with the musical analogy: “it’s not classical (traditional martial arts), it’s not jazz (“improvised” or untraditional martial arts), it’s only Rock & Roll,” a simple blend of different martial arts systems trying to play a catchy tune (an effective fighting method). More simply put, it’s “martial arts to a different beat!”
“THE FEEL”
Throughout this book, in every chapter, I constantly discuss what I call “the feel.” Describing “the feel” is like describing the wind—you know what it is, you know how it feels, but it is very difficult to explain. I will try to give you the best explanation of what I am referring to when I use this terminology.
Whenever I train to develop, maintain, or improve a martial arts technique, I always try to “feel” the proper technique within my body. I believe that the human body has an intrinsic knowledge of proper body mechanics when executing any physical activity, whether it is martial arts or shooting a basketball. No two people will execute the same technique in exactly the same way. There will always be a slight variation because of size, strength, flexibility, coordination, and ability.
This is why the individual must stay in touch with his or her body and be sensitive to its subtle movements and positions, to “feel” the proper technique within the body when a particular physical activity is executed correctly.
Who taught Michael Jordan the proper technique to sink so many baskets consistently in a game? Who taught Muhammad Ali to leave his hands down when boxing or to execute his lightning quick jab? Who taught Bill “Superfoot” Wallace how to kick so flawlessly in competition on one leg? The list goes on and on, but the bottom line is that most stellar athletes listen to their bodies, to how their bodies feel, “how they should be doing it,” then they do it so many times that their techniques become flawless and unstoppable. And what techniques are they using? Their own, which have been developed and perfected after countless hours of dedicated practice, or “home training,” if you will. Their techniques are not developed only in the gym, at practice, or in the dojo—true technique and training start at home. Home training is what this book is basically about.
So, when training on your martial arts technique at home, strive to feel the proper technique when you execute it correctly. This is why I’ve always built custom-made home training devices. What feels right for me might not be right for you—the home training device must be specifically designed for you, to accommodate your physical and mental attributes.
Feeling “the feel” or becoming sensitive to “the feel” takes hours and hours of repetitive practice. As your body’s muscles, tendons, ligaments, and joints become strengthened and accustomed to the movement, your body will be able to sense whether a technique is being done correctly.
But practicing and feeling what you think is the proper technique is not enough. The technique now must be performed under stressful conditions: competition, the game, sparring, or in combat. This is the empirical test as to whether one’s technique works or not. Also, one cannot be discouraged if a technique doesn’t work perfectly the first time—this is why we practice.
Once the technique can be utilized correctly under stressful conditions, remember that “feel.” Take this “feel” or “frame of mind” back to your home training regimen, and train with that specific mental state. The combination of the two “feelings,” the physical skill and the mental state of mind, is the “true feel” one should be striving for when doing home training.
This is the feel one should be looking for when one is home training! This I “feel” is true Rock & Roll.
Keep on Rocking!
—Mike Young
CHAPTER 1
THE NEED FOR TRAINING AND TESTING
I’ve had a fascination with the martial arts ever since I can remember. Growing up in Hawaii on the island of Oahu, I was constantly exposed to martial arts at a very young age. I can still remember going to Japanese samurai movies when I was four or five years old and dreaming of one day practicing martial arts like “the samurais.” At age nine or ten, my friends and I would never miss the Chinese Kung Fu movies that played in several theaters in old downtown Chinatown. We would catch the bus every weekend and savor the experience of a “bloody Kung Fu movie.” I would later go home and practice whatever moves I saw in the movie and try to build some of the fascinating Chinese martial arts weaponry.
At a young age, I had already completed making plywood hook-swords, dart-shooting staffs, miniature shuriken boomerangs, sword catchers, and many more ingenious devices I saw on the silver screen. The construction of all these devices of destruction was encouraged by my creative dad.
Finally, at age 13, I was allowed to formally study martial arts. I was very excited to start my martial arts training with my father’s friend who taught Wado-Ryu Karate a few blocks from my house.
From the first day I started Wado-Ryu Karate, I fell in love with the martial arts. I wanted more, and while living in Hawaii, I studied many martial arts systems, including Cha-3 Kenpo, Tai Chi Chuan, Zen Meditation, Chuan-Fa Kajukenbo, Escrima, Judo, Aikido, Boxing, Kickboxing, Northern and Southern Shaolin, Monkey Boxing, Pa Kua, Hsing-I, Tae Kwon Do, Hapkido, Wing Chun, Internal Shaolin, and whatever I could learn from friends and relatives who studied other martial arts styles.
The beauty of living in Hawaii for me was the wide range of cultures, which brought a rich mixture of martial art traditions, readily available for whoever wanted to practice. Living in the friendly climate of Hawaii, I was always able to train, compete, and exchange ideas with other martial artists from different styles. The Hawaiian environment allowed my martial arts knowledge to expand and let me know that there were a lot of martial arts out in the world to explore.
After reading a magazine article in 1976, I traveled to San Francisco to explore a new martial art from Japan called Taido. This art woke me up to another dimension in martial arts. When I returned to Hawaii, I continued to train with more enthusiasm, recharged from the recent trip to San Francisco. After tasting new ideas from what islanders call “the mainland,” I then attended the legendary Aspen Academy for a month and got exposure to many different martial arts systems.
Returning to Hawaii to work and go to school, I knew I had to go back to the mainland to study all of the other martial arts that were available there. In 1980, after I graduated from the University of Hawaii, I returned to the mainland (Los Angeles) and started to study all the martial arts systems I had read about and now had a chance to study. It was in Los Angeles that I studied Kali, Capoeira, Savate, Tai Mantis, Wrestling, Boxing, Fencing, Wing-Chun, Pencak Silat, Thai Boxing, Gymnastics/Tumbling, Eagle Claw Kung Fu, Judo, Ju-Jitsu, and Shootwrestling, just to name a few! The diverse and eclectic atmosphere of Los Angeles drew martial artists from all over the world to this martial art mecca.
I had adopted the Bruce Lee philosophy of “absorb what is useful” to learn as much as I could about other martial arts and to look for the good and the bad of each martial arts system. I started to cross-train in different systems to develop my own personal fighting style.
A big martial arts reality check came when I became a police officer in 1981 for the Los Angeles County Sheriff’s Department. During the police educational process, I quickly found out what did and did not work on the streets. Theory and practice met the streets of L.A., dojo, and home training.
Becoming a police officer further stimulated my martial arts growth because the job exposed me daily to life-and-death situations, situations in which split-second decisions needed to be made regarding whether to use force and, if so, what type and how to use it. I was confronted
