Martial Arts Home Training. Mike Young

to thank. They are listed below in the order in which they came into my life. These people include: Richard Miura (Wado-Ryu Karate), Alfred Dela-Cruz (Chuan-Fa Kajukenbo), Fu-Ling Tung (Tai Chi Chuan), Raymond Tabosa (Escrima), Patrick Hodges (Northern Shaolin, Pa Kua, Hsing-I, and Monkey Kung Fu), Master Hong (Hapkido and Tae Kwon Do), Jason Yoshida (Judo), Eiichi Jumawan (Boxing), Eddy Pedoy (Escrima), Kimo Pang (Internal Shaolin), Hide Hirayama (Taido), Cherie Jung (Taido), Bob Duggan (Hwa Rang Do), Richard Bustillo (Jeet Kune Do and Kali), Dan Inosanto (JKD and Kali), Randy Duarte (Capoeira), Daniel Duby (Savate), Bernie Pock (Northern Praying Mantis Kung Fu), Walter Wong (Wing Chun), Easie Williams (Boxing), Augusto Franco (Capoeira), Elba Serrano (Capoeira), Andy Lau (Eagle Claw Kung Fu), Bira Almeida (Capoeira), Camisa (Capoeira), Itabora (Capoeira), Fidel Fraijo (Boxing), Al Fraijo (Boxing), Kenny Hui (Northern Shaolin), Richard Sylla (Savate), Fred Degerberg (Eclectic Blend), Lhoucin Benghafour (Savate), Ivan Umek (Savate), Ajarn Surchai (Muay Thai), Francis Fong (Wing Chun), Rorion Gracie (Brazilian Ju-Jitsu), Herman Suwanda (Mande Muda Pencak Silat), Liao Wu Ch’ang (Monkey Boxing), Huang Ken Wang (Shuai Chiao and Sombo), Ken Liu (Pa Kua), Mark Wiley (Kali), Nicholas Saignac (Savate), Bob Koga (Aikido), Machado Brothers (Brazilian Ju-Jitsu), Tony Pascual (Ju-Jitsu), Ron Balicki (Shootwrestling and Kali), Jerry Walker (Lua), Eyal Yanilov (Krav Maga), Hing Piu Ng (Eagle Claw Kung Fu), and Tom Meadows (Combat Whip/Latigo Y Daga).

      FOREWORD

      In the martial arts—a world steeped in tradition—revolution is rare. Nonetheless, when it is widely agreed that a change is for the good of the arts, practitioners embrace it with fervor. One recent revolution was the incorporation of modern training methodologies. Along with the more familiar training devices, such as China’s wooden dummy and Japan’s makiwara, came more Westernized workout gear, such as heavy bags, striking pads, and the simple jump rope. As martial artists became increasingly aware of the need for modern workouts, a primary concern was the cost and availability of the necessary devices. Here is where Mike Young began a revolution of his own. Through his combination of invention and ingenuity, Mike has helped thousands of practitioners to develop veritable gyms in their own backyards. Not only does this save money, but it provides a connection with the equipment that ranges from the basic (you can build the equipment to your height) to the esoteric (some would argue that building your own equipment is the first meditative step in interacting with it). But regardless of whether you want to build a classic dojo or are just shocked by the cost of a punching bag and want to make your own, Mike has the solution. His instructions are clear, correct, and concise. He recommends materials that are readily available. Best of all, Mike tells you the fastest and best way to build the training tools, so that you can use them as soon as possible and still be using them years from now. It’s likely you’ll give out before the equipment does. But then, you’ll get up the next morning, see this piece of training machinery—complex or simple—that you have built, and once again you’ll warm up and work out. Having the proper equipment is inspiring, and Mike Young’s knowledge—passed on to you in the following pages—guarantees that in perfecting your martial arts through training, you can start a revolution of your own.

      —Marian K. Castinado

      Marian K. Castinado is a former executive editor for World of Martial Arts, Wushu-Kungfu, Dojo, M.A. Training, Karate Kung Fu Illustrated and Black Belt Magazine.

      PREFACE

      If we all did the things we were capable of doing, we would literally astound ourselves.

      —Thomas Edison

      After practicing martial arts for many years, I still love training above all of the other aspects that the term “martial arts” may entail.

      What I have found over the years is that many martial arts training devices do not fit my specific needs. To practice a technique found only in a certain exotic martial arts system is often difficult without a device specifically designed for that technique.

      Enter “Young’s Rock & Roll” home training equipment! After years of experimentation and trial and error, I’ve uncovered the little-known secrets and shortcuts in the construction of personalized home training equipment and will share them in this book. Although this book is just the tip of the iceberg, it’s a wake-up call to finding alternative training methods for enhancing one’s own martial arts skill!

      INTRODUCTION

      WHAT’S IN A NAME?

      Over the years, many people have tried to put a label on the exact style of martial arts that I teach. I have explored, studied, and practiced many different martial arts for over 30 years. I have always tried to look at the good and bad aspects of different martial arts systems and take the best of what each system had to offer. This is the core theme that martial artists should work for: seek to improve our martial arts skills instead of trying to label a martial arts system or criticize another style. It is the individual martial artist who makes a martial art work, not the martial art itself. Throughout my martial arts career, I have not put much emphasis on naming the system I teach, which is an eclectic blend of the many different martial arts systems.

      Through my current profession as a police officer, I have adopted an informal phrase that we used in patrol to name my system. The term often used by my fellow officers when we were about to confront a dangerous situation was “Let’s rock and roll.” As the years went by, I grew to like this phrase, because just saying those words before a dangerous confrontation seemed to help us relax and perform our job more effectively.

      I later coined the term “Young’s Rock & Roll” to denote the style that I teach, expressing my way of handling a dangerous confrontation, using whatever method possible to sub due the situation. I like this informal name, because it takes off the rigid edge or seriousness that many martial artists seem to have about the name of their great style. Saying the name “Young’s Rock & Roll,” one cannot help but smile and wonder what this style is about.

      This is what we all need in this world today, a little humor, a little wonder. I joke with my students about the name of our style, continuing 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