Tuesday, April 07, 2015

Who Am I? (1998) (Full movie)



It's Jackie Chan's 61st birthday!! 


In his honor, posting his 1998 movie, Who Am I? And you can expect some crazy stunts in any Jackie Chan movie, especially this one and it has some great fights.


Happy Birthday Jackie!! Enjoy!!





A secret agent loses his memory after falling from a crashing helicopter. He is then chased by a number of other agency operatives, but he has no idea why.



Trivia

  • In the movie, you saw Hotel Room # 1954 - the year Jackie Chan was born.
  • In the rooftop fight scene, 'Bradly James Allan' doubled for Ron Smoorenburg's footwork.
  • Winner: 1999 Hong Kong Film Awards - Best Action Choreography (Jackie Chan)
  • Nomination: 1999 Hong Kong Film Awards - Best Actor (Jackie Chan)



Please check out these links for further info:




In case you missed my previous Jackie Chan posts:



Monday, April 06, 2015

THIS DATE IN HISTORY: Marvelous Marvin Hagler X Sugar Ray Leonard (Apr 6, 1987)

Photo Credit:  http://sugarrayleonard.com
Click for larger resolution picture.



28 years ago on this date of Apr 6, 1987 ... 


Sugar Ray Leonard, after a 3 year layoff, stunned the world and won a controversial split decision to take the WBC and The Ring's Middleweight Championship Belts from Marvelous Marvin Hagler.


TRIVIA


  • Marvelous Marvin Hagler 62-2-2 (52 KOs) vs Sugar Ray Leonard (33-1, 24 KOs)
  • Leonard vs Hagler is one of the most publicized and controversial bouts ever
  • Hagler was a 3 to 1 favorite.
  • Talk about Ring Rust - Sugar Ray retired in 1982, came back for one bout in 1984 before retiring again. This was Leonard's first bout in 3 years and only his second in 5 years.
  • Leonard decided to challenge Hagler after watching his fight with John Mugabi on March 10, 1986. "I was at ringside," Leonard said, "sitting with Michael J. Fox. We were sitting there having a few beers, and I'm watching John "The Beast" Mugabi outbox Hagler. Of all people, John "The Beast" Mugabi."
  • Hagler was guaranteed $12 million. He was also working on a percentage deal, and promoter Bob Arum said, "Hagler is assured of at least $15 million" and could earn much more. Leonard was guaranteed $11 million and had 50% of the closed circuit television rights in the Baltimore-Washington area.
  • After Leonard agreed to let Hagler have the larger purse, Hagler agreed to let Leonard choose the gloves (ten-ounce Reyes), the number of rounds (12, instead of 15), and the size of the ring (20-feet) .
  • Hagler had made twelve defenses of the Undisputed World Middleweight Championship, which he won on September 27, 1980, and he had not lost a fight in eleven years.
  • Leonard had never boxed as a middleweight, having previously campaigned in and won titles at jr middleweight and welterweight
  • Hagler at ~32 years old was slightly past his prime while Leonard, at 29, had ring rust from retirement
  • Marvin Hagler Landed 291 punches and threw 792 (37%); Sugar Ray Leonard Landed 306 punches and threw 629 (49%)
  • There was talk of a rematch, but it never happened. Seth Abraham, who was president of HBO Sports, said, "Marvin made it very clear — he thought he was jobbed and he was never going to fight again. And he never did. There were conversations, but they were never at the level of negotiations."
  • Hagler announced his retirement on June 13, 1988 and, unlike Leonard, stayed retired.
  • Hagler vs. Leonard was The RING Magazine's Fight of the Year and Upset of the Year for 1987. It was later named "Upset of the Decade."



Are you ready? Enjoy!



Copied from http://sugarrayleonard.com/


MOTIVATIONAL MONDAY 

28 years ago today….I came out of retirement to defeat The Marvelous Marvin Hagler. It would be my first fight in 35 months and one of my proudest achievements in the ring. Many had doubts that I can come out of retirement and fight such an amazing fighter, yet I never stopped believing in myself. People thought I was crazy, and believed that I would take a beating from him. 

I never stopped believing in myself. I never stopped working my training my hardest. I never wanted something so bad. You can never underestimate the heart of a fighter. Here’s a video of that fight to help motivate you this Monday!









For more information:




For other posts on Sugar Ray Leonard:




NOTE:  My sincerest thanks to my friend Mentoir K. for the reminder!

Friday, April 03, 2015

Info on Orascions from Amante Marinas' and Mark Wiley's books

Last year on Good Friday, I posted:


Well it's Good Friday today. I felt it appropriate to delve into Orascion more. You may recall that an orascion is like a prayer that provided the possessor/reciter special powers. I transcribed some info from 2 books by Amante P. Marinas, Sr. and Mark Wiley below for your edification.

Enjoy!







Another librito had orasyones that provided protection before a fight, during a fight, after a fight and during flight. Fourteen of these are presented so that we may gain insight into the mental state of the possessor as he recites the orasyones. These are:

  1. Sa paghasa ng patalim:  For sharpening a weapon
  2. Sa paglakad sa daan:  While walking on the road
  3. Upang hindi mabigla ng kaaway: Against ambush or surprise
  4. Sa paglapit ng kaaway:  At the enemy's approach
  5. Laban sa nagpapagalit:  Against one who incites to anger
  6. Laban sa  naghahamon:  Against the challenge to a fight
  7. Upang hindi matakot:  For courage, to conquer fear
  8. Pagsira ng loob ng kaaway:  To weaken the enemy's will
  9. Laban sa doce pares:  Against the doce pares (twelve attacks)
  10. Pagbali sa armas de mano: To break the enemy's weapon
  11. Pagagaw sa armas:  To disarm the enemy
  12. Laban sa sugat: Against wounds
  13. Upang hindi abutan:  Against pursuit
  14. Upang hindi makita ng kaaway:  For invisibility

SOURCE:
Panananadata Knife Fighting
by Amante Marinas, Sr.
Pages 99-100
Copyright 1986
Paladin Press







The Filipino warrior places a great deal of faith in the power of orasyon to provide his ability to control the spirits for his benefit. He is practically close to them prior to engaging in mortal combat. Orasyones are words, phrases or sentences considered to possess mystical powers when recited mentally or verbally. Considered divine acts of protection and power manifestation, their possession is not limited to practitioners of martial arts. These prayers also serve to bestow good luck on newlyweds for a happy marriage or to farmers for a bountiful harvest. These general orasyones can be found in little books known simply as libritos. These booklets contain many prayers devoted to the martial arts on various levels, such as to obtain skills in sharpening a sword, for protection against an ambush, to maintain a clear and focused mind in combat, for the ability to disarm an opponent, to break his weapon, or cloud his mind when engaging in duel.

The following is a list of seven of the more common or "generic" orasyones (relevant to the Filipino warrior) and their intended meanings:


  • Licum salicum solorum - A prayer for disarming an opponent 
  • Oracion de S. Pablo contra armas de foigo ip. Ntro. y Aw. - A prayer against firearms and other projectile weapons 
  • Sa paghasa ng patalim - A prayer for skill in sharpening a weapon 
  • Upang hindi mabigla ng kaaway - A prayer against being ambushed 
  • Upang hindi matakot - A prayer for courage or for conquering fear 
  • Pagsira ng loob ng kaaway - A prayer to weaken the enemy's will 
  • Jesucristo maria bedreno et curo tenaman - A prayer to weaken the enemy

It must be noted that for these prayers to be effective they must be inherited like the ancient martial arts of silat or kali, the Filipino warrior's orasyones, too, are considered to be mana (an inheritance or family heirloom to be handed down from parent to child, or from master to disciple). When a possessor is on his deathbed he assigns an heir to take over the practice of the guham (power or force) and kalaki (manly prowess or virility). If no inheritor is appointed or available, the possessor must then tear the orasyon into small pieces and devour it in a serving of samporado, a rice porridge mixed with chocolate milk and sugar. It was only then that the anito or engkanto would be set free.

Orasyones have been preserved by tattooing them on the possessor's body or weapon in ancient Filipino Baybayin script, Latin, Sanskrit, Jawi, or any combination thereof. Cato notes: "The Moros did, at times, add talismanic symbols and phrases from the Qur'an, written in Jawi script, to the surfaces of their krises. To confuse their meaning if the wrong person attempted to translate these prayers (and hence use them for his own gains) abbreviations were often used for many of the words. While this method of preservation prevented the wrong person form using one's orasyon, it was not uncommon for the rightful heir to not understand the various dialects in which the prayer was encoded, thus being unable to interpret its meaning and invoke its power.

According to folk beliefs the mandirigma also engaging in specific acts in an effort to counteract orasyones his enemy might possess. For example, prior to facing an opponent who is believed to possess an orasyon that makes him impervious to being cut, the warrior would rub his sword with boiled rice to render his opponent's orasyon useless.


SOURCE:

Filipino Martial Culture
Mark V. Wiley
Pages 74-75
Copyright 1996
Tuttle Publishing



NOTE:  I apologize in advance for any transcription errors.


Saturday, March 28, 2015

Silat: The Deadly Art of Indonesia and Malaysia by Terry H. Gibson

Silat: The Deadly Art of Indonesia and Malaysia
By Terry H. Gibson
Eddie Jafri (above) was one of the first to teach pentjak silat in the United States, conducting clinics throughout the country in the 1970s and ’80s. 


You are minding your own business, buying a newspaper at your local convenience store, when a belligerent drunk decides to take a punch at you simply because you met his stare for a second too long. What the drunk doesn’t know is that you are trained in the Indonesian martial art silat, and you are therefore able to move easily into close range where your big guns—the knees, elbows and head—can be brought into play. This range is referred to as the “battleground” by Indonesians.

Now that you’ve entered the battleground and are literally in the drunk’s face, you can begin the “tranquilizing process”—a vicious combination of elbows, knees, finger jabs, head butts and kicks to his groin, shins, thighs, eyes or any other vulnerable target. If he is still a threat after your initial salvo of blows, your combinations must continue. Can you sweep him to the ground? Can you elbow his spine? Can you stomp on one of his feet and force him off-balance? These are just a few of the possibilities available to an accomplished silat stylist.


What Is Silat?

Roughly speaking, silat means “skill for fighting.” There are hundreds of different styles of silat, most of which are found in Indonesia, Malaysia, Singapore, southern Thailand and the southern Philippines. Common to all of these styles is a combat-oriented ideology and the use of weaponry.


In Indonesia, there exist hundreds of styles of pentjak silat, as well as many systems of kuntao, a form of Chinese boxing that bears many similarities to silat and is found primarily within the Chinese communities in Indonesia. There are also many systems that blend pentjak silat and kuntao. According to noted martial arts historian and author Donn Draeger, “Chinese fighting tactics have had positive influences on the development of pentjak silat.”

Malaysia is home to a style known as bersilat, which can be divided into two forms: pulut, a dancelike series of movements intended for public display, and buah, a realistic combat method never publicly displayed.


Bersilat is also found in the southern Philippines, as well as langkah silat, kuntao silat and kali silat.


Silat techniques vary greatly, from the low ground-fighting postures of harimau (tiger) silat to the high-flying throws of madi silat. One particularly vicious madi throw involves controlling your opponent’s head, leaping through the air, and using your body weight to yank him off his feet as your knee slams into his spinal column. A typical harimau takedown involves coming in low against an opponent’s punch, capturing his foot with your foot, and forcing his knee outward with a strike or grab to the inside knee to effect the takedown.


In Filipino silat, it is common to trap your opponent’s foot with your own foot while controlling his head and arm, then spin him in a circle. The opponent’s body rotates 360 degrees, but his knee and foot remain in place, causing severe injury.


The sheer number of silat styles allows practitioners a tremendous amount of variety, as well as a certain amount of freedom and self-expression. By researching a number of silat systems, you can add tremendous diversity to your combat arsenal.




In this self-defense sequence, silat stylist Terry H. Gibson (left) scoops (1) his opponent’s jab and simultaneously traps (2) his foe’s other hand in place. Gibson is now free to deliver (3) an elbow to his opponent’s face. Gibson then grabs (4) his adversary’s hair with both hands and pulls (5) his head into a knee smash.



 Weaponry

Virtually all silat styles, particularly Filipino silat, emphasize weapons training. In the areas where silat originated, carrying a weapon - usually one of the bladed variety - was for generations a fact of life for the general male populace. A silat practitioner will normally be skilled with a knife, stick, sword, staff, spear, rope, chain, whip, projectile weapons or a combination thereof.


The kris, with its wavy blade, is one of the most common weapons in Indonesia and Malaysia. Another wicked weapon found in Indonesia is the karambit (tiger’s claw), a short, curved blade used to hook into an opponent’s vital points. According to Draeger, the karambit is used in an upward, ripping manner to tear into the bowels of the victim.


Most silat systems emphasize low, quick kicks, primarily because of the likelihood the practitioner will be confronting an opponent armed with a bladed weapon. A good rule of thumb is to never try a kick against a knife-wielding opponent, unless the kick is delivered at close range and is used as a support technique.



Defending against an opponent’s left jab, silat stylist Terry H. Gibson (left) parries (1) the blow and simultaneously strikes the biceps. Gibson blocks a right cross, countering (2) with an elbow to the biceps. Gibson then applies (3) an armbar maneuver, finishing (4) with an elbow smash to the spine.


Silat Components

What comprises a good silat system? Following are some of the key components:


• Efficient entry system.

The style must have techniques that allow you to move quickly and efficiently into close range of your opponent. It must also include training methods that will hone your timing, precision and accuracy when employing those techniques.


• Effective follow-up techniques.

The system must have effective punching and kicking techniques. Heavy-duty techniques such as headbutts, knee smashes and elbow strikes must be highly developed. “Finishing” techniques are more effective if your opponent is properly “tranquilized.”


• Devastating finishing techniques.

After you have entered into close range and applied a “tranquilizing” technique to your opponent, the next step is to apply a “finishing” technique -throw, sweep, takedown, lock, choke - to end the confrontation. Locking maneuvers will break or render ineffective an opponent’s joint. Choking techniques will produce unconsciousness. Takedowns, throws or sweeps will slam the opponent into the ground or other objects with enough force to end a confrontation.

• Realistic weapons training.

Most silat systems emphasize weapons training at some point. This training will include realistic contact-oriented drills rather than forms practice and will greatly improve your reflexes, timing, accuracy, rhythm and precision. It’s amazing how quickly practitioners improve when facing a bladed weapon traveling at a high rate of speed.


Silat theory, then, is simple: Enter into close range of the opponent, apply a “tranquilizing” technique such as a punch or kick, and then “finish” the opponent off with a heavy-duty technique such as a lock, sweep, choke or throw.




When facing an opponent who attempts (1) a roundhouse kick, silat stylist Terry H. Gibson uses his knee to jam the kick at the shin, then counters (2) with a hard kick to his opponent’s knee joint.


Silat in the United States

Suryadi (Eddie) Jafri was one of the first to teach pentjak silat in the United States, conducting seminars throughout the country in the 1970s and ’80s before returning to Indonesia several years ago.


The well-respected Paul de Thouars teaches silat publicly at his Academy of Bukti Negara in Arcadia, California, and also conducts seminars across the United States each year.


Another fine instructor is mande muda pentjak silat stylist Herman Suwanda, who divides his time between Los Angeles and his home in Indonesia. Mande muda is a composite of 18 different silat systems.


Dan Inosanto of Los Angeles uses his weekly seminars as a forum to spread silat, as well as other martial arts. Inosanto has studied with de Thouars, Jafri and Suwanda in Indonesian pentjak silat. He has also worked with John LaCoste, who taught Inosanto kuntao silat, bersilat, kali and langkah silat of the southern Philippines. Inosanto also trained under Nik Mustapha in Malaysian bersilat.


There are actually only a few qualified silat instructors in the United States, and most of them are not easy to find. If, however, you have the good fortune to undertake the study of silat under a competent instructor, prepare yourself because you are in for an exciting, invigorating exploration into one of the world’s richest and most effective martial disciplines.



About the author: Terry H. Gibson is a Tutsa, Oklahoma-based martiat arts instructor who teaches various styles of silat, muay Thai and jeet kune do.


NOTE:  This article first appeared in Black Belt Magazine, January 1993, pages 54-56. Please click on pictures for larger resolution. All pictures are are courtesy of Terry Gibson except the first of Eddie Jafri which is courtesy of David Steele.

This article posted in honor of  Terry Gibson (March 28, 1953 - September 26, 1997). He would've been 62 today.



Please check out these related Silat entries in case you missed them:





Wednesday, March 25, 2015

The Genesis and Development of Zone Theory by Badger Johnson




The Genesis and Development of Zone Theory

Back in 1976, I had been doing Martial Arts for about 6 years, seriously for about three. I was sitting in my car waiting for a friend, thinking about James Yimm Lee’s book on Wing Chun.

Suddenly, it occurred to me that there was a type of ‘Unified Theory’ of how to conceptualize martial arts that transcended and incorporated all the styles and types of hand-to-hand fighting.


Areas of Attack and Defense

I realized that each martial art employed their attack and defense in one or two areas. In Judo, you have grip fighting, tie-ups, throwing and then sometimes a ground submission. So that would be three ranges. Grip would be at arm’s length, closer if it was a collar grip. Tie-ups would be collar ties, wraps, body locks, often in preparation to the throw. Finally, they’d have ground grappling, either a pin or a scramble to a submission. One key was that all these ranges or zones involved being in contact. You could read or feel your opponent’s intent and could react faster than trying to see or guess the intent. It’s called proprioceptive reflexes or contact reflexes.

In Karate, they had long range posturing, long kicks, shorter kicks, long strikes, shorter strikes, elbows, knees and head-butts but they rarely went to the ground, and if they did, there was not a logical plan for ending the fight nor a very good way to train that. They talked about certain locks and grabs, but it was rudimentary and not well incorporated into the training. They definitely did not fight from the ground in a fluid manner, but stopped when someone was taken down or would end up on the ground in a pile.

In Boxing they generally had long strikes and bent-arm blows (hooks and uppercuts). They had swings and crosses. So in effect they really worked in two ranges or zones. I call them zones because it’s not always about exact distances.

I went through the martial arts that I knew, including Greco-Roman Wrestling, boxing, Judo, Aikido, Karate, and other esoteric styles and tried to dissect and describe them based not on their name or their style but what ranges they trained and also what ranges they omitted.


Defining Arts by Zones

Just as suddenly I realized that defining these arts by zones I also could see where they had holes, or deficiencies in their practice and their strategy and tactics.

As I learned Escrima, Arnis or stickfighting in 1980, I also added that to the zone theory, and saw how they could make preparatory moves, they could strike the opponent’s hand but not be in range or the right zone to be hit to the body.

I also realized that some people did talk about range, but in general, back in 1976 people talked style and they were insular and jealously defended their art as being complete and sufficient. But I knew that Karate players were vulnerable to short punches, combinations, throws and ground fighting. I had seen the Gracies-In-Action tape around the time I started training FMA and Arnis, and realized there was more to ground fighting than I realized. Later I separated that range into top control and bottom control, since they developed a robust way to fight off your back, which was counter to what most Western grappling did – they avoided fighting from the back and didn’t do much in the ways of getting position for submissions.


Expanding or Contracting the Zones

One thing that Arnis masters talked about was dealing with multiple strikes from different angles as ‘one strike’. That idea inspired me to realize that sometimes the zones or ranges were open, and fighters exploited them and other times, for various reasons, the ranges were closed and not available, either through ignorance or even skill on the part of the opponent.

Some groups would insist there were only three ranges, standup, clinch and ground, like the Straight Blast Gym group. But they would be using a variety of skills to get in range (close the gap),  to get ‘in the pocket’ and throw short punches, and to transition from clinch to ground or back to striking. They used other zones and ranges but didn’t specifically recognize them.

I looked around further after I had developed my theory and discovered that the Dog Brothers had developed a theory of ranges, but in the late 80s and at the time they had six ranges. Now they have modified it to seven ranges according to Marc Denny (private message). To their credit they were open to evolving their concept.

I expanded my concept of ranges to include, in the end about 10 ranges. Some were subtle, many were not strictly defined by distance. I realized that there was a distinct division of all the ranges into those that began when there was no contact (thus requiring they bridge the gap and also that they didn’t have contact to feel the opponent’s intent), and those that work in the contact range. Some did both.


Developing the Chart

Back to the Wing Chun book, I had noted that they had striking and trapping, so I made trapping a zone, but I realized that Western wrestling and Judo also worked in this range, but differently. The grappling arts worked in the close in range (but not quite body to body initiated) but they had tie-ups which were designed to get the back, to get a throw or a trip or sweep or takedown. In addition grapplers did work outside the contact zone and they closed that by using the ‘penetration step’, which involved catching the opponent stepping forward and then lowering their level and going in deep for waist, knee or foot control. So the grappling arts method of bridging the gap was different than the striking arts. They drew the opponent in, then lowered their level, making it deceptive and using timing.


Developing the Matrix of Qualities by Zone

So, I developed both a chart and a matrix of these zones. In the first chart I defined the Zones, making it clear that it wasn’t all about specific distances, and then I developed a Matrix of the zones and the qualities that each of these zones displayed. I used things like ‘favorable moves’, ‘best weapon or move’, vulnerabilities, methods of training, styles which were most representative of each, showing the styles broken into and defined by range or zone.


Foul Tactics or ‘Seaming’ the Zones

I also added ‘foul tactics’, which I thought often worked on the seams between ranges. For example a missed punch in boxing turned into an elbow. A sudden clinch could lead to a head butt. A clinch could squelch an attack and gain time or position, and sometimes in dirty boxing they would hold and hit, among other things.

In Aikido I discovered that sometimes the master would use a foul tactic (pinching the Uke usually unnoticed which would cause them to flinch and be thrown more easily).

In grappling there are all kinds of fouls, like small joint manipulations, biting (sometimes just biting the gi to get a grip), putting the jaw into an eye, even pulling hair, and twisting or gripping the flesh or the nose.

I put the zones along the x-axis and the tactics or qualities along the y-axis. I limited the qualities to a few things, but tried to get the most relevant ones, including transitions like pummeling, grip fighting and sprawling.


What Works for You

The main thing about this chart is that you can decide what works for you. You can use it to find the holes in your game. You can use the concept to make a framework to structure your opponent in the real world. You can adapt and add or subtract based on your own experience and skill.

With that said, here is the chart:

Please click X-Large to view online or right click -> save as for original pic resolution to view offline.



Badger Johnson © 1976-2015




Please check out Badger Johnson's other essays:



NOTE:  My sincerest appreciation for Badger's gracious consent for permission to archive his essay to my site.


Please leave Comment/Feedback for Badger below.


ShareThis

 
back to top
Stickgrappler's Sojourn of Septillion Steps