Monday, December 09, 2013

De-escalation by Loren Christensen

De-escalation
by Loren W. Christensen  

I used the following de-escalation techniques as a police officer and I taught them to other cops in the academy. Do they work all the time? No. When dealing with the human condition, there isn’t any technique that is a 100-percent sure thing. That said, these simple techniques worked more times than not.  

Leave-Me-Alone Stance 

The “leave me alone” stance.
This stance says, “I don’t want to fight.”

 

The beauty of this posture is that it has all the characteristics of a martial art and boxing stance but is less threatening and can even have a calming effect on some upset people. Here are the elements of the stance:
  • Angle your body so that you’re turned about 45 degrees from the threat. This makes you a smaller target and positions you to rotate your hips into a kick or hand strike.
  • Your feet are shoulder-width apart to provide you with optimum balance.
  • Your knees are bent slightly, though imperceptible to the threat. This allows you to step quickly in any direction without giving away your intention.
  • Hold your hands at chest level, palms forward. This is a nonthreatening hand position that shows the threat and witnesses that you don’t want trouble. When you make small, slow circles with your hands, some psychologists believe it has a calming effect on some people.
  • Maintain a relaxed demeanor. This presents an image of calmness, even when your insides are bubbling. A bully likes fear. Don’t give it to him.
  • Move slowly. This perpetuates calmness. A quick movement that isn’t done for a good reason might startle the attacker and force him to act. Move quickly only when attacking, reaching for a weapon, or fleeing.
  • Don’t point your finger at him or clench your fists. Pointing might antagonize him and fist clenching gives away your intentions.
  • Don’t touch a hostile person even if you’re a touchy person.
  • Unless you’re deliberately reaching for a weapon, keep your hands in sight. You don’t want him to think you’re trying to get to a weapon when you aren’t.

Facial Expression
Maintain a neutral face. Affecting disgust, a hard stare, anger, or fear is like food to an attacker — food that makes him hungrier.


Name Calling
Don’t call the threat a “loser,” “creep,” or “assclown.” To some, such words inflame anger (probably because they know it’s true) and give them more motivation to hurt you.
If the threat is a stranger, you can’t go wrong with “sir” or ma’am.” It might seem strange to call someone who wants to hurt you “sir,” but it does have power.


Your Tone of Voice
How you speak is often more important than what you say. Consider these tips:
  •  Don’t lower your voice too far below what is normal for you. Speak too low and he might think that you’re angry or deliberately challenging him.
  • Don’t raise your voice too much higher than you normally speak because the threat might think that you’re about to attack. The uncertainty in his mind might agitate him or cause him to attack when he otherwise might not.
  • No matter how frightened you are, speak slowly as this can be soothing to a threatening person. It will help you to stay calm, too.
  • In his mind, scaring and hurting you might be a way to get respect. Using “please,” “thank you,” and “sir” might be all he wants to hear.
  • Using a humorous tone is always a risk. Since humor is an abstract, it’s easily misunderstood, angering the attacker and escalating the situation. If you use it at all, and we don’t recommend it, direct the humor at you, not at the attacker.
 
Threats
Don’t say “I’m going to kick your ass,” “I’m going to make you pay,” or “I’m going to call the cops.” You might indeed do these things but don’t tell the person in advance. It will anger him, and he will likely take steps to prevent you from doing it.


Good Words
Using the right words can—can, meaning not always—defuse a violent person. Dr. George Thompson wrote a wonderful book on the subject titled Verbal Judo. I highly recommend that you get it and read it three times. For now, consider these points.
  • Don’t say “Calm down.” Never in the history of the world has this ever calmed someone. Since it’s judgmental and usually shouted, it can easily provoke people.
    Do say, “It’s going to be okay. Tell me what’s wrong.” Or “How can I help?”
  • Don’t say, “What’s your problem?” usually asked with a curl of the lip, ala Elvis, and in a tone that challenges. In a bar, it translates to “Let’s fight.”
    Do say gently, “What’s the matter? How can I help?” or “What can I do?”
  • Don’t say, “Watch where you’re going, butthead!” when someone bumps you.
    Do say, “I’m sorry. My fault.” Say this even when it’s clearly his fault. Hard to do? Sure. But say it anyway, because by doing so the situation will likely pass and be forgotten. But if you provoke him, especially when there is alcohol involved, the situation might escalate, turn violent, and end up in injury, an arrest, and a lawsuit. Swallow your pride. Life is too short.
  • Don’t say, “I’m not going to give you my wallet, you piece of dog __”
  • Do say, “Okay, no problem. Here.” Then toss it away from you and run.

Here are a few more don’ts:

Don’t:
  • challenge him
  • tell him that you’re going to kick his butt
  • call him a name
  • curse at him.
  • belittle him
  • tell him that you know how to defend yourself
  • say, “Come on, come on. Let’s see what you got”
  • ask him, “Is that all you got?” after he hits you

The old “sticks and stones may break my bones but words will never hurt me” adage is a lie. Words are powerful. Words can hurt, encourage, enrage, and incite a situation, but they can also calm and defuse one. Choose the latter. Yes, you might have to lie, swallow your pride and dignity, but by doing so you might buy time, momentarily distract your antagonist from his intention, or even cause him to change his mind.
Losing some face just might save it — literally.


NOTES

Loren Christensen is the author of two dozen Paladin books and videos, including Fighting in the Clinch, Fighting Dirty, and Fighting Power. Loren was a military policeman in Saigon during the Vietnam War and retired from the Portland, Oregon, Police Department after more than two decades of service. He can be contacted through his website at www.lwcbooks.com.

My sincerest gratitude to Loren Christensen for his kind permission in reposting his article to my site.

Copied from:  http://paladin-pressblog.com/2013/08/23/de-escalation/






For related verbal de-escalation posts, please check out:




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Sunday, December 08, 2013

THE WISDOM OF ... Lou Reed

Ren Guang-yi and Lou Reed
Source Photo Credit:  KungFuMagazine.com




I don't think I'm in any position to call myself a martial artist. I'm a student of the martial arts.

People think that I work out but it's all t'ai chi.

I always thought martial arts was the most modern choreography we could have right now, and I always wanted to put it to music.



Source Photo Credit:  KungFuMagazine.com


I think that everything happens for a reason, everything happens when it's going to happen.

I think life is far too short to concentrate on your past. I rather look into the future.

I don't believe in dressing up reality. I don't believe in using makeup to make things look smoother.

There's a bit of magic in everything, and some loss to even things out.

These are really terribly rough times, and we really should try to be as nice to each other as possible.

I'm in this business for too long to be halfhearted about anything. 


Source Photo Credit:  KungFuMagazine.com



How can anybody learn anything from an artwork when the piece of art only reflects the vanity of the artist and not reality?

I think it's pretentious to create art just for the sake of stroking the artists ego.





In case you missed my previous posts on Lou Reed, please check out:






For related entries in this series, please check out:



Saturday, December 07, 2013

2nd set of animated GIFs from Dragon: The Bruce Lee Story

About 3 weeks ago, Jason Scott Lee turned 47! Please check out these entries in his honor if you missed them earlier:



Today, I present to you the 2nd set of animated GIFs I've made from Dragon. This set features Jason warming up prior to his fight. You may notice a similarity to Way of the Dragon aka Return of the Dragon.

Enjoy!










I wasn't thrilled with the fight scenes from this movie as they were more acrobatic/Jackie Chan style than Bruce Lee style. This probably is my last GIF set from Dragon.





For more information on Jason Scott Lee:



Friday, December 06, 2013

James W. DeMile - Intuitive Speed



In response to a question about Bruce speed

INTUITIVE SPEED

Bruce Lee felt it was critical to have sufficient distance between you and a potential aggressor so you could read his movement.


Intuitive speed is pure feeling. It is a feeling that something is about to happen. It is the seed of motion. It is the ability to know that the person is energizing or has made some sort of subconscious decision to make an action. This exercise is practiced in a stationary position so that you see the change of the body when he goes to do something. When the opponent is moving around, it is much more difficult to determine whether his forward bounce is an attack or a draw or an alive position.


If you are serious about getting good in your skill then you need to spend time working on both the intuitive speed and the ability to read setting-up for motion. Setting-up for motion means that the person is placing himself into a second position where he can kick or launch a hand strike. The opponent is doing something to give himself a base to go into his technique. This is not how you develop your intuitive sense because with reading motion, you are looking for a marked position.. In the intuitive sense, you are looking for the beginning of the action where it is based on the energy to move coming from the opponent. The intuitive speed is a feeling where you are trying to identify the source or the beginning of the action, whether it is energy or physical.


Intuitive speed is motion that is triggered by some psychological awareness that the opponent is just starting his attack or move. It is an awareness that something is about to move like a light is about to come on or something is about to fall but your mind is so sensitive that it knows when it is going to happen. It does not know that it is going to happen from a minute from now but it knows that it is about to start.


It is starting where the actual neurological connections are already to start to connect but it is just that the body has not moved yet. But by some strange reason you pick it up. This is the only possible way to explain Bruce Lee's reaction time. He had intuitive speed. Inuitive speed paired together with the startled reaction will build quite a combination and makes you unbelievably fast.


If you see somebody move and you move as a result of that motion then you are already behind that motion because he has already moved first. You might be fairly fast and maybe even block that strike. If the person starts to move and even before he can move where he is just starting his motion,you are aware of his intent and you are already hitting him. How do you do that? You must have in some way know that he was going to move in order to cover that distance. You not only needed to react where psychologically you knew it but you also needed for your body to react. You would have to have speed that would allow you to get there. The only thing that will allow the speed to get there is a startled reaction which is the fuel for motion.


We practiced the intuitive speed by a few different exercises. The quick draw, TV meditation,clapping drill and by sitting and watching students practice and see if we could identify when and how they were going to move, before they moved.


There were nine different elements of speed and this was only one of them.





Posted to Facebook Oct 5, 2013

You can contact Sijo James W. DeMile via his Wing Chun do Site or Facebook.


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Thursday, December 05, 2013

Bruce Lee's Game of Death Jumpsuit auction finished today


Photo Credit:  http://www.themalaymailonline.com/
Anna Lee, Vice Chairman of Spink, shows Bruce Lee's nunchaku and jumpsuit

Following up on my previous post:


The auction took place today.






The following article showed up in my Bloomberg News Feed:

(PTI) Bruce Lee's jumpsuit fetches over USD 100,000 in HK auction

+------------------------------------------------------------------------------+

Bruce Lee's jumpsuit fetches over USD 100,000 in HK auction
2013-12-05 14:36:33.943 GMT

     Dec. 5 (PTI) -- A yellow-and-black jumpsuit from Bruce Lee's final movie was sold for more than double its expected hammer price at an auction in Hong Kong today commemorating the 40th anniversary of his death.

     The one-piece suit from "Game of Death", which was specially designed by a Hong Kong tailor to fit Lee, was sold at the evening auction for 780,000 Hong Kong dollar (USD 100,595) to an anonymous telephone bidder.


     His matching yellow nunchaku, also used in the film, sold at 540,000 Hong Kong dollar to a collector in the room, where around a dozen bidders were seated.


     "It would have been nice to have the suit but I prefer this most of all, more than any other thing," 49-year-old British investment manager George Philips, who also bid on the suit said after winning the nunchaku.


     "I think everybody loves Bruce Lee items, I did karate when I was five or six years old," Philips said, adding that he used to practise with the nunchaku while wearing a motorcycle helmet at the time.


     Bidding was "very strong for an auction this size" Spink China vice chairperson Anna Lee said after the event.


     The auction fetched 2.19 million Hong Kong dollar, double Spink's estimate of 1 million Hong Kong dollar.


     All 14 lots were sold with other items including a punch pad Lee used to refine his one-inch punch, which sold for 50,400 Hong Kong dollar. Lee's bamboo whip used in "Game of Death" also sold for 96,000 Hong Kong dollar.


     All the items belonged to a private collector but originally came from Lee or his friends and family.


     Lee died in 1973 after a severe reaction to medication, before "Game of Death" could be completed, although a version of it was later released using stand-in actors.


     Lee is credited with catapulting the martial arts film genre into the mainstream with movies including "Fist of Fury" and "The Big Boss". 


(AFP) ABH ASY 12052001

-0- Dec/05/2013 14:36 GMT




Excerpted from http://www.scmp.com/:

... – his iconic yellow and black jumpsuit fetched HK$780,000 in an auction on Thursday, more than double the amount estimated by the auction house.

The tracksuit was one of 12 items that went under the hammer in a Spink China auction in Wan Chai. It was worn by the star in his celebrated fight sequence with Filipino-American martial artist Guru Dan Inosanto and Korean Hapkido master Ji Han Jae in Game of Death (1972), Lee’s last movie.

The bidding started at HK$260,000. After 13 bids, the item went to an Asian online buyer who purchased five other items at the same auction.

Also receiving a lot of attention was a pair of wooden lacquered nunchaku commissioned by Lee for the same movie. In yellow and black, the weapon was designed by Lee himself to match the tracksuit he wore.
The nunchaku went to George Philips, a Briton who has lived in Hong Kong for the past five years, for HK$540,000 after 15 bids.

Results were stronger than expected, with the auction fetching HK$2.19 million in total – double the auction house estimate of HK$1 million.



Please check out these related Bruce Lee entries...


Animated GIF's of Bruce Lee:


Videos of Bruce Lee:

Other Bruce Lee-related posts:

James W. DeMile - Why Train Chi Sao?



WHY TRAIN IN CHI SAO

In classical Wing Chun teaching of Trapping, Chi Sao and Phon Sao were the same thing and it took many years to develop a defined skill. There was no distinction between the two, they were one art. Which in China, was OK, because training was a way of life and one would devote many years to develop even a basic skill.

At 18, Bruce Lee was still a student, not a teacher and wanted to continue his training in Wing Chun. He became frustrated after arriving in America, because there were no masters to train under. So, he decided to train training partners. This decision created two major problems. First, Chinese was his first language and it was hard to give English definitions to Chinese concepts. Second, since he was still just a student and learning trapping himself, he found it extremely difficult to communicate the innumerable option of motion without totally confusing his students. He solved both problems by simplifying the process of teaching Trapping by reducing the information into two distinctly separate levels, Chi Sao (an exercise) and Phon Sao (the application)

I have read, over the years, that Bruce Lee said that Chi Sao was not necessary to learn, that Trapping skills could be developed without it. Easily said, since Bruce already knew Chi Sao and its relationship to Trapping. It is like a millionaire telling you that money is not really important. Let me share my thoughts on reflecting what Bruce told me in my early years of training with him.

Bruce said it would be like trying to run before you can walk or trying to solve math problems before you can count. Phon Sao is totally spontaneous and relative to responding to the non-structured actions and reactions of your opponent. In application, it requires an extreme high level of skill in reading and controlling your opponents motion. You can use your hands, wrist or arms and there is no set starting position. You can attack or absorb an attack or do both. Although, there are people who have a natural talent for learning Trapping, most do not and I mean 98% of the population.

This is why Chi Sao is a critical step to evolving spontaneous trapping skills. Chi Sao is only an exercise and teaches you to walk or count. It allows students of different sizes and strengths to become equal. Chi Sao establishes physical guidelines of motion that are very efficient and effective, both offensively and defensively. But most important, it offers a set procedure to learn how to control the opponents actions and reactions within a defined area. This area is known as the Upper/Outer perimeter, where most attacks occur. This set procedure defines the stance (for stability/mobility and natural spring load base), centerline foundation ( for creating and maintaining two weapons), basic arm and hand positions (for natural defense), the rotation procedure (for defining the range of motion), blending (which enables the student to train any student, regardless of size) and attack options (creating and/or filling the holes of the opponent). By having a set procedure it allows the student to repeat, repeat, repeat his moves until he has a clear understanding of all the basic concepts of trapping.

Quite different, Phon Sao does not have a specific or required engagement structure. You can engage with your hands/wrist/arms in any manner allowing you to contact and control your opponent. The type of contact will determine the degree of Trap. Three defined methods of traps. Minor is checking. Closing of one angle with (three escape potentials). Major is closing three angles with (one escape potential ).
Maximum is restricting all angles (no escape potential).

Unlike Chi Sao, which you can do for an hour, Phon Sao is done in quick, short bursts of one to three moves. The majority of Phon Sao moves are done in less than 5 seconds. The types of actions and reactions will be different with each student and dependent on many factors, a few of which are, methods of engagement, amount of opposing energy, angles of energy, single or multiple energy, positive/negative energy flow, speed of motion and positions relative to the centerline. It is almost impossible for the teacher to teach a proper response when the student is reacting only to the “moment”. What might be the proper response of the teacher may not be the best response for the student. This is why a foundation is necessary so the teacher and student have a common language to explore the different potential for each encounter.

Addition, Division and multiplication are all applied aspects of numbers, but you first must be able to count the numbers from one to ten. The same logic is applied in Trapping. Chi Sao is learning to count from one to ten . Phon Sao is all the applied, from addition to Quantum Physics.




Posted to Facebook Sep 6, 2013

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Wednesday, December 04, 2013

James W. DeMile - Applied Centerline Concept


Source Photo:  James DeMile

BRUCE’S CENTERLINE THEORY


The centerline is an imaginary line extending outward from the center of your chest and runs through your nose and navel area. It is a guideline for splitting the body in half. It splits the perimeters as a guideline to follow with your hands to minimize movement. Right hand in right side, left hand in left side. The centerline is for learning purposes to teach the right and left hands to work independent of each other. The centerline is an exercise line to understand efficiency in training and technique.


Centerline Application Concept

The centerline concept allows each hand to act independently of the other while keeping the body in such a position that you can touch your opponent with either hand at any time. There are two important reasons for the centerline existing. First, it allows both hands to touch the opponent at any time and it allows your own centerline to be on the opponent. Second, the centerline creates a power base for both hands to function in a strong manner. It creates a stable base and power flow. It allows you to have spontaneous energy flow with both hands and adaptable to the opponents offensive/defensive actions. It is important that the centerline concept becomes a feeling and part of your natural expression of technique. You want the concept to be a natural part of you. The centerline concept creates a very powerful attack to operate from. The centerline concept is important in trapping and the different power bases. The centerline concept allows for an upper torso power base to exist equally for both the right and left sides. It acts to keep the base solid and allows each arm to remain powerful. It makes it a strong base which is hard to disturb.

This is a simple concept but one of the most important principle in the Wing Chun Do system.

Bruce was very adamant about our being aware of when our centerline was broken. The efficiency of trapping and sticking hands (phon sao and chi sao) as well as the lin sit die dar (multiple attack theory) relies to a great extent on this one concept. To break the centerline weakens the versatility of this theory. Using both hands independently of one another, yet having them work together as a team, allows for a much wider range of effective inside techniques. Since both hands can function offensively, defensively or both, this gives the opportunity to perform double hand techniques.

Chi sao is where this concept is first introduced as a flowing applied technique.

Maintaining your centerline (keeping square to the opponent) gives you the opportunity to perform double hand techniques and this greatly restricts the opponent's offensive potential. This concept allows for a wider range of inside technique since both hands are functioning both offensively and defensively or both at the same time. Keeping the centerline constant allows maximum use of energy flow since it is flowing directly toward the opponent.

The centerline is for a natural line of power that allows you to centralize and flow. It will really reduce down his capability where he will have to use more effort to set you off your base. Violating the centerline makes one side shorter and opens the gate to be attacked. Even a small floating of the centerline weakens this base. It can be floated but not more than 20°. It can also be pivoted in preparation of the opponent.

The centerline will reduce down the opponent's ability because he will use more effort and excessive energy to disrupt you off your base.


Centerline Concept Exercise.

Feel the difference in power base when the centerline is maintained and when it is off. You can weaken the opponent's power base by pulling on the lead side and neutralizing the other. Have the primary stand square to you with his centerline maintained. Have the primary stand very strong by having one foot forward of the other to have a stable position.

Pulling on one arm, pull the primary towards you and have him resist you. The primary should have fairly good structural stability because his shoulders are square. Have the primary turn slightly to break the centerline. Pull on the primary and have him resist. The same strength will now really pull the primary off his base. The reason is because the primary's energy is no longer flowing directly at the you. The energy flows off to the side and it crosses itself to make it weak.


Floating Centerline.

Floating centerline means that you are floating off of your legs. There are times in which you will float the centerline because it is easy to recover from. You are not violating the centerline but you are floating it. This is acceptable, especially if you are in touch with the opponent. Float the centerline no more than 20°. The floating centerline allows the body to flow in its technique.

When trapping your opponent, you may bend the centerline to the right or left as much as, but no more than 20°. This allows you to pivot your energy and express it in a more explosive manner. The floating centerline floats off the hips and knees so that you can accentuate your technique. It can be done anytime relating to inside the kill range perimeter. You are deviating it in a slight enough arc that you actually still have high control over both arms. In other words, you still have individual potential. At the same time, you want to be able to have as much as possible control over the opponent to a certain degree just to minimize his options.

Since you are inside the kill range perimeter, you are using the floating centerline for extra power and strength to each movement that you are going through. By floating, it gives that little emphasis on the technique. Floating can be generally done inside the kill range perimeter as long as you honor certain basic things relative to restricting the opponent's movements. He does not have to be immobilized but he definitely should be restricted. The reason he does not have to be immobilized is because you still have freedom with both of your arms as long as you do not deviate more than 20°. You do not really need much to generate a power.


Pivoting Centerline.

Pivoting centerline is a more exaggerated movement of the body in shifting the centerline. You can use the pivoting centerline when you have control of the opponent with a lop sao motion. You have control and redirecting his energy as you are pivoting your centerline. Pivoting means that you pivot to about 45° and passing the floating range of 10 to 20°. Pivoting centerline is blending the centerline to adjust the change of the position of the opponent. You shift your body to maintain your centerline constant.

Sometimes because of the opponent's motion, you must pivot your body in order to keep your centerline constant. This is referred to as the pivoting centerline. Application will be covered in the spontaneous closed bi jong and pivoting exercises.

The pivoting centerline is to alter your centerline to adapt to the opponent. It is a way to maintain your centerline on the opponent when he shifts position. In pivoting centerline, you must immobilize your opponent in order to pivot. You can pivot and follow his movement but in order for you to pivot intentionally during technique, you are going to have to immobilize and trap him so that he cannot move.

You are physically breaking your centerline and weakening your upper torso power base. In lop sao, rather than just to follow his motion, you lop sao in such a way that you have a high degree of control and it adds tremendous power to your technique with that pivot. You are maintaining your basic centerline. It is the degree of the pivot that makes it dangerous so you must control your opponent while you are doing it. It is alright to pivot with that control.


Pivoting Off The Heels.

Pivoting off the balls of your feet creates an arching action which makes you lose forward energy. It swings the energy outward and upward in a committed motion. When you pivot off the heels, you can pivot forward and maintain forward energy. By pivoting off the heels, you have a strong base and forward flow of energy. When you torque your body, it is off the heels so that you can maintain constant energy flow.


Classical Wing Chun Centerline.

My opinion of the classical Wing Chun's theory on the centerline is quite different from the centerline concept in Wing Chun Do. They do not have the two concepts for why the centerline exist. In application, they do not honor the centerline and usually they break it when applying technique. They have the idea of the centerline and speak of it but they do not honor it.

Wing Chun does not function with the centerline and the application of it is not there. The only thing they have that deals with the centerline is to control the centerline by punching through the centerline. In classical Wing Chun, the centerline is a straight line extending from the solar plexus to the opponent's chin. The idea is to keep the Wing Chun punches inside the opponent's straight punches. The Wing Chun punches travel a shorter distance and thus strikes first.

The Wing Chun centerline consists of a series of imaginary straight lines. One horizontal line traveling from the Wing Chun fighter's solar plexus to his opponent's chin. One vertical line which travels down the center of the Wing Chun fighter's body. Another vertical line which similarly moves down the center of the opponent's body. Together these imaginary lines define the theoretical framework of the classical Wing Chun centerline.




Posted to Facebook Nov 19, 2013

You can contact Sijo James W. DeMile via his Wing Chun do Site or Facebook.



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Tuesday, December 03, 2013

Bruce Lee's Way of the Intercepting Fist graphic

Monday, December 02, 2013

Bruce Lee's yellow tracksuit from Game of Death up for auction

Photo credit:  Edward Wong/South China Morning Post


This story is a bit sad for me. Bruce Lee's student, Taky Kimura, sold the yellow tracksuit to a collector. One of Bruce's direct students, in fact the most senior of Bruce's students, somehow had to part with this piece of history... this direct connection to his famous instructor.


Back in July 2009, Taky Kimura's private lesson plan from Bruce went up for auction.




The unidentified collector is having Spink auction houses run the auction on some of the Bruce Lee memorabilia the collector wanted to sell. Save the date, Dec 5th, this Thursday will be the auction.




Bruce Lee 'Game of Death' jumpsuit up for auction

But some fans say, like the costume, enthusiasm for the star's possessions is wearing thin
By Candy Chan

PUBLISHED : Monday, 02 December, 2013, 6:28pm
UPDATED : Tuesday, 03 December, 2013, 10:02am

Bruce Lee fans will have another chance to get their hands on the martial arts legend's property at a Hong Kong auction later this week - but aficionados hinted that their appetite for all things Bruce may be wearing thin.

Spink China expects the 14 items offered by an anonymous seller who works in the Hollywood film industry to fetch HK$1 million in Thursday's sale.

The lots include the iconic yellow-and-black jumpsuit Lee wore in Game of Death, the film he was making when he died 40 years ago, as well as nunchaku and a set of four signs in Chinese from Lee's Jeet Kun Do academy in Los Angeles.

Anna Lee, vice-chairwoman of the auction house, says the jumpsuit is thought to be one of only two versions of the outfit ever worn by Lee.

"The jumpsuit is in its original condition and features fingerprints on the right upper-chest and left shoulder areas. The zip at the back also sustained damage," she said. "The material used at that time was terribly poor. [It] has drastically shrunk," and would only fit a person who was1.65 metres tall. Lee was 1.71 metres tall.
The items come with certificates of authenticity from former owners, including Lee's student Taky Kimura, Bruce's brother Robert and his friend George Lee.

Lee's hometown has long had a strong appetite for the star's possessions. A sale of 13 Lee-related items in August 2011 brought in HK$1.78 million.

But some fans are doubtful about the latest auction.

Wong Yiu-keung, chairman of the Bruce Lee Club, expressed reservations over some items.

"The items are not particularly attractive to me," he said.

Betty Chan, spokeswoman for the Bruce Lee Memorial Community Alliance, which hopes to build a permanent museum for Lee, said: "Bruce left thousands of belongings behind, it's not necessary to have all of them.

"We work to retain Bruce's spirit, not to chase after all of his items."

The public and potential buyers can see the items for themselves today and tomorrow at the auctioneer's offices in Wan Chai.

Fans have flocked to an exhibition of Lee memorabilia at the Heritage Museum in Sha Tin. Since it opened in July, some 226,000 visitors have visited, the Leisure and Cultural Services Department said. The exhibition runs until 2018.


Copied from http://www.scmp.com/




Excerpted from http://www.foxnews.com/

Spink auction house estimates the suit will fetch 250,000 to 300,000 Hong Kong dollars (US $32,250-$38,700).

The auction house said Lee gave the items to his friend and former student Taky Kimura, who sold them to the collector.

Spink said the unidentified collector decided to sell the items this year, which marks the 40th anniversary of Lee's death.

Other props from "Game of Death" to be sold include a pair of yellow lacquered wooden nunchaku expected to fetch $26,000-$38,700 and a bamboo whip with an estimate of $9,000-$10,000.





Judo vs. Boxing: “Judo” Gene LeBell Defeats Boxer Milo Savage in First MMA Fight


By John Doe - July 10, 2011

For much of the world, MMA was born on November 12, 1993, when the Ultimate Fighting Championship debuted in Denver. Most martial artists know otherwise, however. They know the date was actually December 2, 1963, the day “Judo” Gene LeBell stepped into the ring to face boxer Milo Savage. Black Belt recently spoke with the renowned judoka to get his take on how the bout went down and how it influenced the fighting arts.


Black Belt: Would you call your match with Milo Savage America’s first MMA bout?

Gene LeBell: It was the first televised MMA match. It was billed as pitting a judo, karate and wrestling guy against the No. 5 light-heavyweight boxer. I was known mostly for judo because I’d won the Nationals a few times, but I’d also done boxing, wrestling, karate, taekwondo and kenpo, mixing them together before it was popular.


Black Belt: Why were you chosen for the match?

Gene LeBell: A fellow who did kenpo karate, Ed Parker, a great teacher and a great human being, came to my school and said a guy named Jim Beck had called us “karate and judo bums” and offered $1,000 to anyone he couldn’t beat. The karate guys were emotional about it, and they had a big meeting. They wanted someone to fight Beck and decided on me. I said, “Why me? I’m not known as a karate or kenpo guy.” They said, “Yeah, but you’re the most sadistic bastard we know.” They said, “If you win, you get $1,000.” I said I’d fight my grandmother for $1,000. But she’d have beaten me.


Black Belt: Did anything out of the ordinary happen before the bout?

Gene LeBell: Well, they did a bait-and-switch. I thought I’d be facing Beck, an amateur fighter, but they put in Milo Savage, a great boxer with a wrestling background.


Black Belt: Did that bother you?

Gene LeBell: Not really. I’m no mental giant, so I viewed it as more of a challenge: The tougher your opponent is, the better you look if you beat him. The only thing that bothered me was what happened later—instead of boxing gloves, he wore what amounted to speed-bag gloves with metal inside.


Black Belt: The fight was held in Salt Lake City. Why not Los Angeles, where you were based?

Gene LeBell: They tried to get it in LA, but the California Athletic Commission said no because it was against the law. They said it would be categorized as a duel. We ended up in Utah.


Black Belt: What was the lead-up to the bout like?

Gene LeBell: The day before, they told me to go to the offices of a big TV network in Salt Lake City to see a guy who did a sports show. The host was obviously for the boxer, who was from Salt Lake City. During the interview, he was articulate and used every two-liner he could to put me down, but I wasn’t sharp enough to say anything. Then he asked, “How are you going to win?” I said, “I’m going to strike him, freeze his body and hammer him into the ground.” Of course, I was showboating. My manager told me to stop fooling around. Then I said, “I’ll leave him in the ground until summer, defrost him and pull him out, then choke him out.”

The host said, “Those chokes don’t work … show me.” I snatched him, choked him out and dropped him on his head. He dropped the mike, and I picked it up and said: “Our commentator went to sleep. I guess he’s quitting. Now it’s the Gene LeBell Show! Come to the arena tomorrow night and watch me annihilate, mutilate and assassinate your local hero because one martial artist can beat any 10 boxers.” The place sold out—they all wanted to see me get killed.


Black Belt: You won in the fourth round, right?

Gene LeBell: Yes. When I choked him out, the ref, who was also the doctor, didn’t know how to resuscitate him with katsu. After he’d been out for 20 minutes, my coach went in and revived the guy. The next morning, the newspaper headlines said, “The Savage Was Tamed.”


Black Belt: Was there a big reaction in the martial arts world?

Gene LeBell: There was because—it sounds like I’m blowing my own horn, and I don’t mean to—I represented all the martial arts. I never said I was doing only judo or karate or kenpo. I never said one art is better than the others. They’re all good. You should learn everything. You’re not a complete martial artist unless you do everything.


Black Belt: Why do you think it took so long for MMA to catch on?

Gene LeBell: Well, it was against the law in many places. Also, the karate guys didn’t want to do MMA because the wrestlers would tackle them. The wrestlers didn’t want to because the boxers would hit them between the horns and the karate guys might kick them.


Black Belt: If you were 30 years old now, would you be an MMA fighter?

Gene LeBell: I probably would. But if I had the brain I have now—I’m a lot smarter than I was when I was 30—maybe not. I do stunt work, and when you’re making $200,000 or $300,000 a year doing stunts and collecting residuals, why the heck should you get beat up? There’s only 1 in 1,000 MMA fighters who make money. Same in boxing. A lot of fighters are broke. The only thing I have against MMA is they don’t have a retirement plan. In the stunt world, I get a pretty doggone good retirement from SAG and AFTRA—and I can still work.


Black Belt: Overall, what do you think of the direction MMA is taking the martial arts?

Gene LeBell: I think it’s wonderful. All my life I’ve pushed people to do all the martial arts. You don’t have to be a fighter. Just learn the techniques and the defenses. If you don’t use it, you lose it.


(Gene LeBell teaches grappling at Gokor Chivichyan’s Hayastan MMA Academy.)



Copied from http://www.blackbeltmag.com






Please check out the video of the match:



Happy 45th Birthday Lucy Liu!!



Today marks the 45th birthday of Lucy Liu! Posting 6 video clips of her in celebration. As a side note, glad to see her career has turned from her roles in movies like Payback into roles like her current TV series, Elementary, as Dr. Joan Watson!


生日快乐 Lucy Liu!!
Shēngrì kuàilè Lucy Liu!!
 
Happy 45th Lucy!! Many more to come!!




Lucy Liu with double telescopic batons in Ballistic:  Ecks vs Sever



I made some animated GIFs of Lucy Liu in action with batons, one set of this above scene and one set from Elementary, her current CBS TV series.






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Lucy Liu in The Man with the Iron Fists fight scene








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Lucy Liu in a tight leather suit in Charlie's Angels







Lucy Liu in Payback






Happy 45th Birthday Lucy!!





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Sunday, December 01, 2013

Bruce Lee's Jeet Kune Do (Full movie)



Continuing my Bruce Lee theme in celebration of what would've been his 72nd birthday, here is the full movie of Bruce Lee - Jeet Kune Do. This was made in 1995. Pretty well edited - as you have the actual voice of Bruce giving pointers on James Coburn's private lessons - mixed in with other footage and the audio of Bruce himself 'narrating' is awesome.


If you haven't watched this before, please check it out. If you have watched it before, well watch it again and think "Happy Birthday Bruce".


Enjoy!











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