I do not want to do what the seniors in Japan do.
Fine. Then there's nothing stopping you from getting out, if you aren't already. Pardon my French.
In response to you article on Thornton, I'll say this - if the bottom line is that you can't rely on eye pokes, biting, clawing and groin attacks to save your neck on the ground, then I heartily agree. Furthermore, I'd like to put in a quote from a conversation between "Salty Dog" and "Crafty Dog" from the Kali Tudo dvd:
Crafty Dog: Well, it goes back to...there's this certain famous student of Guru Dan Inosanto, I think we'll refer to him that way, those who know who he is know who he is, those who don't...it doesn't matter. And...people kept coming to me saying that "so-and-so says that Guro teaches is a bunch of BS, a bunch of dead patterns, and what do you think??"
He's an articulate guy, and he was famous for doing that stuff that Guro Inosanto teaches really well, and he's really quite impressive at it, so when he says it's no good, it carried a lot of weight with a lot of people. So they came to me, and it got me thinking, and I come to a different conclusion than he does, a very different conclusion. He's certainly free to follow truth as he sees fit, but he's also using it in how he markets himself in the martial arts world...'I can do that stuff, so when I tell you it's no good, you really know it's no good'. And that seems to me to be...inappropriate, and I think that as the years go by that will occur to him as well.
But the question remains...it's the same question we got with the first series - where's the sombrada, where's the hubud, the thrust-on tapping, all these drills that people associate with the Filipino martial arts, and a lot of people were looking at our videos and saying 'see, that proves that that stuff doesn't work', or 'that proves the Dog Brothers don't have technical skills, they're a bunch of sweaty, smelly, psychopaths with sticks'. And at the same time, all of us who went deeper, and have the better results in Dog Brothers do have depth in that, and we were just doing the DVD conversion of the 'Power' tape, and there's that carenza that we opened with with you [Salty Dog]...a lot of dead pattern training to produce the skill setting that is so impressive today. And so, it's an interesting thing, we addressed it a little bit in the first series, Wild Dog was saying 'where's the technique that these people aren't seeing? There's a tremendous amount of finesse, and there's a tremendous amount of technique in everybody in Dog Brothers. It's just that it's happening really fast, and if you don't have any contact experience, you won't know what you're looking at'.
And I think that's right, I think you see the skills developed by sombrada when Chris Clifton, True Dog, fights with staff. He gets into mid-range and he just knocks the bejeezus out of people because he's just more fluid and more flowing and more alive, because of the time he spent developing those skills. Not only those reasons, he's also a hell of a fighter and he brings a lot of other things to the party as well. But I think that we really do see the art there, and to the people who take our fights as proof that that's this is the more flowery stuff and that's the more cultural side to the art...I say know, it really does produce the skills, but you also have to get in there and mix it up, and that's where I think this certain famous person has profoundly missed the boat...because he was so good at that stuff he expected to just sort of waltz in, and...ta-dah, and...no, it doesn't quite work like that, you've gotta spend some time, and you've got to look in the mirror when something goes wrong, not elsewhere."