| A history of experience | | | | cortisone drugs that are produced naturally in the |
| It was the early nineties; I was a young martial arts | | | | body are released to help aid in cushioning our body |
| student who was raised on the idea that there really | | | | from pain to get through the survival situation. |
| was such a thing as a " magical death touch". It was | | | | Adrenaline acts as a sort of jump start in many |
| all over the pages of martial arts magazines, there | | | | situations. There have been many recorded incidents |
| were books written about it, it was the fad and | | | | of people being shot multiple times in combat and |
| Jean-Claude Van Damme even made a movie about | | | | continuing to fight through the situation. Adrenaline |
| it. I remember watching the movie "Blood sport " | | | | makes the body numb and trigger many other |
| starring Jean-Claude VanDamme. He portrayed the | | | | hormonal changes that can make the ability to |
| real life character of Frank Dux in a not so true to | | | | execute and feel these mystical pressure point |
| life story fabricated by Mr. Dux to bring himself fame. | | | | strikes improbable if not impossible. |
| It was a story of a westerner who trained in the | | | | 3. Body types are different |
| mystical arts of "Death Touch" or "Dim Mak" and | | | | I can tell you from first hand experience that these |
| became the first champion of an ancient tournament | | | | strikes are largely dependent on body structure and |
| where death matches were sanctioned. It was and is | | | | type. The more lean and frail the physique the easier |
| to this day quite entertaining. As a youth martial artist | | | | it is to access the nerves and pressure points. |
| I knew then; that was what I wanted to become. | | | | Sometimes if someone is muscular or obese the |
| I had been studying the martial arts and wrestling for | | | | techniques may need to be executed differently or |
| years when I was introduced to the late Master Stan | | | | not work at all. If someone is taller or shorter decides |
| Hart. My teacher and beloved friend the late Master | | | | access ability to the points.Then there is the genetic |
| Royal Seymour wanted me to attend a seminar with | | | | factor. Some people have thicker nerve sheathing |
| him, where secret and forbidden strikes and points | | | | than others. Bottom line is you can take the risk of |
| would be taught through the application of traditional | | | | attempting one of the controversial techniques, but |
| Karate forms or Kata. When we arrived I was told I | | | | have a back up plan. |
| could not be in the room, because I was too young | | | | What targets do work? |
| and not a black belt. Master Seymour was on an | | | | The evil sensei from the Karate Kid movie says, "If a |
| intimate level with Master Hart and convinced him to | | | | man can't see he cant fight, if a man can't breathe |
| at least allow me to observe. The sessions were | | | | he can't fight and if a man can't stand he can't fight." |
| days long and completely closed to the public. I felt | | | | This evil fictional character was on to something. |
| honored and privileged to be allowed to merely | | | | recently I had a debate with a parent of one of my |
| watch. Master Hart was possibly the world's leading | | | | Karate students. She was interested in why I took |
| expert on the arts of Hakuda and Hakushu; and a | | | | more of a progressive approach to martial arts rather |
| highly decorated Master of Ryu-Kyu Kempo. He | | | | than the traditional one she once trained in. I was a |
| studied with world famous author and pressure point | | | | little pompass and couldn't resist mocking and belittling |
| guru George Dillman. Both Dillman and Master Hart | | | | those who believe in and practice imaginary "Death |
| were direct students of Taeika Oyata, who's family | | | | Touches" and throwing "Chi balls". She asked why I |
| art was the Shurite / Ryu-Kyu kempo of today. I | | | | had this stance towards the mystical. I replied that it |
| watched and payed close attention to how Master | | | | was, "because these things an not be scientifically pr |
| Hart would teach and demonstrate knock out strikes | | | | oven." She then brought religious faith into the |
| by only a touch or tap in certain areas of the | | | | equation by stating that God was not scientifically pr |
| anatomy. I attentively learned the grabs and clutches | | | | oven either. She did have a point, because many |
| that Master Hart would apply to put his student | | | | believe in an entity that can not be pr oven. I |
| demonstrators in excruciating pain. I knew then that | | | | assured her that God and faith have nothing to do |
| this is what I wanted to learn and be able to apply | | | | with our conversation. I began to explain to her that |
| on anyone. If only he would accept me as a student. | | | | I only taught things that could be pr oven and |
| Almost a year went by and I was still not allowed to | | | | demonstrated to work. We spoke of vital targets. |
| do anything more than watch this training. Whenever | | | | She had no idea my expertise in this field. I simply |
| Master Seymour and I would return from these | | | | explained that I have spent many years training in |
| classes; I would immediately ask him to do the | | | | the mystical striking theories as well as anatomical |
| techniques on me. Often times they did not work on | | | | and bio mechanical striking science. |
| me. However there was a perk to watching; I was | | | | I explained that there are some things you can not |
| learning. Class after class I would watch and then | | | | deny. "If a man can't see he cant fight, if a man can't |
| after class become a punching dummy and yes I | | | | breathe he can't fight and if a man can't stand he |
| would also practice on Master Seymour. Master | | | | can't fight." I will now cover some real vital targets |
| Seymour took it upon himself to teach me the | | | | that are guaranteed to work in any situation: |
| training. Finally Master Seymour approached Master | | | | 1. The eye balls and socket ts |
| Hart and explained that I was learning and he was in | | | | 2. Throat |
| fact teaching me. He was able to convince Master | | | | 3. Ears |
| Hart to allow me to participate in the classes. I | | | | 4. Destroying the joints by making them move in the |
| became the class dummy. The only thing Master Hart | | | | opposite way that they were intended. |
| would not do is execute a knockout on me. I was | | | | 5. Arteries |
| too young. I still was not allowed to perform the | | | | 6. Any other soft tissue area. I.E. eyes, ears, nose, |
| techniques. I was what is known as an Uke. That is | | | | throat, neck, groin and base of the skull. |
| basically the one to get thrown and beat up. For the | | | | These targets were designed to create body |
| next two years I learned the techniques from Master | | | | function. by destroying these targets the body can |
| Seymour and Master Hart by getting beat up. | | | | not function. |
| After two years of getting beat up I was told I | | | | Taking the traditional and mystical into perspective |
| could finally completely participate; however he | | | | In the end I wish to leave you the reader with some |
| refused to rank or certify me in the art. As time | | | | enlightenment. All is not lost. These ancient techniques |
| went by and Master Seymour convinced him of my | | | | for striking and manipulating pressure points are a |
| diligence in training; he finally accepted me as a full | | | | product of a more primitive time when mysticism |
| student and years after the first training session I | | | | was a major influence on life. I have personally |
| was ranked. Through the years I learned pain points, | | | | witnessed and been taught many of these |
| disabling points, knockout points, recovery points, | | | | techniques and watched them work in a controlled |
| herbs and more. I saw the points applied time and | | | | environment. There is something to it and I definitely |
| time again. I often executed these techniques and | | | | believe that these arts should be preserved and |
| had many executed on me. I also witnessed many of | | | | passed on as an art. I do have a strong belief that |
| these techniques fail. I was seeing a pattern. certain | | | | the principles behind this training have more of a |
| techniques worked on some and not on others. I also | | | | healing value than a martial one. When it comes to a |
| noticed that we never did live training. We always | | | | life and death scenario I do not want to roll the dice |
| trained these techniques under predetermined and | | | | and rely on faith. I want to go with what I know will |
| choreographed attacks. I was also finding many of | | | | work. Master Stan Hart published an article on fighting |
| the techniques difficult if not impossible to apply in | | | | the title was "Too much ado about pressure points". |
| live fighting or grappling scenarios. | | | | This was an article I never knew existed till after his |
| Years passed and I joined the Army. I began to learn | | | | passing in 2007. He talks about the practicality or lack |
| military combatives that did not focus on tiny | | | | there of of many Pressure point attacks. This is |
| pressure points and mystical targets. I noticed the | | | | something he never spoke directly about when I |
| efficiency of learning these techniques and how easy | | | | trained with him. He also had devised a web page |
| they were to learn. I became involved with No Holds | | | | devoted to the preservation of these type of |
| Barred fighting; the real "Bloodsport" and I was not | | | | techniques. |
| able to execute any of these techniques. In fact | | | | Looking back on the very many years I trained and |
| there were no champions who were highly trained in | | | | corresponded with Master Hart; I now realize he |
| these mystical pressure points. All of the pressure | | | | never pushed these methods as street combat or |
| point experts were losing. As the years passed and I | | | | for combative use. He promoted many techniques |
| did more research as to why these methods did not | | | | for defense only and as a reactive measure; which at |
| work I began to find my answers. | | | | one point even he himself admitted reaction is not |
| Why pressure points just don't work in a fight | | | | the way to go in a real fight. He always promoted |
| 1. In a fight the heart rate can exceed 180 beats per | | | | the art for what it was and had a great love and |
| minute | | | | respect for it's preservation. Master Hart was very |
| When the heart rate meets or exceeds 180 BPM, we | | | | much different from his rival George Dillman who |
| lose all fine motor skills and function. There have | | | | continues to promote the mystical striking as |
| been studies that show expert pianists can not play | | | | effective and practical in street or combative |
| a tune after a simple treadmill workout where their | | | | situations. there is no doubt his aim is solely |
| heart rate met or exceeded 180 BPM. This is by | | | | monetary. |
| design; when the heart rate meets certain levels the | | | | Conclusion |
| blood flow only goes to those areas necessary for | | | | I do teach the art of Hakuda and Hakushu that I |
| the fight or flight response. This is how the body is | | | | was fortunate enough to have learned from Stan |
| capable of extreme physical feats. The blood only | | | | Hart himself. I do have a great respect for much of |
| goes to the large muscles required for running and | | | | the science behind many of the principles and for the |
| for battle. Only gross motor function exists in most. | | | | art itself. However due to the amount of time and |
| It becomes very difficult for the body to hit tiny | | | | diligence it takes to learn these targets and methods |
| points. even the brain goes into survival mode. | | | | I only train a select few students. I am sure to |
| 2. In a fight there is adrenaline rush | | | | explain that when I teach pressure points it is only |
| In extreme situations our body transforms into the | | | | for the preservation of a once lost ancient art. I |
| "fight or flight" mode. Adrenaline spikes and many of | | | | focus more of my teachings to the general populous |
| our nerve receptors are not sensitive. Dopamine and | | | | today on practical martial arts. |