# accumulative journal history?



## jaybacca72 (Sep 7, 2004)

i was curious to know the history behind the journal,my friend purchased one from the late 80's (red ikka binder) i heard that skip had alot of input into it? i know it is only a reference guide but it seems to me that the techniques are not written down too precise or they go against some rules of motion. but i am not looking for a debate on the journal just the history and who was involved in it.
many thanks
jay


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## KENPOJOE (Sep 11, 2004)

jaybacca72 said:
			
		

> i was curious to know the history behind the journal,my friend purchased one from the late 80's (red ikka binder) i heard that skip had alot of input into it? i know it is only a reference guide but it seems to me that the techniques are not written down too precise or they go against some rules of motion. but i am not looking for a debate on the journal just the history and who was involved in it.
> many thanks
> jay



Hi Jason!
Long time no chat! 
OK, accumulative journal history...
There was an original 32 technique manual ["Huk Planas -Tom Kelly" version]
the first 24 technique manual [the "Jim Mitchell" version]
The second 24 technique manual [the "Skip Hancock-Dennis Conatser-EPJr. version] 
and the latest 24 technique version [authors unknown] with updated extensions to select techniques.
Gee, you are going to make me pull all of these out and look through them aren't you!
I've gotten the journals from different sources over the years and it's interesting to see the changes/refinements to the techniques ,sets, and forms over the decades...
Simply ask a more specific question and i'll elaborate.
BEGOOD,
KENPOJOE
PM me if you get a chance!
BEGOOD,
KENPOJOE


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## teej (Mar 5, 2005)

Kenpojoe,

Did all of the versions of the journal come in a red 3 ring binder? Or did just the late 80's IKKA version come in the red binder? Thank you

Yours in Kenpo
Teej


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## Doc (Mar 13, 2005)

jaybacca72 said:
			
		

> i was curious to know the history behind the journal,my friend purchased one from the late 80's (red ikka binder) i heard that skip had alot of input into it? i know it is only a reference guide but it seems to me that the techniques are not written down too precise or they go against some rules of motion. but i am not looking for a debate on the journal just the history and who was involved in it.
> many thanks
> jay



I guess no one else is going to answer so .

The Accumulative Journals or Red Book was modeled after Arthur Murray Franchise Dance Studios Operations Manual and Business Plan. Arthur Murray Studios are still in business in some places and if you are nice, they may show you one of theirs. They are nearly identical. Arthur Murray was also the origin of the term studio in reference to the commercial schools. Before that, most used (and some still do), the Japanese term, dojo which Parker dropped. Parker felt "dance" was the perfect business model.

http://www.ballroomdancing.com/flashWS/AMIIWS1.asp

They were originally meant as an operations manual for studio owners and managers much like the Arthur Murray version. Originally, it included the technique manuals as a part of its package. Before that, students didnt have access to the new written techniques, and were instead handed a small four or five page pamphlet for each belt that listed all of the basics, forms, sets, coordination exercises, and names of the techniques to be checked off as they were taught. Myself and people like Dennis Conatser (who never discards anything), still have some of these original Belt Booklets as they were called that were left at the schools in a rack for teachers and students to have access to.

When students became aware of the technique manual inserts in the Journals, they wanted their own copies. Overtime the Journals were never reproduced, and instead only the technique manuals were printed and ultimately made available to everyone. Much later Edmund Parker (Jr.) also printed forms, sets, and extensions manuals that were never completed to go into the original Journals.

There were two versions of the Journals. The first had the Ed Parker Crest raised and color embossed on the cover. The second and last version simply had the color crest printed on the cover. 

I still have mine, although I never actually used it having not ran a commercial school. Many people had input in the two versions and there was never a 32 technique version.

You are correct. The techniques in written form in those books were only a guide and not the "bible" of execution. It was simply designed to keep all the many school owners and their instructors pointed in the same general direction with a similar idea to start from and of course the themes of the attack. It was the school owners job to standardize what was taught based on the idea of the technique. Variations were encouraged as long a students were reasonbly functional, so there were many differances from group to group and school to school.

The conceptual nature of the teaching method and the lack of qualified instructors for this vehicle is what drove Parker to this motion "interpretive" model that didn't require close senior instructor scrutiny. Each School owner/operator was responsible to understand the concept and teach according to his understanding. 

Ed Parker would usually show up once or twice a year and nudge people in the right direction but never disseminated a definitive way to perform any technique in commercial motion kenpo. That would have been counter-productive and would allow that some people would simply be "wrong." He opted instead for, "make it work" and it doesn't matter as long as it "works for you."

It worked and the simplicity and freedom of expression allowed in this version of his art allowed it to explode and proliferate successfully like no other. Parker owed much of this success to the Tracy's actually being first to franchise and spread a chain of Kenpo schools across the country. From a business perspective the Tracy's were very successful. However from a Kenpo perspective, they sold franchises to anyone who had the cash and thus had many inexperienced no/low rank people running schools. Also the franchise fees were so high, they were forced to crank out some pretty awful students in order to pay the frieght.

Seeing the pitfalls of the Tracy's, Parker devised an ingenious business plan built around, in part, the Accumulative Journal Operations Manual. He established a loose business relationship with all of his students schools through his students and his association. Having a conceptual vehicle that everyone could pretty much teach anyway they wanted, Parker didn't have to be constantly present. Money for promotion, certificates, and annual membership fees flowed into the IKKA. Than Parker traveled most of the year getting paid for seminars, and selling merchandise like books, patches, posters, etc. The schools than in turn supported the IKC every year allowing school owners to have access to Parker again and have students compete and in many instances test while they were in town. Parker was as smart as they come. He created a mamouth business out of thin air. He had all the assests of a major coorporation and none of its liabilities or taxes. Parker only actually owned two schools. The original in Pasadena and one in West Los Angeles (also known as the Santa Monica School originally) were his. The Pasadena school never made any money. He didn't own any of the other schools and when one lost financial viability and closed, students just went to another and Parker kept right on rolling. Sometimes school owners when they felt they had enough rank and understood the business well enough would simply defect and go on their own. Rather than become angry, Parker continued to service them with merchandise, seminars, and even rank. Unfortunately, this last category emcompasses the bulk of his students who over they ears defected in droves. Many of these guys are ones who proclaim today how close they were to Ed Parker and they hadn't been a student of his in decades.  But it never slowed the old man. He always remined cordial with most because "business was business," and he always came out on top. An absolute genius.


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## distalero (Mar 13, 2005)

Doc said:
			
		

> I guess no one else is going to answer so .
> 
> The Accumulative Journals or Red Book was modeled after Arthur Murray Franchise Dance Studios Operations Manual and Business Plan. Arthur Murray Studios are still in business in some places and if you are nice, they may show you one of theirs. They are nearly identical. Arthur Murray was also the origin of the term studio in reference to the commercial schools. Before that, most used (and some still do), the Japanese term, dojo which Parker dropped. Parker felt "dance" was the perfect business model.
> 
> .



Interesting. I suppose that's the way things shook out in SoCal but not in my neck of the woods. There were several "karate studios" around in '69, and I assure you, I started years before the "Red Binder" (and all that fiasco) hit my area. It didn't show up at my school until I was a high brown, and not until my teacher had bowed out (the book itself had some inserts for lower "colored" belts, which themselves were fairly new. In fact for most of my time I wore a white with tips, brown with tips, and black). I left at that time too; followed him.  I attended a dinner some time before the end, where EP promoted my teacher. From what I can tell, there were alliances (and maybe off shoots) that you weren't aware of.


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## Doc (Mar 13, 2005)

distalero said:
			
		

> Interesting. I suppose that's the way things shook out in SoCal but not in my neck of the woods. There were several "karate studios" around in '69, and I assure you, I started years before the "Red Binder" (and all that fiasco) hit my area. It didn't show up at my school until I was a high brown, and not until my teacher had bowed out (the book itself had some inserts for lower "colored" belts, which themselves were fairly new. In fact for most of my time I wore a white with tips, brown with tips, and black). I left at that time too; followed him.  I attended a dinner some time before the end, where EP promoted my teacher. From what I can tell, there were alliances (and maybe off shoots) that you weren't aware of.


Sorry you probably misunderstood. I wasn't talking about just Southern California. Parker borrowed and used the term "studio" long before the "Journals" actually existed, as he moved from his Chinese Kenpo (sands karate) to his Americanized Chinese Version of hs art, American Kenpo. When Parker originally withdrew from the original Yudanshkai that was formed to legitimize the rank of its members and students, Parker rejected any foriegn language in favor of an "English only" approach. "Studio" was a common tern here around Hollywood where dance, photography, acting, art, and even weight lifting "studios" existed in the business world.

As far as alliances, that is how Parker began the business plan. Not all actually came completely into the fold. Some joined his organization(s), some didn't. Many never wore Parker's patch, or even called their art "American Kenpo," but Parker still had special relationships with teachers everywhere. 

He supported and promoted many teachers who were "orphans" for various reasons, and allowed them to have their own identity, and teach their own art. Being an "orphan" in many respects in the arts himself, he understood. He even had this arrangement within his own organization. The "Flores Brothers Kenpo" is a good example. Great guys who were affiliated with Parker through his International kenpo Karate Association, promoted by Parker, seminars annually with Parker, but never wore the Parker Patch, instead opting for their own.

Even his own school in West Los Angeles that Larry Tatum successfully ran for years was an anomoly. At one point most students in this school actually wore "Larry Tatum Crests" even though Larry worked for Parker who owned the school. Larry functioned so independently, some even believed wrongfully, that Larry owned the school. Most of the students who made black there (like Jeff Speakman), are actually Tatum black belts but mostly claim only Parker now.

My point is simply that Parker was an early force in the martial arts in America regardless of styles or affiliations. He supported, and sometimes promoted many who in turn supported him in some way. This is what allowed him in 1964 to successfully present his first International Karate Championship in Long Beach California where his own students and association members were in a minority, but everyone in the martial arts from everywhere supported him. Styles from the Japanese, Chinese, Korean, Hawaiian, and Filipino arts were evident. The creation of Parker's own business model was just another excursion into the business of the martial arts, not just kenpo and Parker touched just about everybody in some way. That's why he IS the "Father of American Karate."


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## distalero (Mar 13, 2005)

I find the history of EP's teaching and influence very interesting. Now I understand a little more. Thanks.


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## Big Pat (Mar 14, 2005)

I still have the "Big Red" I got from Mr. English in 1974. It was the 32 technique version that covered from Yellow to Green belt. My journal cover is printed, "Ed Parker's Kenpo Karate Studios". As compared to the later version(s) that includes the word American. I remember Mr. English taught, Ed Parker's Chinese Kenpo. Students were later asked/encouraged to join the IKKA but it was not required. If I remember correctly the cost was $35 to join, which included the Kenpo Crest patch along with the IKKA patches and a copy of the accumulative journal. To me, a kid at the time that was a lot of money-lessons were $3 each!

EKP RIP
Big Pat


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## Doc (Mar 14, 2005)

Big Pat said:
			
		

> I still have the "Big Red" I got from Mr. English in 1974. It was the 32 technique version that covered from Yellow to Green belt. My journal cover is printed, "Ed Parker's Kenpo Karate Studios". As compared to the later version(s) that includes the word American. I remember Mr. English taught, Ed Parker's Chinese Kenpo. Students were later asked/encouraged to join the IKKA but it was not required. If I remember correctly the cost was $35 to join, which included the Kenpo Crest patch along with the IKKA patches and a copy of the accumulative journal. To me, a kid at the time that was a lot of money-lessons were $3 each!
> 
> EKP RIP
> Big Pat


Yes the one you have is even more rare, and is actually a precursor to "Big Red" that included the business plan. Yours should have the "green/brown" techniques included. Something that is also very, very rare. At that time there were no actual brown belts techniques, only extensions to orange. That is a keeper.


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