you are standing with your feet together and your head is at your waist, then you’ve already lost according to Ed Parker – “Head at waist keeps feet in place.” How can you step forward? This description implies you MUST move before he grabs you to survive. If that’s true than it’s not a headlock but an ATTEMPTED headlock.

“deliver a right underhand reverse handsword to your opponent's groin, (3) have your left hand check just above your opponent's right knee while …”

Based on the previous description, this is not even possible. So you check his knee after you strike him? After you strike the groin, it won’t be possible to check his knee. More than likely you won’t be able to reach his legs based on what’s written.

“while (4) turning your chin to the left, and tucking it against your chest to prevent your opponent from cutting off your air supply.”


Now which arm is he using again? It makes a difference but isn’t it a little late to worry about it turning into a choke? As described he’s already put you in a head lock, and you struck him in the groin. It seems a bit late to worry about being choked. Either you’re successful at this point or you’re already free.

“Depending on the effectiveness of your strike, your opponent's legs can conceivably move back and away from you …”

That’s why I said you would be unable to reach his legs AFTER an effective strike.

“2. Immediately follow up with a right vertical obscure elbow strike to the underside of your opponent's jaw, "with" your left hand still checking the knee, and while keeping low in a right neutral bow.”

This part is really out there. We are still checking his knee (that we can’t reach because he move back from the strike), WHILE we execute a vertical obscure elbow at the SAME TIME, while keeping LOW in a NEUTRAL BOW? Confusing isn’t it?


My point is a simple one. The foundation of this material is the instructor. All of the written information is conceptual and vague with no real specific information. The manuals were originally meant for instructors to interpret and define and create workable “ideal” techniques, within the group of instructors and students under their supervision and lineage. It was never meant to be specific. Students did not have access to this information because they did not have the ability to interpret it, and they were never meant to define it for a group. Then the manuals became commercially available for all when the demand grew.

In other words the instructor is everything and the foundation of what is learned will always be predicated on his knowledge level and his ability to convey what he knows to the students. Misunderstandings in the curriculum are always the instructor’s fault, and never the materials. The created materials were not designed to teach the student. They were designed to only support the instructor with possible “ideas” to extrapolate to logical conclusions.

Kenpo is about “logic” and you should always start with that word before anything. The materials are not gospel and were never meant to be. Gospel comes from the person teaching you, and his gospel was supposed to come from occasional interaction or correspondence with Mr. Parker. This is the Arthur Murray Dance School Model, and it worked very well – as long as teachers did their job.

The mass confusion exists because many instructors are not doing / or didn’t do their job. In many instances it’s not their fault they have limited information, but it is their fault if they are not honest with their students. Instructors need to add the phrase, “I don’t know” to their vocabulary and make the student’s well being in the street the most important thing. That should be their primary responsibility.

Clearly some instructors do better than others, and a few (relatively speaking) are exemplary. But the instructor must always take responsibility for their student’s ability and knowledge, or lack thereof. It is their responsibility to get their students the absolute best information available. Afterall they are teaching self defense. That is what separated us from the traditionalists back in the day.

When Mr. Parker started this program he had a luxury. He started with people like Chuck Sullivan, Dave Hebler, Steve LaBounty, Tom Kelly, etc. who could and would drop you like a bad habit BEFORE they began martial arts training. These were men that interpreted the information and taught students to make their interpretations work under the scrutiny and light of reality. They set the standard and carried it well.

But commercial proliferation dictates compromises that ultimately affect the product for some. Don’t be upset about it, but accept the product for what it is.

Don’t go to McDonald’s and complain about the food, just find a better place to eat. In other words do what many of you are doing; ask serious questions and expect serious definitive answers from “teachers.”

If they give you vague answers that tell you nothing after you’ve spent 30 minutes warming up doing exercises you can do at home for free, it’s time to find another restaurant.


Below is the proliferation art structure for those who might be interested from a previous post.

MOTION BASED KENPO has a structured LESSON PLAN with THREE PILLARS.

1. The Head Instructor or Teacher (Keeper of the Concepts)
2. The Web Of Knowledge
3. The Technique Manuals

Primary and most important is the Head Teacher of a group of students regardless of rank. They are responsible for the Knowledge of the Lesson Plan and a clear understanding of the purpose of the lesson plan as well as Mr. Parker’s Concepts to guide them in the implementation of the Lesson plan. This is where the weakness and strength lies in motion based Kenpo.

The LESSON PLAN is designed primarily for the TEACHER. Each situation technique is suggested by and taken from the “WEB OF KNOWLEDGE” in the LESSON PLAN. The HEAD TEACHER is then supposed to examine the “idea” presented in the “TECHNIQUE MANUAL.” The “HEAD TEACHER” then utilizes THEIR KNOWLEDGE of ED PARKER CONCEPTS and designs an “IDEAL RESPONSE” based on the “idea” in the TECHNIQUE MANUAL that's workable and also teaches a basic skill. Additional physical TAILORING is allowed for students who may have a particular physical deficiency with the LESSON PLAN lesson, but is NOT supposed to be done for personal preferences.

Unfortunately many “instructors” who were either taught incorrectly or misunderstood the lesson plan, mistakenly engage in the commonly misplaced practice of the "what if" from the beginning with students. Students therefore are inundated with inappropriate options when they should instead be learning the simple lessons of the teacher created "ideal" technique well enough to be functional. This counterproductive "what if" mentality stays with the students and ultimately teachers and permeates motion based Kenpo. According to Parker himself, “What ifs” should not be considered at the First Phase. Parker said this was important to be taken well into black belt because the lessons are interrelated. Lessons at lower ranks are examined compounded, reversed, mirrored, prefixed, and suffixed at higher levels IF the lessons remain fixed and consistent in the lesson plan.

I find it ironic many Kenpo students constantly talk about "what ifs” as they conjure up more "Grafting" options while the so-called "ideal" technique, which is where students should be, no longer exists only because teachers don’t create or allow them to exist. That's why students and now “teachers” alike seek solutions in "tailoring," "what ifs," "grafting," and even the study of other arts to fill perceived “holes.” The holes do exist, but they are not in Kenpo but in the Head Teachers knowledge base to implement the Lesson Plan.

Until teachers use the Lesson Plan correctly, basic skills will not be learned and as now, students will seek their own answers wherever they can find them. These type discussions bear that out. Hordes of students from the same art, all with lineage to Ed Parker and a consensus is difficult to find within some groups. Differences are acceptable but a Head teacher of a group is responsible for functional consistently among their group.

Teachers must do their job. The Teacher created "ideal" technique should be functional and emphasize and teach specific skills at every level. As long as instructors don't do their job, students will continue to talk about what doesn't work, more than what does.

Ed Parker was the only "expert" and he knew he couldn't be everywhere. He wanted his art to proliferate while he continued to evolve, and solidify, what was supposed to eventually be a "strict hard curriculum." That is why the motion based Kenpo Lesson Plan was created. There is nothing wrong with it with competent instruction and the proper use of the Lesson Plan as Ed Parker intended.

What most are unaware of is Parker "imported" the first tier instructors to implement the Lesson Plan from other arts so it worked. Since then the "teachers" are now products of the Lesson Plan itself and have never been subjected to a strict curriculum. Therefore their weakness is passed on to the next generation of "teachers" who have even less information. (And so on)

As you know a "lesson plan" is only a guide to insure the curriculum follows a logical and progressive path for the student, but ultimately the teacher is responsible for the implementation of the information.

But a strict "hard" verbatim curriculum is even more dependent on the teacher’s skill and knowledge so Parker knew the next step would more than likely require a new generation of teachers. It is a sad fact that once significant rank is given, students are no longer interested in curriculum they feel is beneath them, and neither do they embrace the idea of "relearning" something they think they already know.

Students of all levels think they can learn basic and “advanced” materials through videos and personal exploration. Until students learn the lesson that there is much more to learn, and you can’t learn it on your own, Kenpo will languish at the hands of many mediocre teachers who should be students themselves.

This problem was created by Ed Parker and he knew that under the Lesson Plan Method, His Art would ultimately began to feed upon itself and lose people to other arts. Unfortunately he didn’t live long enough to bring the strict curriculum forth to show you just how great American Kenpo really is. As good as some think it is, it is ten times better than that.

That is not to say all Kenpo teachers are bad. There are many good teachers, but not as many as the bad ones.

Originally the Lesson Business Plan (Big Red Book) was for “studio heads” only. When students started asking for “technique manuals,” Ed Parker sold them to everyone. This led to the “technique manual is the Bible” syndrome. But if it is the “Bible,” why is it nobody follows it? Because it contains the ideal, but everybody knows the ideal doesn’t work. Huh? So why do they exist?

 

[jfarnsworth]

I'd like to ask another question. So I'm in class tonight going over a handful of brown techniques. Now were doing Dominating Circles. I execute Dominating Circles until I get to a point where I find myself performing a "possible" front headlock onto my attacker. Could this be the same movement were looking at in locking horns. I realize that your to have their arm in a hammerlock behind the back but essentially the left hand is what I'm asking about?

 

[ikenpo]

Originally posted by Doc

Below is the proliferation art structure for those who might be interested from a previous post.

MOTION BASED KENPO has a structured LESSON PLAN with THREE PILLARS.

1. The Head Instructor or Teacher (Keeper of the Concepts)
2. The Web Of Knowledge
3. The Technique Manuals

Primary and most important is the Head Teacher of a group of students regardless of rank. They are responsible for the Knowledge of the Lesson Plan and a clear understanding of the purpose of the lesson plan as well as Mr. Parker’s Concepts to guide them in the implementation of the Lesson plan. This is where the weakness and strength lies in motion based Kenpo.
[/B]

Doc,

How does SL-4's structure differ from this? Just curious.

jb:asian:

 

[Michael Billings]

You are going to alienate people again if you pose the questions then not provide an alternative so that they can compare and contrast, using critical logic analysis to determine the effectivness of what you allege to have available. Having read your 101 course material, and seeing some benifits, I think it may be helpful to actually post your version of Locking Horns.

I know you have done similarly elsewhere with other techniques, or maybe even here, but it seems a long time ago. It may help answer some questions, rather than stirring up more, especially for the "newbies" who have never been exposed to it previously. I know you don't mind the controversy, or a spirited dialogue, but I don't want you to fade away again as happened a few months ago. Also, selfishly, I do not enjoy the no-ended type of posts that just end up circular in logic due to a fundamental disagreement.

Put it up on the table and let us look at it, dissect the technique, and evaluate. You can answer questions from there. Yes, I know it cannot really be "corrected" without a teacher, especially things like the rhythmic timing - which I call syncopated timing, with quarter beat timing being only one example of the variation in a timing pattern. Nor am I asking you to give it away free ... I know your knowledge and expertise is what you make a living with, but a little more than criticism and questions without answers would help lessen the negative responses you sometimes get. (As if you did not know this.) OK, so not everyone knows the terminology you use, they can ask if they really are interested.

Anyhow, hope you decide to post it, you definitly have other's interested, so walk the walk, not just talk the talk. I know you can from those that know you well, but that does not always come through on a forum.

Respectfully,
-Michael Billings

 

[Doc]

Originally posted by Michael Billings
Having read your 101 course material, and seeing some benifits, I think it may be helpful to actually post your version of Locking Horns.

I know you have done similarly elsewhere with other techniques, or maybe even here, but it seems a long time ago. It may help answer some questions, rather than stirring up more, especially for the "newbies" who have never been exposed to it previously. I know you don't mind the controversy, or a spirited dialogue, but I don't want you to fade away again as happened a few months ago. Also, selfishly, I do not enjoy the no-ended type of posts that just end up circular in logic due to a fundamental disagreement.

Put it up on the table and let us look at it, dissect the technique, and evaluate. You can answer questions from there. Yes, I know it cannot really be "corrected" without a teacher, especially things like the rhythmic timing - which I call syncopated timing, with quarter beat timing being only one example of the variation in a timing pattern. Nor am I asking you to give it away free ... I know your knowledge and expertise is what you make a living with, but a little more than criticism and questions without answers would help lessen the negative responses you sometimes get. (As if you did not know this.) OK, so not everyone knows the terminology you use, they can ask if they really are interested.

Anyhow, hope you decide to post it, you definitly have other's interested, so walk the walk, not just talk the talk. I know you can from those that know you well, but that does not always come through on a forum.

Respectfully,
-Michael Billings

Are you kiddin' me? I wish I made my living in Kenpo. Anyway these type of "hands on" techniques require a certificated teacher, and much of it may not make sense to outsiders, but it works and lays a firm foundation for other levels of information. By the way when I'm not around it's only because I'm busy. Being concise and providing good specific answers is time consuming. (By the way, "timing" has nothing to do with syncopation)
rGood luck.

6. LOCKING HORNS:

ATTACK: Front at 12:00. The attack will begin with your partner reaching up and HOOKING you behind your neck and pulling forward and down with his left hand. Once you are low enough he will bring his right arm over and under your chin for a head-lock. His left hand will pull up on his right hand to BRACE his action as he attempts to use his body weight to take you down on your stomach.

1. With your feet in line with each other and your body bent forward caused by your opponent applying a front headlock SURVIVE THE INITIAL ASSAULT by turning your head to your left and brace your chin against your left CLAVICLE to prevent your opponent from cutting off your air supply. Immediately drop back to 6:00 into a left wide kneel and use a left heel-palm or hand-sword, fingers pointing inward to BRACE your opponent’s forward leg just above the kneecap (patella), as you grab the back of your right mid-thigh pulling forward. PARTNER CUE: If executed properly you should not be capable of “choking” or taking the person down. PAUSE
2. After you stabilize yourself, strike him at the BRACE point with your left hand with a forward/outward hammer-fist. When he reacts, strike him again and push your BRACE forward to hyper-extend and “lock” his leg, and immediately strike him in the under centerline quickly with a right reverse hammer-fist strike. PARTNER CUE: This action should push you off balance and your front leg should be straight. The strike to the leg will also cause you to take at least one step backwards with your right foot and lose your grip on the neck. PAUSE
3. Then immediately (1) step forward with your right foot toward 12 o'clock into a right wide kneel stance between your opponent's legs, (2) deliver a right underhand reverse HAMMER-FIST to his under centerline, (3) have your left hand continue to check and push firmly just above your opponent's right knee. PARTNER CUE: The strike and leg pressure with the step through will cause you to be driven backwards, and draw your hands toward your lower body while you are slightly bent over with your chin pointing forward. PAUSE
4. Push drag forward immediately to get under his chin and follow-up with a right VERTICAL OBSCURE ELBOW STRIKE to the underside of your opponent's jaw bringing your left foot toward your right, "with" your left hand ENERGY SLAP CHECKING your right shoulder. PARTNER CUE: The elbow will cause you to stand straight up and grab your face and stumble back at least another step. STOP PAUSE
5. Step and push drag forward with your right foot, and reach outside both hands (using the B.A.M.) and deliver double crane hand strikes down on his upper forearms while you push drag reverse to control his height and bring his head down. PARTNER CUE: The strikes will cause you to drop in height with your hands straight down while leaning forward.
6. Push drag forward and deliver a right sandwich elbow strike to the tip of your opponent's jaw. PARTNER CUE: This action will drop you PMD.
7. Right front crossover, and cover out toward 7:30 and GRAVITY PAM your front foot.
Timing & Breathing Signature: 1 2 P 3 P 4 P 56 C
GCM Signature™: 1G 2G 34G 5G 6G