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Greene Central will be well represented in 2013-14 college athletics.
The school had four sign national letters of intent recently, and held a special ceremony for the quartet in its media center on Tuesday.
SNOW HILL � Greene Central will be well represented in 2013-14 college athletics.
The school had four sign national letters of intent recently, and held a special ceremony for the quartet in its media center on Tuesday.
Baseball players Ben Brann and Chad Murphy have signed with Barton College and Mount Olive College, respectively, track and field star Alexis Robinson will sprint for Western Carolina University and softball standout Jordan Sutton has opted to take her talents to Pitt Community College.
Brann keeps Barton tradition
Alex Brann graduated from Barton College on Sunday, four years after playing baseball for Greene Central.
This fall, Brann�s younger brother will follow in his footsteps.
Ben Brann, the Rams� ace left-hander, will pitch for the Bulldogs, keeping the Barton tradition alive.
The fact that his older brother had spent four seasons behind the plate with the Bulldogs made it an easy decision.
�I thought it seemed just like a good place to be,� Brann said, �and I got a good offer to go.�
As a senior this year Brann went 8-1 with a 1.27 ERA in nine starts and helped lead the Rams to a share of the Eastern Plains 2A Conference championship and to the state playoffs.
Brann threw seven complete games and five shutouts, and struck out 59 compared to only 28 walks.
�I just hope to be successful,� said Brann, who is undecided on his major, �and if I�m lucky maybe go on to the next level.�
Murphy fulfills dream
Along with Brann, Chad Murphy�s older brother attended Mount Olive College but not as an athlete.
The standout Greene Central shortstop gets to do both.
Murphy, who wants to pursue a degree in agricultural business, will be an infielder for one of the country�s premier NCAA Division II programs next year.
�Ever since I was a little boy I always wanted to play (baseball) and really I always wanted to play at Mount Olive, too,� Murphy said. �Everything worked out for me.�
Murphy was the Rams� big stick this year at the plate. He led the team in average (.324), plate appearances (85), hits (24), RBIs (19), extra-base hits (nine), home runs (four), on-base percentage (.405) and slugging (.554).
He said he will most likely move from shortstop to second base with the Trojans.
�I just hope to keep my batting average up high like I did at Greene Central and make no errors,� Murphy said.
Robinson makes unexpected choice
Alexis Robinson loves the beach, but ironically enough she�s headed to the mountains.
The lightning-quick sprinter�s decision to run for Western Carolina next year came as a surprise � especially considering she prefers flat land.
�I�m not a mountain person. I love the beach,� Robinson said. �But when I checked into Western Carolina I went up there it just amazed me � the peacefulness and everything, no distractions. I felt like I was home.�
It�s been a big week for Robinson. Not only did she sign her NLI to run for the Catamounts, but she also qualified for the NCHSAA state 2A track and field championships after finishing third in the 400-meter dash at Saturday�s 2A Eastern Regionals at Wilson Beddingfield High School.
Now that her college decision is behind her, Robinson, who plans on majoring in nursing, is focused on winning a state championship at N.C. A&T University on Friday.
�I just hope that my dream-come-true week ends in an actual dream come true,� Robinson said. �I hope that I�m able to bring that state championship back.�
Sutton gets total package
Jordan Sutton really wants to be a dental assistant, and Pitt Community College can help get her started down that path.
The senior catcher will play softball for the Bulldogs next spring while focusing on acquiring a degree to help her earn her dream job. But her true love is softball, which is why she chose PCC.
�I love softball. That�s my one true love,� she said.
Sutton played solid defense behind the plate for the Rams this season. She led the team in fielding percentage at .977 and committed only one error all year.
Sutton, who really wanted to attend Mount Olive, said she got a late start on the process of playing college softball, and after meeting with PCC coaches she chose to wear a Bulldogs uniform over going to Wayne C.C. after being accepted into its dental assisting program.
�I want to get my two years in playing (at Pitt) then hopefully go to Mount Olive or ECU and play,� she said.
Ryan Herman can be reached at 252-559-1073 or firstname.lastname@example.com. Follow him on Twitter: @KFPSports.


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White wooden gates lead to "Patch of Blue" – a Malibu horse farm, recently on the market.
Recently, Artie from Color Outside the Lines, sent me a real estate blurb about a house that had sold in Malibu. The brochure states the house was designed by Kelly Harmon, a famous Californian interior designer, who has long captured my attention. Doing a little stalking, aka Google research, the Malibu farm, called "Patch of Blue" appears to have actually belonged to Ms. Harmon and her family. Over the years, several of Harmon's homes have been published in magazines and design books and I have seen pictures of her horse farm - but this real estate brochure's pictures don't look familiar. Why? Trying to sort it all out, confusion sets in. Town and Country Magazine once did a spread on her Sagaponack vacation house on Long Island which was also called Patch of Blue. In a House Beautiful spread, her Malibu horse ranch is called "Butterfly Knoll Farm" and is referred to continually as a cottage, which this house certainly isn't. Are there two Malibu horse farms? To further muddy the waters, there is Harmon's Cliff May designed house in a L.A. canyon. It literally took me days to figure out which pictures belonged to which house: fueled by memories of old photoshoots and clippings from yellowing magazines, along with pages from numerous design books – I think I can safely say I have Harmon's real estate all figured out now: the things I do for this blog!!
Regardless of the correct name of this property or that, it's Ms. Harmon's aesthetic that is the important element. Her style is a mix of high and low – rustic and country pieces with painted, chipping finishes mix with pricey antiques from Sweden and France. Her color palette is monochromatic – all whites, beiges, ivories and creams – along with accents of blue. She says in one interview she really can not live with the color red. Everything about her style oozes comfort, ease and softness. A trademark of hers is the use of architectural elements – vintage shutters and doors, old windows, and columns which she adds to the outside and inside of all her houses, creates a fabulous atmosphere reminiscent of a European country manor. Another trick of her trade is adding white washed, peeling and crusty beams and rafters to most ceilings. Harmon can effortlessly turn any vanilla tract home into a French mas. And always, there is the lush, natural landscaping with flowering vines and roses everywhere. Add to this - her horses. All three of houses, in Malibu, L.A. and Sagaponack, are shared with her horses. She designs wonderful stables for them that resemble old churches from the countryside of Ireland.
Ms. Harmon has a long public history – first married at a young age to the famous automobile inventor John DeLorean, her brother is the actor Mark Harmon and she was a long time spokesperson for Tic-Tacs. Today, Harmon is a well known interior designer, painter and horsewoman. Unfortunately, she has no web site, which is such a shame. I absolutely love her style – and it's a tragedy that photographs of her work are so hard to locate. Maybe one day she will write a book herself chronicling her fabulous design career. Some of the images shown today are over a decade old, yet they seem fresh and timeless, thanks to her use of antiques and solid fabrics – there are no trendy patterned fabrics here.
The first property shown today – Patch of Blue – is the horse farm in Malibu, across the beach fronting Highway 101. The farm eventually sold to Hollywood star Robert Downey Jr., according the blog, The Real Estalker.
Patch of Blue Farm, Malibu:
The first house is Kelly Harmon's Malibu horse farm, Patch of Blue, recently sold to Robert Downey Jr.
Bing Maps shows the property, with its main house, arenas, stables, and barn that was converted into a guest house. The front yard that overlooks Highway 101 and Zuma Beach is cut off in this view – it actually is quite large. The property is seven acres.
Entering through the front door, the view leads back to the main living area and out towards the Pacific ocean. Harmon's decorating style is evident in the lobby: a bleached daybed, wicker baskets, and faded rug. The walls are white stucco and the floors are parquet. The real estate brochure says the house was built in 1979. I imagine that Harmon redid the stairwell and banister.
The main living room: while the room looks relaxed and rustic with its wood beams – pricey Swedish antique sofa and chairs mix with an antique limestone fireplace.
Closeup view of the main living room – notice the vintage shutters indoors, a Harmon trademark. I love the mixture of the painted Swedish antique chairs and sofa with the French ladderback chair with rush seat. Harmon prefers to use area rugs – mostly old and worn, with muted colors.
This room looks like a combination sitting room and office. I love the striped slipcover chairs and the blue painted bookshelves. I assume this room is upstairs, overlooking the ocean.
This sitting room shares a fireplace with an adjoining room. I love how Harmon mixes in pricey antique bouillette lamps with pine picnic tables. These types of lamps with tole shades show up in many of her rooms. Notice how worn her rug is! Love that!!!
The master bedroom – in true Harmon style: Fine French antique chair and chaise longue mix with twig night stands, Swedish cabinet, and old vintage shutters. I love how she added the rustic white washed rafters. She layers rugs over wall to wall sisal. So pretty!!!
The back of the house – above is the master bedroom with its large balcony. Love the brick terrace. Harmon's landscape is always an important element in her designs.
The back of the house overlooking the Pacific ocean.
Antique brick terrace off the back of the house. Romantic flowering vines are growing throughout the property.
Patch of Blue has several horse arenas and pastures, along with riding trails. Must be nice for the horses!!!
The stables are so romantic looking with their plank wood doors. The real estate brochure states the stalls are "rose covered."
AWWWW!!!! Love the shutters.
Seeing the Patch of Blue farm started my mind turning – and questioning. I remembered seeing the photoshoot of her Malibu horse farm, but it didn't look like this house. Were there two Malibu horse farms? For several days, I searched old magazines and clippings, web sites, tax rolls, and old real estate brochures. The reason why this house didn't look like the one published in 2004 in House Beautiful was because it wasn't. Several years before Harmon lived at Patch of Blue, she lived right down the street at another Malibu horse farm! This farm is called Butterfly Knoll Farm. Do you remember these pictures from that shoot?
Butterfly Knoll Farm, Malibu:
The living room at Butterfly Knoll Farm – the first Malibu horse farm, photographed by House Beautiful in 2004.
House Beautiful repeatedly called this house a "cottage." It is also much older and smaller than the house at Patch of Blue. On the property is a charming horse stable that resembles an old Irish church. There are also riding trails, stables, and an artist studio. Here, is the living room of the cottage. The master bedroom is seen through the open doors. This living room has all her trademarks – low and high – pine picnic tables mixed with elegant French and Swedish antiques. Add to that, her columns and shutters. Note that the coffee table is now in her current Malibu horse farm – Patch of Blued, and the Swedish chairs appear to have been sold to a client (see next story below.)
The same living room – another view.
The master bedroom of her original horse farm in Malibu - Butterfly Knoll Farm. I adore the antique wood canopy with the checked fabric. The bed has a wonderful lace and linen spread. Notice the window.
The other side of the gorgeous bedroom with a large antique window which came from a Texas church!! Notice how the stucco walls are sculpted into the shape of a mantel. The bedroom was once the garage before Harmon renovated the cottage.
The kitchen at the Butterfly Knoll Farm. Love the chicken wire cabinets.
The original pictures from the sale of Butterfly Knoll Farm are still on the internet – years and years later!!! This is from the brochure, showing the adorable bathroom with French doors opening up to the outside garden. So Californian.
The adorable horse stable, designed by Harmon to look like an Irish countryside church.
Besides the two horse farms in Malibu, Harmon and family live in an original Cliff May designed house in an L.A. canyon. I couldn't find evidence of that house being photographed, but her Sagaponack house, also called Patch of Blue, on Long Island, NY, was photographed at least twice. The second time – was after Harmon had added two wings onto a smaller beach house. Of course, her horses are here too! The summer house in NY is so beautiful – even more rustic than her Californian houses. Here are a few pictures from the beach house in NY, as seen in several different design books that I spent two days searching through!!!
Patch of Blue beach house, Sagaponack, NY:
I apologize for the terrible scan – the pages ripped! Here is the Sagaponack beach house. I love this! Bleached floors, rustic columns and beams. Slipcovered furniture. There is even a rare patterned linen fabric in this house – unusual for Harmon. Notice the adorable Swedish table and chairs in the back corner. I adore the library steps going to nowhere. And notice at the back right, the stairs banister – so cute!
The other side of the living room above shows the dining area, filled with painted Swedish antique chairs and cabinet. Harmon was into Swedish antiques long before they were trendy. The chandelier is fabulous. I love how "undecorated" her style is.
And, there is this hauntingly beautiful scene of the breakfast room in Sagaponack, showing an antique Swedish chandelier. The door's patina is incredible.
More Kelly Harmon Interiors as seen in the now defunct Western Interiors magazine:
This house was designed by Kelly Harmon for clients who live in a classic Cliff May house in a canyon nearby her own Cliff May house in L.A. The neighborhood is one of the few in L.A. where horses are still allowed. Again, Harmon designed these stables to look like an old country church. Notice the charming stable doors and brick lined drive.
Close up of stables, with its antique French doors and brick lined walk. Harmon found 40 doors in an old French abbey which were used throughout this property. Also, a large cache of vintage shutters from Long Island was also used. I could live in the stables myself and be quite happy!!!!
The kitchen is so charming! Notice the rock wall, the antique wood mantel, the stone floor. This certainly looks European!! These chairs look identical to the Swedish chairs seen in Harmon's Butterfly Knoll Farm. Beautiful table.
This view from the kitchen shows the cabinetry and range hood designed by Harmon.
The dining room with rustic rafters, French doors, linen curtains, and antique table and chairs. The chairs came from Cliff May, via the Hearst Castle.
Closeup of the dining room, with its large painted Spanish credenza.
The bedroom is gorgeous – a French bench covered in an Aubusson tapestry sits at the foot of the bed while the pillows are covered in antique lace. I love flat weave patterned carpets as seen here – they are a great alternative to seagrass, which some people find uncomfortable for the bedroom.
More of the antique doors from France are used as shutters in the master bath. Harmon designed the bathtub using travertine – to resemble a horse trough. The chandelier shows her love of mixing the high and the low. I love how she hung a piece of simple burlap at the window. The stucco walls are so beautiful – adding so much texture to the space. The floor is saltillo pavers.
In a guest room, Harmon striped the finish off the twin beds and used simple linen as coverings. Beautiful.
Most rooms in the clients house have French doors – and a patio, hallmarks of a Cliff May design. The doors open to the outside. Here, the rectangular pool is newly designed by Harmon, replacing a kidney shaped one. Interestingly, when this couple renovated a house in Wyoming, they chose Madeline Stuart as the interior designer (shown in Elle Decor magazine.) Those Wyoming interiors are quite different than this Harmon designed house – the Wyoming house is more contemporary, sparse, and much less romantic.
Miscellaneous Harmon Designs:
Another photograph of Kelly Harmon's design which I found on Velvet and Linen's blog. Again, there is no attribute to where it is from. But could this be in the Cliff May L.A. canyon home? I think it must be from one of her own houses because it is the same coffee table found in the Patch of Blue house. It's so typical of Harmon's wonderful aesthetic – the mix of French antiques, antique doors, shutters, beams, and the ever present bouilette lamps!
And finally, another Harmon design, this time, Rooms to Inspire showed this bedroom. Again, there is no clue which project it is from, yet all her trademarks are here: the odd shaped windows and shutters, the linen fabrics and the painted and rustic antiques.
I hope you've enjoyed looking at pictures of Kelly Harmon's work. She has no web site unfortunately! I wish she would think about getting one to show her wonderful work – or perhaps write a book. It's sad to think there is no permanent record of all her fabulous houses.
Reminder – a new Skirted Roundtable is up – please listen HERE. AND AND AND – Mary Douglas Drysdale is coming to the Skirted Roundtable tomorrow night!!!! WOWOWOWOW.

subset: commoncrawl


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When I started to learn about koshi, it took 100% of my Karate attention. It became the single focus of my training. Often I would be thinking about koshi at home or work and my body would involuntarily twitch.
Koshi, koshi, koshi.
I certainly became koshi crazy!
As time has gone on and I have become more comfortable with koshi (coordinated, whole body) mechanics, my views about it have changed. For one thing, it is no longer the focus of my training. It is still part of the focus, but one of several connected things.
I have written this before, but I believe that it deserves repeating. If you do not know how to use koshi and have reached a point where just trying harder provides negative results, then, at that point, koshi will deserve 100% of your Karate attention. At that point, it is the missing link -- something that will connect your body and Karate and make your training much easier and much more productive.
At that point you will be like a drowning man gasping for breath.
But once you become more comfortable with koshi mechanics, you will certainly see that it is part of the overall dynamics of Karate. Maybe it is like the transmission in a car engine. The car won't run right without a transmission, but certainly there is more to a car engine than a transmission. I'm sure that you could think of many similar examples.
But in a nutshell, koshi is essential but not the whole thing. While you really cannot do Karate without koshi (coordinated, whole body) mechanics, it is also true that you can't do Karate with koshi only. It is a connector, amplifier, and director (and makes things much easier).
Of course, when I first started to learn about koshi, I overestimated its importance. Again, at that time it was 100% to me. That number has declined steadily over the years. There are two reasons for this.
First, as you train more with koshi, the size of your koshi motion reduces, until sometimes it is probably impossible for an untrained person to realize what you are doing. A trained person will probably recognize it. I understand that a really skilled person can completely internalize the koshi motion so that it is not detectable at all, except by its effects. This is something we are all working on in Kishaba Juku.
My point is that in the early phase, when koshi seems 100% important, the koshi motion is large. As the student progresses, the koshi motion shrinks. At times, it can seem like the student is not using koshi at all.
That is why a good teacher is necessary. If a teacher shows a new student (at least new to the koshi concept) by demonstrating a very small or internalized koshi motion, the student will never get it. Never. Thus, the teacher exaggerates his koshi motion and reveals it. Sometimes we say that he "opens" his koshi. He does not really "open" it, he just makes the motion obvious enough for the student to observe and copy it. Then the teacher probably resumes his usual minimized form of motion.
Actually, demonstrating an open koshi is probably uncomfortable for a teacher, because it is less efficient, slow, and takes more energy. Plus, there is always the chance that an observer will think: "That is too slow! I could hit that guy." Well, of course he could! An open koshi is like training wheels on a bicycle.
I like to go fishing. Tying knots is something you have to do all the time. When you read books about tying knots in fishing line, the illustrations are always big and easy to follow. The knots, before they are tightened, look really big. But when you are fishing, the real knots are small (and tied in the dark with hands slimy from the bait). The instructional picture are big so that you can learn. The real thing is tight.
Just like koshi.
So in the beginning, when koshi requires 100% of the student's attention, koshi looks big. As time goes on, it becomes smaller and either minimally detectable or undetectable (hopefully).
The second reason that the relative importance of koshi decreases over time is because koshi alone simply does not work. You need it, but you also need other things.
Two examples are body alignment and weight shifting. These are just two examples, but if your body alignment and/or weight shifting is wrong or weak, then no amount of koshi expertise will help you. Koshi does not make a bad Karate student good -- it makes a good Karate student better. This is really important. Without good fundamentals, koshi will just make a bad student worse. (Looking back at what I just wrote, I am shocked by the truth of the statement.)
Let's use a fishing example. A student with good fundamentals and good koshi is like a barracuda. Have you ever seen how a barracuda accelerates toward its prey? It is really awesome (and a good example of whole body mechanics)! But a student with bad fundamentals and a weak koshi (or exaggerated koshi), is like a jelly fish. All fizzle and no pop.
There are many fundamental processes involved in Karate. I won't go into them here, but I am sure that you know what I mean. In a physical sense, koshi brings them (the fundamental processes) all together, amplifies energy/power, and enables the student to direct it, as needed.
I now would say that koshi is about 10% of the overall process. This is not because I believe that koshi is unimportant but because I recognize that many things are important.
And it is probably wrong to break things up in percentages. Karate is not accounting. Everything is important and each aspect interacts with the others. The whole is what is important and koshi is part of that whole.
I just thought of a good example. What percentage of your body is your heart? Whatever that percentage is, you certainly cannot live without your heart, nor could you live with your heart alone. The heart is an essential part of the whole body.
When I move now, I do not emphasize koshi unless I am teaching students who need to see an "open" koshi. Moving on my own, I feel like I am not even using my koshi, except for maybe a small twitch now and then. I say the "less the better," but by this I mean that a tight, compressed koshi is better than an exaggerated, loopy one.
About a month ago, I demonstrated a kata and used no koshi at all. I do not mean that I used a small or internalized koshi, I mean that I completely turned my koshi off. This took some work because it is not natural for me to move without koshi now. Anyway, do you know what happened?
The kata looked somewhat crisp and powerful... and I was gassed (ran out of energy). Wow! It took so much more energy to move that way. I suddenly remembered how hard it was for me to practice Karate before I started to learn about koshi. I could not do several kata back to back. I needed a day to recover between training because of muscle strain. I hurt and was frustrated. Which made me like a drowning man in need of... koshi.
Moving with koshi is almost like cheating compared to the way I used to move. Now I see why Shinzato Sensei could move with such apparent ease when I first met him. He was cheating (in a mechanical sense).
Perhaps that is what we do in Kishaba Juku. We cheat energy and age -- at least we try our best to do so.
Charles C. Goodin
Koshi 10% - Cheating Energy and Age
When I started to learn about koshi, it took 100% of my Karate attention. It became the single focus of my training. Often I would be thinking about koshi at home or work and my body would involuntarily twitch.
Posted by Charles C. Goodin on Thursday, June 30, 2011
Repost: Heavy Koshi
I am reposting this blog post from October 17, 2009. Again, it is so that I can discuss the subject further.
Back to mechanics.
In Kishaba Juku dojo, we work hard on body dynamics. That is an understatement!
Sometimes I say that we are like racing car mechanics. We are trying to customize our students (and ourselves) for maxim speed, power... dynamics.
Sometimes I will see a student who has worked on developing a good koshi movement, which essentially is the use of whip-like (core driven torque) mechanics in all Karate movements. But some students are like a firecracker that sizzles -- just a dud. The whip is there but there is no power (or very little).
Most of the time, the reason for this lack of power is because the student has not yet learned to put his weight behind the block, strike or other movement. The "crack of the whip" is there, but it is just fluff.
It is important for our movements to be light and heavy. We move lightly, but at the moment of explosion and power transfer, all or much of our weight should be behind the movement. This is usually accomplished by shifting weight in different ways. Imagine a whip with a hammer at the end.
My point is that koshi is just part of the formula. It is an important part, but not the whole thing. Usually, when an advanced student has struggled for years to overcome the limitations of linear mechanics, koshi is the answer... at that particular moment. But it is the coordination of movement principles (body shifting, weight shifting, body alignment, delay, koshi, etc.) that leads to results.
Move lightly but hit heavy.
Charles C. Goodin
Posted by Charles C. Goodin on Thursday, June 30, 2011
Koshi -- Who Would Have Imagined?
I am certain that I would not have learned to use koshi (whole body mechanics) if I had not met Shinzato Sensei. OK, I might have been able to learn from one of his senior students if I was lucky enough to meet one of them, but there were none in Hawaii (we are 3,000 miles from just about anything).
But I am absolutely certain that I would not have discovered it myself or learned to use koshi from reading books and articles on the subject. I've even written articles on the subject and I am sure that they would not have helped me at all. If you learn something about koshi, it is easy to write about it. If you have not learned something about koshi, reading and writing about it are not very helpful (except to make you want to learn it).
I would even say that the videos I had watched about koshi would not have been helpful. Before I learned to use koshi, I just dismissed videos I was lucky enough to watch as "magic". This was true of the videos I watched, first of Oshiro Sensei, and then of Shinzato Sensei. They looked great and I could "see/understand" none of it. Now I can appreciate what they are doing and how they are doing it (to the extent of my understanding).
Basically, nothing except learning from a real teacher of koshi would have helped. It takes hands on training and someone to observe and copy (or at least try to copy).
I first watched a video of Shinzato Sensei about 15 years ago. He was doing Pinan Shodan on some grainy video. I kept watching the first movement over and over. It was impossible to anyone to move like that! More correctly, it would have been impossible for me to move like that the way I was moving. No amount of extra effort or extra power would have helped. I already had reached the point were "more" was producing less.
Then, about 10 years ago, I was fortunate to meet Shinzato Sensei. The "wow" factor was multiplied by 100 in person. How could he move like that? And how could he perform kata over and over and not seem to get tired (he's 19 years older than me)? And how could he keep smiling and laughing? How? How? How?
After about a day of training, I told him that if I could only learn to perform shuto I would be happy (I realize that is still arrogant). I thought that if I could learn to do just one movement correctly, that would be more than enough for me to work on for a long time. How lucky I was! By accident I had discovered the right approach. Trying to learn to do everything he did would have been impossible. Even learning three things would have been impossible for me. But a single movement might be possible.
I actually only learned part of shuto because I had recently undergone shoulder surgery. Shuto hurt. But I did learn gedan barai (downward block). I could do that (sort of) with my shoulder.
So when I returned to Hawaii after training in Okinawa, I worked on gedan barai. Over and over and over. Again and again and again, for about a year and a half, until I could "throw" the block with my koshi (whole body using koshi, lats, torque, recoil, etc.). Then I applied that mechanic to all other movements. I am serious. I tried doing a chudan uke with the same mechanic. I tried doing a shuto with that mechanic. Punch, kick, any block, any strike... I eventually applied my gedan barai mechanic to everything. If you watch me and understand koshi, you might see the gedan barai flavor in my movement. (My second son, in contrast, has a shuto flavor.)
And guess what? There is only one koshi motion. There are not different koshi motions of each technique. If you can apply koshi correctly to one movement, you can learn to apply that same mechanic to all movements... even movements you do not currently know.
Koshi teaches you how to move. Whatever movement or technique that you know or might learn, koshi will apply to it.
I would never had expected this, and I certainly would not have begun to learn koshi mechanics were it not for Shinzato Sensei, who I only admired in grainy videos 15 years ago. I think I wore that tape out!
I give credit to Shinzato Sensei. He gives credit to Kishaba Sensei and Nakamura Sensei, among others. I am sure that they also gave credit to the seniors from whom they learned and the fellow students with whom they trained -- probably many Karate experts no one has heard of.
It was an unlikely chain of events that led me to Shinzato Sensei and it was my misfortune and good luck that my recent shoulder surgery made me lower my sights to learning a single movement (rather than the whole curriculum!).
Who would have imagined?
Charles C. Goodin
My Transition to Kishaba Juku
Next February will be my 10 year anniversary as a student of Sensei Katsuhiko Shinzato and a member of the Kishaba Juku form of Shorin-Ryu. While I still have a very long way to go (an endless pursuit, actually), I feel comfortable with the Kishaba Juku forms of movement and have applied them, to the best of my ability, to all of the movements, techniques and kata of our system. It has become so second nature, that I can only remember my earlier form of movement like a distant dream.
I wanted to reflect on why I had a chance to transition from one form of Shorin-Ryu (which I had practiced for about 25 years or so) to another (which I have now practiced for almost 10 years). This is an important subject. In the last 10 years, I have seen many people visit our "style" but very few transition completely to it.
The first reason I had a chance, was because I really wanted it. I had come to a point where it was either "find it" or quit. When I met Sensei Katsuhiko Shinzato, I realized that he was "it." I firmly decided to learn from him to the best of my ability, or to fail miserably trying. There was no holding on to what I had previously learned. There was no, "a little of this and a little of that." It was 100% or nothing.
The second reason I had a chance was that Shinzato Sensei is an extraordinary Sensei and technician. I would say "magician," but that is just what I thought at first. I would say, "Karate genius," but we reserve that for Nakamura Sensei. So I will just stay that Shinzato Sensei is amazingly skilled at body mechanics, makes it look very easy, and can explain it to anyone who is willing to spend the time and effort to learn and practice. He is also very forgiving of slow students, such as myself. He also entertains questions, which is a good thing in my case.
The third reason I had a chance was that I was the head of my own dojo and belonged to no organization. I had no one telling me not to learn what Shinzato Sensei was teaching me. My Sensei in Hawaii encouraged me to learn at every step of the way. This is very important. I think that many people have a hard time transitioning to Kishaba Juku either because their dojo or association prohibits it or discourages it. Another reason is because some people try to keep one foot on this bank of the river and the other foot on the other bank. I just jumped and took a leap of faith (and/or desperation). I jumped and no one blocked me from learning. My own students accepted it and became my guinea pigs so to speak. In fact, many of them could learn from me faster than I was learning from Shinzato Sensei. I had to hurry to move along!
Being isolated in Hawaii, there were no other Kishaba Juku dojo here. This was a good thing. I only had Shinzato Sensei as my example. I had not learned from Kishaba Sensei or Nakamura Sensei. I did not have their examples in my mind. I only had Shinzato Sensei. Trying to be like one of these Sensei is really hard. Trying to be like them all or a combination, would have been too much for me. In addition, I did not have anyone telling me, "No, Kishaba Sensei did it like this," or "Nakamura Sensei did it like that." I did not have to deal with the memory of these teachers, or anyone else's recollections of them, except for Shinzato Sensei.
Finally, Shinzato Sensei has been very helpful to me during my transition. He would entertain my questions, read my draft articles, offer his comments, and give his encouragement. More than anything else, he has offered his example. I am inspired, not just by the way that he moves, but by his approach and dedication to training. Karate is not just an intellectual pursuit to him (although it includes that) -- Karate is about training to him.
I joke with Shinzato Sensei that I am trying to catch up to him. This may sound like a rude thing to say. In a Japanese sense, it is. However, what I mean is that as he trains, I will also train. As he improves, I will try my best to improve. I am not just trying to be a duplicate of him -- I am trying to copy his approach and they way that he pursues Karate. If I do this, I know that I will not be exactly like him. That is not my intent. He is not like his teachers and they were not like theirs. But they all were very dedicated to and had an approach to training, learning, and teaching.
I am also aware of the fact that I am a long distance student. I cannot train with Shinzato Sensei very often. If I try to literally copy him, I will always be copying a version that will have changed. In his case, this is a real problem, since I think he changes his technique and mechanics not just from day to day, week to week, month to month, or year to year, but from morning to afternoon sometimes! If I try to move the way that I remember he did, I will always be out of date.
But if I move forward from where and when he taught me, then I have a chance. If I follow his plan for advancement, then I have a chance.
I have also commented to Shinzato Sensei that he is very extraordinary because what he teaches progresses on its own. If you practice what he teaches you and apply it to what you know, additional lessons present themselves, and you repeat the process. It is like planting a seed. A seed does not simply replicate another seed. From a little seed, a great tree can grow and eventually produce its own seeds.
My point is that if you copy Shinzato Sensei and later show him your one perfect copy of that technique, I think he would think, "Is that all?" But if you learned from him and that set you on a course that leads to your own advancement/progression/learning, then I think he would be quite happy.
The last reason I think that I had a chance to learn and transition to Kishaba Juku, is that I am a rather obsessive person. And once I put my mind on something, I rarely change it. Once I saw how Shinzato Sensei moved and they way be approached Karate training, and the strength of his character, and how much he enjoyed Karate and encouraged others, that was it. If anything, my admiration and pursuit of him has only increased over the years.
I joked with him, not long ago, that I felt that I was catching up to him, but when I looked he had run farther ahead.
So where am I now? Much better than before and with a long, long way to go. After all, I am chasing a moving target.
Charles C. Goodin
Repost: Kishaba Juku-ness
I am reposting this blog post from January 21, 2008. That way, I can more easily write some follow-ups to it.
Most "styles" of Karate consist of a certain set of kata and a core group of basics. The kata and basics, and an emphasis on such things as kumite and kobudo, tend to identify the style. As with any curriculum, the students need to know what to do in order to do it. The style is a matter of "what."
I have mentioned before that Kishaba Juku, in my opinion, is not a style per se. It is a private training group. The emphasis of training is not on "what" but on "how." Essentially, Kishaba Juku is about learning how to move, how to generate power, and how to transfer power. Again, this is just my opinion.
Since the emphasis is on "how," the "what" is not so important. Shinzato Sensei has often said that the principles of Kishaba Juku can be applied to the kata of any style or system of Karate. In other words, the Kishaba Juku principles of movement could be applied to Shotokan, Shito-Ryu or Kyokushin. It is not necessary to learn Kishaba Juku kata in order to move the way that we do. The same movement principles could be applied to just about any kata.
Again, the emphasis is on "how" rather than "what."
In Kishaba Juku, we generally practice the kata that the senior instructors practiced before they formed their private training group. It was the movement principles applied to those kata that mattered, not the kata themselves.
Thus, a person could practice the very same kata we do but move in a completely different way -- a way unlike Kishaba Juku. And a person could practice completely different kata but move exactly like we do (to the extent that "we" in the juku move alike).
I can watch a person move and tell you very quickly whether they move like Shinzato Sensei or not. My seniors can say the same about Nakamura Sensei and Kishaba Sensei -- they can recognize their special way of movement.
You cannot tell this by the kata itelf or even the basics. What counts is how the person moves.
The format of Karate tends to require that students learn a certain curriculum. A student cannot achieve rank and seniority by simply being able to move.
But when it comes down to it, knowing a million movements means nothing at all if you cannot move well. And a person who can move well can make just about any movement work.
The other day, I attended a training session with some senior instructors here in Hawaii. When it comes to the form of kata, I am closest to Sensei Pat Nakata, who practices Chibana Shorin-Ryu. Our kata are similar.
But when it comes to movement, I move most like Sensei Alan Lee. He learned from Sensei Tomu Arakawa, who learned from Sensei Kanki Izumigawa, who learned from Sensei Seko Higa. Lee Sensei teaches Goju-Ryu. He is my senior and moves much better than I do, but our way of moving is very similar.
My form is closest to Shorin-Ryu but my movement is closer to a branch of Goju-Ryu.
This may sound strange, since I have only learned Shorin-Ryu, but with Kishaba Juku it makes perfect sensei. What is relevant is how to move, not whether we do Shorin-Ryu, Goju-Ryu, or some other style.
I am confident that I could teach a Shotokan student how to move like I do, using his own kata. Of course, this assumes that the student wants to learn this.
I am not a musician, but I imagine that there is teacher somewhere who can teach students how to play with more feeling and soul. That is a lot like what we do.
I have to qualify this post by saying that I can only speak from my own experience as a student of Kishaba Juku. I can speak for myself and my dojo, but not for others, and certainly not for Shinzato Sensei.
After a student learns what he is supposed to do, the question becomes how to do it. That is the essence of our group, in my opinion.
Charles C. Goodin
I Must Be Good
This is a story.
Two men were talking.
"Are you good at Karate?" asked the first man.
"I'm sure that I am," answered the second man.
"How are you so certain?" asked the first man.
"If only you knew how much I've paid for lessons!" declared the second man. "I must be good!"
I'm sure that many parents have found themselves in this position. They paid so much for Karate lessons over the years. Plus there were the tournament fees, testing fees, certificate fees, travel, gis, embroidery, weapons... For that much money, their child must be good.
There is a saying that you get what you pay for. I agree with this. However, in Karate you do not just pay by money. You pay by your dedication and hard work. Money is usually just a token.
Paying a lot for Karate just means that you have paid a lot. It does not mean that you are good or bad at it. Some people pay a lot, some people pay a little, and some people pay nothing at all. It all comes down to your dedication and hard work. Karate skill comes from training, and most of that will be on your own.
Charles C. Goodin
No "Do"
What is the "Do" in Karate-Do supposed to teach a student? Is it supposed to show him how to be a good person? Really? And if so, what kind of person?
Historically, the "Do" in Karate-Do was a change, designed to make the Okinawan art more acceptable to the Japanese, and more importantly, to Japanese officials who controlled the education system in Okinawa after its forced annexation. (The character for Karate was changed too, from "China or Tang Hand" to "Empty Hand.")
In the "old days", Karate was just "Karate", or "Tudi," or just "Di". There was no emphasis of a "Do" or "Tao," or "Way". In fact, it was more common for Karate to be written as "Karate Jutsu" (art or skill).
I remember once reading about how Karate students were "samurai." Really? I think that someone confused the countries. Early Karate students learned their martial art from Chinese instructors, either in China or in Okinawa. Karate generally is not derived from Japanese sources, at least not before World War II.
My point is that post War, Japanese Karate was designed to make "good" Japanese citizens at that time. I don't know about you, but I am not interested in that. I am half-Japanese by birth, but I do not practice Karate to learn to be a good Japanese person. I live in Hawaii. I speak English. I want to be a good person in the context of my life, where I live, now.
I know that this is a difficult point so let me tell a story.
A man went to a carnival. It was filled with rides, amusements, tents, balloons, and bright lights. There was food, drinks, everything you would expect to see in a carnival or amusement park. What a fun time! But after a while, he started to notice that things were "strange." The rides had religious themes and the workers were not just selling food and tickets, there were selling religious views.
All of a sudden, the carnival did not seem like such a fun place
Karate can be like that. Don't just look at the rides and bright lights. You have to ask what the workers are really selling (and why they are selling it).
If they are sharing a traditional form of self defense and self discipline, then good! But if they are selling a hidden agenda, a world or religious view, then you should be aware of it.
The "Do" in Karate-Do does not just mean "character." At least historically, it meant a certain type of character in the context of Japanese (Yamato) culture and the forced assimilation of countries such as the Ryukyu Kingdom and its people. Okinawan Karate instructors did not go along with the "Japanization" of Karate because they thought it was a good idea. I think it was more a matter of "go along or get left behind."
Please do not get me wrong, I am not saying that Karate students should be Okinawan either. I am saying that Karate students should be aware of what they are learning, and that Karate instructors should be clear about what they are teaching. You will not become skilled at Karate by acting Japanese or Okinawan. You will only become skilled at Karate by training hard, for a long time, and applying what you learn in your daily life as well. Karate training should make you "better" at being yourself, not someone else.
Anyway, that is why I just teach "Karate" and not "Karate-Do." In fact, I tend to use the term "Karate Jutsu."
Now let me clarify a point. There are many great things about Japanese culture. It is a wonderful culture and there are wonderful Japanese people. But the Okinawan culture is also excellent. The American culture is excellent. English culture, great! German, excellent! Argentina, fantastic! Korean, yay! Here4 in Hawaii, we are a melting pot of people from around the world. We celebrate each others' cultures.
There are excellent aspects of all cultures and outstanding people around the entire world. Good people are good people. If "Do" is directed toward that, then I am all for it. Help to make a student the best he can be in the context of his culture and surroundings. If you ask me, that takes practical wisdom... and real Karate skill.
Here is another story. Two instructors were comparing rank. They were the same dan level and had been promoted on the same day at exactly the same time."
"But I am Japanese!" said the first instructor.
Obviously, this does not make an ounce of difference.
Here is another story. A well known Karate instructor (Okinawan) was walking down the street when a robber ran up and kicked him in the groin.
A bystander helped the instructor up. "Did that hurt?" asked the bystander?
"I am Okinawan," said the instructor, "not Superman!" "Of course it hurt!"
We all put our pants on one leg at a time, and no matter how high we may be, we will bow down if kicked in the groin.
Charles C. Goodin
Posted by Charles C. Goodin on Friday, June 24, 2011
Courtesy and Being Considerate
I was looking up "courtesy" at dictionary.reference.com.
The first definition there is "excellence of manners or social conduct; polite behavior."
The second definition is: "a courteous, respectful, or considerate act or expression."
If you look at the first definition, "courtesy" is all about how you act. It is about manners and being polite. However, as we all know, a person can follow all the rules of courtesy (reigi) and still be "stink" (a bad person). A person can act right but actually be bad. He could bow perfectly but inside be thinking, "I do not respect you at all."
Formal courtesy can be a very shallow thing. It can be a false face, just a mask.
Of course, a sincerely courteous person will also try to follow generally accepted rules of courtesy. But in his case, the outer form of courtesy will actually reflect his feelings. It is true courtesy.
It is hard to tell if a person is exhibiting sincere courtesy or is just faking it. This is particularly true when you first meet someone. He can be all "nice, nice" but actually have bad motives. You might say that he looks right but smells wrong. In Tagalog, I think this might have to do with his "ugali." You just get a feeling that something is wrong. You might get a bad taste in your mouth, the hairs on your head or neck might stand up, you might see ugly, offensive colors, etc.
In Karate, we practice pretty formal rules of courtesy. Some people are very good at it! They will bow right, use the correct titles, keep the proper distance, look or not look in the eye properly, etc. They do everything properly, but that does not mean that they are right (sincere)?
There are also people who seem to do everything wrong. I was very good at this when I was an Aikido student. The rules of courtesy in Aikido are very deep and strict, much more so than in Karate. I used to do everything wrong, but with a good heart. My Sensei explained to me one day that even an act with good intentions can still be wrong. I was good and wrong. It is better to do something good and right.
Which gets me to the subject of being "considerate." A considerate person does good/kind things for others. An inconsiderate person does just the opposite. To me, it is easier to think in terms of being "considerate" instead of just being "courteous" or "respectful." Ideally, these will all coincide. But generally, a considerate person acts from his heart. His actions reflect his true intentions. "Courtesy" and "respect" might be true or they might not be. You have to know the person well to know the truth.
Just remember, a person could bow politely and be thinking, "I sure would like to stab you in the back with a knife!" At the same time, a person could bow incorrectly but have the heart of a saint.
So the issue is not the bow. It is the person.
So let's try to be considerate of others.
Charles C. Goodin
Posted by Charles C. Goodin on Wednesday, June 22, 2011
Toner Cartridges
I received an email from the TSA about my question about bringing toner cartridges on domestic flights. It stated:
The Transportation Security Administration (TSA) no longer restricts passengers from carrying toner and ink cartridges on domestic and international passenger flights to the United States. This provision also applies to certain inbound international air cargo shipments. Toner and ink cartridges are now permitted in carry-on bags and checked luggage.
Charles C. Goodin
Posted by Charles C. Goodin on Tuesday, June 21, 2011
An Interesting Article
I found an article, about... me. I had forgotten about it, but found it online. I actually like it because of the message. Please see:
Charles Goodin spreads karate culture.
By Chance Gusukuma
Strangely, I feel somewhat disassociated with the articles I write and the articles that are occasionally written about me or my research. "Charles Goodin" seems like someone else... that writer.
But I did like the message of this particular article.
Charles C. Goodin
Karate and Dancing
I have had three students who are excellent dancers. They are exceptional. Naturally, the movements of Karate are pretty easy for them to learn (they are used to learning complicated movement patterns. Flexibility is not an issue. They are more flexible than any other students. And they are in good shape too, with great muscle tone and stamina.
So what is the difficulty? Dancers do not have to hit and get hit. They generate power for movement. We, in Karate, have to learn to generate power so that we can transfer it to an attacker. We have to learn to avoid or absorb the attacker's power (strikes).
In Karate, we don't exactly want kick like a dancer -- we want to kick like a horse!
But a dancer should have an advantage in learning Karate, if they can learn to hit and take a hit.
Charles C. Goodin
Law, Karate, Fishing
I am an attorney. When I practice Karate, I don't think about law.
I practice, teach, and conduct research on Karate. When I go fishing, I don't think about Karate (or law).
So what do I think about when I go fishing? Nothing much, which is about what I have been catching lately!
Charles C. Goodin
TSA's Rules Concerning Martial Arts Weapons
I visited the TSA website today because I will be taking a couple of interisland flights in the coming months. I wondered whether laser printer cartridges are still prohibited.
I found a page on Prohibited Items. While many items are prohibited in carry on bags, what is allowed in checked baggage is pretty amazing to me. You might want to check out that page. Here is a link to a pdf brochure.
There is also a section on Self Defense and Martial Arts Weapons. You cannot bring billy clubs, black jacks, brass knuckles, kubatons, mace/pepper spray, martial arts weapons, night sticks, nunchakus, stun guns/shocking devices, or throwing stars in your carry on bags. But it appears that they are permitted in checked bags, as are sabers, swords, axes and hatchets, cattle prods, and crowbars, among many other potentially dangerous items.
When I travel, I do not bring any martial arts weapons. But come to think of it, if I visited Okinawa I would probably bring some back, in my checked bags.
I'm still not positive about laser printer cartridges. I think they are OK, but I am looking for written confirmation. I guess only an attorney would travel with a laser printer!
Charles C. Goodin
Cost of my Class
Our dojo still teaches class for $5 per month. This sounds very inexpensive.
But I expect students to attend regularly, help to clean the dojo, help other students, practice at home, work on their body dynamics, learn the meanings of each movement, and to apply Karate in their daily lives.
Actually, our class is pretty expensive!
Charles C. Goodin
Do You Know What That Means?
Sometimes when I watch a Karate student performing a movement in a kata, I will ask him, "Do you know what that movement means?"
Often, the student will answer that he does not. This is not too surprising. But what gets me is that most students do not seem to think that they are supposed to know that a movement means (how it can be used). They seem to think that just doing the movement is enough.
[Please remember that in this blog, I use the term "student" to include anyone who studies Karate. This includes students and instructors. We are all students.]
This is my view:
You should try to learn to meanings of each and every movement of each and every kata you learn. Otherwise, you are just mimicking the kata. The physical movements of the kata are meaningless without the associated meanings. Kata have no value at all if they just "look good." They only have value if they "work well." It is better for kata to look bad and work well, than to look good and not work at all.Always ask yourself, "How can I use this?" If you don't know or are not sure, you might politely ask your Sensei and seniors.
Please see: "The Why of Bunkai: A Guide For Beginners."
Charles C. Goodin
Getting in Shape
I often see Karate students who are in poor shape. Sometimes these include yudansha (black belt holders and even instructors).
Getting in shape is part of Karate training. We often say this. However, I do not mean that students can only get in shape by Karate training.
In fact, I would say that Karate training is just part of getting into shape. Students also have to watch their diet and eat healthy foods. Student should avoid smoking, alcohol, and illegal drugs. Students should get enough sleep. These are all normal parts of a healthy lifestyle.
I was discussing this with my second son, Charles (age 25). My second and third sons are in really good shape. When I mentioned "getting in shape," Charles replied that we do not only practice Karate. We also lift weights.
That is true. I probably lift weights 3 or 4 times a week. My sons lift more than that, and they also do other physical activities. They also watch what they eat.
My point is that there is more to getting into shape than just practicing Karate (unless you train in a dojo that also does quite a lot of conditioning on a regular basis).
But whatever approach you take to get into shape, the important thing is that you get into shape. That is part of Karate training. However you want to approach it, Karate training requires that you try to get into shape. It is not just a matter of learning new kata and getting promoted from time to time. If you are not getting into shape, you should concentrate on that for a while. There will be time for new kata later. If you get into shape, you will be able to execute the techniques better. You will be able to train harder and longer, and you should be able to defend yourself, if need be, more effectively.
Getting into good shape is even more important as you grow older. I am a grandfather. I cannot compete physically with 20 and 30 year old men in their prime. In order to move more effectively than them, I have to optimize my body mechanics, avoid all wasted energy, and also be in the best shape possible. I have to learn to do more with less. If I am in the best shape possible, at least I will have more to work with.
And I am only 53. My Sensei in Okinawa is 72. He is in excellent shape.
Don't get me wrong -- being able to do 100 pushups in a row does not mean that you will be skilled at self defense. But if you are skilled at self defense, being in good shape will give you a definite advantage.
And I would think that you would be healthier too.
Charles C. Goodin
Gi at Store
Today I was at a home improvement store. As I walked the aisles, I saw a Karate student who had obviously just come from class. The boy was about 10 or 11 and was wearing his gi bottom and top with his green belt slung around his neck. Of course, I did not say anything, but I wanted to say:
"Don't wear your belt outside of the dojo, ever. And don't wear your gi top either. Your gi is for the dojo. If you wear it outside the dojo, it will reflect negatively on your Sensei."These are just my views. I am sure that some Sensei encourage their students to wear their gi outside of the dojo, particularly if the dojo name is written prominently on the back. This could be viewed as a readily available form of inexpensive advertising.
Here in Hawaii, there was a time when Sensei closed the windows and doors to the dojo during training to keep out prying eyes. While not a secret, Karate was certainly a private matter and one could only become a student if someone the Sensei respected gave a positive recommendation. Students didn't talk about being in a Karate dojo. This was a private matter. And talking about training in Karate could evoke a challenge from another martial artists, boxer, wrestler, or street fighter. Karate was not a secret, but it was private. Additionally, Karate skill was best kept as a surprise for use in unavoidable self defense situations.
When Karate instructors came to Hawaii and started to make a living from teaching, they found that they had to advertise to get students. They also found that having 100 students today does not mean that they would have 100 students the next month. They constantly had to advertise to attract new students in order to replace students who quit, and also to make the enrollment grow. You don't advertise by hiding your art, so the "private" attitude about Karate was replaced, in some schools, by a new "public" attitude. Karate became a product -- more correctly, Karate lessons became a product. Belts, patches, certificates, titles, trophies, embroidered clothing, and a seemingly endless line of products could be bought from people and companies that were eager to sell them to aspiring students.
If they wanted 100 students, instructors found that it is extremely hard to find 100 dedicated adults. It was much easier to find 100 willing children (or 100 parents willing for their children to take Karate lessons). So classes and the curriculum became tailored to children. Adults could learn too. And if a child earns a black belt, well that is just great.
Tournaments help to increase enrollments too. So the focus of training naturally shifted to success in this format. Karate became "performance" oriented. By this, I do not mean performance in terms of the student's performance envelope (speed, power, timing, etc.), I mean performance in terms of "show." Karate had to look "good," whatever that means to whoever if evaluating the performance. Whatever happened to effectiveness in self defense?
So these are some of the thoughts I had, in just a few seconds, as I walked past a boy wearing his Karate gi with his belt slung around his neck at a home improvement store.
Well, I also wondered who this boy's Sensei is. Hmmm.
Charles C. Goodin
Not Very Good
This is a story.
A visiting student was watching the regular students practicing in the dojo. An old timer was sitting nearby and the visitor asked him about a particular student.
"He's not very good," replied the old timer.
Boosted by the remark, the visitor challenged the student to a kumite match. It was over in just a few seconds. The student easily floored the visitor.
After he recovered, the visitor went back to the old timer. "You said that guy wasn't very good," he protested.
"He isn't," replied the old timer, "he's fantastic!"
The moral of the story is this: take care when you hear someone's assessment of another person's skill. It is easy to misunderstand what they say, and are you sure that you can trust them? Besides, it is reckless to challenge someone like that!
Charles C. Goodin
Posted by Charles C. Goodin on Monday, June 13, 2011
Distinction of Naihanchi
Do you know who wrote this:
"The most important and significant distinction of Naihanchi lies not in developing fighting skills of offense and defense, but in training the lower parts of the body such as the waist and legs through slow and steady sideward movements with maximum strength, and also in building up those muscles indispensable to karate training."The author was Shosin Nagamine in The Essence of Okinawan Karate -Do, Chapter V, page 148.
I have to say that I seem to view this series of kata, quite differently, especially with respect to the first part of the sentence. To me (in my humble opinion and with all respect to Nagamine Sensei), Naihanchi is rich with "fighting skills of offense and defense," perhaps more than any other kata or series of kata. To me, Naihanchi is the king of the other kata. I would like all my other kata to look like Naihanchi, rather than vice versa.
But that is just me.
In Kishaba Juku, Naihanchi Shodan and Nidan are usually the first two kata taught to beginners. They are the most basic kata, and in many ways, also the most advanced.
Charles C. Goodin
Karate Bakka!
Some people might say, "Charles, all you do is talk and write about Karate. You are Karate bakka (crazy or fanatical)."
Well, I only write about Karate in this forum. I am also an attorney, but I do not write about legal matters here. This is one of my Karate "places," so it is natural that I would write about Karate here. As for 1500+ posts, I have to admit that is a little crazy, but it has been since 2006.
If someone said that I was "Karate bakka," I would say, "thank you!"
Of course I am "Karate bakka!" -- perhaps more than some and certainly less than others. It is good to be a little crazy about something (provided it is worthwhile).
Charles C. Goodin
Enjoying Karate
I enjoy practicing Karate with people who enjoy practicing Karate. As an instructor, I do not feel that it is my place to try to make students "enjoy" Karate by yelling at them, imposing discipline, or shaming them. If they enjoy Karate, good. If they do not, there are so many other things they could do.
Also, if I am very stern and strict, this will taint the student's Karate mind and body. Their attitudes will be tainted, as will their feelings. So will their physical movements and kata. Their very movements will show that they have a stern and strict instructor.
And I am sure that as soon I was was not there, the students' true feelings would be revealed. In my presence they would "love" Karate, but when I am gone they might "hate" it. This is not right.
If anything, I hope that my own enjoyment of Karate is infectious. I hope that my attitudes and movements reveal my true feelings about Karate, and that students will be influenced by this.
Another way to say this is that I try to teach by my example, rather than by my words alone (hopefully my example and my words are consistent with each other).
Just as I enjoy practicing Karate with people who enjoy practicing Karate, I also do not enjoy practicing Karate with people who hate or are being forced to practice Karate. If someone enjoys Karate, they will find a million reasons to do it. If someone hates Karate, they will find a million reason to miss training. In fact, a person who hates Karate will often feign or exaggerate injuries just to avoid training or to justify quitting. (Of course, there are many students with real injuries, illnesses, or diseases that can disrupt their training.)
Life is short. If you can, find what you enjoy (assuming it is worthwhile) and do it.
Respectfully (and enjoying Karate),
Charles C. Goodin
Biggest Naihanchi Shodan Mistake
To me, this is the biggest and most common mistake students make while performing Naihanchi Shodan:
The whole idea of Naihanchi is to have a firm base. The stance must be strong and rooted. The stance is destroyed when the leg buckles. To prevent this, the student must learn to press the leg out (or spread the hips) during the elbow strike.
The legs are not supposed to buckle during any part of the kata. I know this to be true because I did it wrong for many, many years. Now I am more careful about this. It is not a hard problem to overcome -- it just requires attention.
If your leg buckles, someone could stomp or kick it.
Charles C. Goodin
Posted by Charles C. Goodin on Friday, June 03, 2011
Coming To Class Late...
Sometimes a new student will ask me about our policy on coming to class late, leaving early, or missing class.
I always tell them that work, school and family come first. If you have to come to class late, it is OK. If you have to leave class early, it is OK. If you have to miss class, it is OK. There are certain protocols to observe, but coming to class late, leaving early, or missing class are not bad things. There is no moral element to it. They are not acts that should result in guilt or shame.
If you can come to class, come. If cannot, cannot.
I also tell new students that our dojo is Okinawan, not Japanese. We do not go overboard with formalities. My formality is this -- be nice and train hard (or train hard and be nice). All the formalities in the world don't matter unless you train hard, and if you are a jerk, then why are you still in Karate? Train hard and be nice. Be respectful of other people.
Our class is Okinawan, not Japanese. Living here in Hawaii, it seems to me that Okinawans are like "local" people, just like us.
I also tell students that it is better to come to class late than not to come. It is better to leave early than to miss class. And if you have a work, school or family obligation that needs to be attended to, you should not be at class! Hey, we only charge $5 per month. What is that -- 60 cents per class? It is no big deal.
Come to class to learn and practice at home. Don't come to class to practice. That is a waste of time. Come to class to learn and practice at home. If you miss a class, continue to practice at home. It is no big thing.
I am not a strict teacher. I am a strict student. I am strict about my own training and conditioning. That is what I like to do. If other students like to train and work on themselves, then I will be happy to assist them. But I am not going to yell or punish Karate into them, and I do not believe in teaching by shame and guilt. Life is too short for that.
There are many more important things in life than coming to class late, leaving early, and missing class. Train hard and be nice.
I will tell you this -- it is much easier to learn and practice Karate if you enjoy it. If you enjoy it, you will try to find ways to come to class early, to stay late, and not to miss class. If you enjoy it, you will try your best to learn and will also diligently practice at home.
I was infected by my own Sensei's enjoyment of Karate. His Karate is joy in movement (and terrible only if it needs to be so).
Charles C. Goodin
Posted by Charles C. Goodin on Friday, June 03, 2011


text:
At first glance, I would definitely say of course. But rather than defend this position since it seems obvious by the preponderant amount of Scripture supporting Jesus as the Messiah to the Jews (i.e. He came for the lost sheep of Israel, etc. etc.); I have asked the question because it seems by reading transcripts from John Hagee's book: Defense of Israel, he is making the point that Jesus did not come as Messiah to the Jewish people.
I have not read Hagee's book so I cannot definitively say he says this but the quotes from the book seem to indicate he believes this view. I like John Hagee and listen to his program often (though I do not agree with his eschatology or his over emphasis on politics). Is he preaching dual covenants (one for the Jew and one for the Greek); or am I reading the review wrong? Someone who has read or knows this book, please help me understand the reasoning.


text:
Dear Editor:
My apologies if I may have offended anyone with my recent letters to the editor. Opining on politics is obviously not my forte. As God seemed to speak to me in a dram last night, I'm having a midlife crisis. I was never meant to be a dispenser of political advice. As an Episcopal Priest friend of mine encouraged me once while stomping down her foot-"write poetry!"
I see where ILCC has a continuing Ed2go class entitled Pleasures of Poetry. For a mere $95 it's possible to take online courses for about six weeks. I think my "plan of attack" so far as becoming a published and well-known writer will be to keep repeating the class ad nauseum and submitting my poems to various publications.
Beginning with this poem right here in this my favorite "rag." God bless.
God's In Us?!
I don't see God in you.
Neither do I see you
Like me, I see
A depleted soul
In search
Of a
We fathom
Stars yet
Rarely see
Him about us
The one who
Taught, healed
And died
Who lives ALIVE!?!
Carolyn A. Moe, Estherville


text:
After spending much of the day modestly in the red, it looks like this stock market sell-off is picking up.
It's hard to pinpoint exactly what's causing this.
In it's FOMC minutes, the Fed said it should be prepared to vary the pace of its quantitative easing program. Not exactly earth-shattering stuff, but it reminds the markets that the Fed knows it could tighten.
Earlier this morning we got a weak housing number. We also heard from Caterpillar, a major industrial bellwether, that its recent sales have been disappointing.
There is also some chatter that a major hedge fund or two may be liquidating its positions.


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Brussels, 18 December 2008
Audiovisual Media Services without Frontiers: Frequently Asked Questions
One year ago, on 19 December the Audiovisual Media Services Directive came into force (IP/07/1809). It provides a modern set of rules for Europe's audiovisual industry that covers all audiovisual media services – traditional as well as online and on-demand audiovisual content. It also makes EU rules on TV advertising less detailed and more flexible and focused on future trends to make it easier for service providers to finance their programmes and for users to recognise commercial messages.
What is an audiovisual media service?
An "audiovisual media service" is a service provided by a media service provider. This service can either be a linear programme with a programme schedule (on TV or over the internet as IPTV) or an on-demand service (video on demand or catch-up TV).
Such services must come under the editorial responsibility of a media service providing programmes for the general. This definition covers TV programmes and on-demand catalogues of TV-like content, as well as commercial audiovisual communication (advertising, in other words) but does not apply to any non-economic activity like non-commercial blogs, any form of private correspondence nor radio. Platforms for the exchange of user generated content, such as YouTube, do not fall within the scope of the Directive provided that there is no editorial control over the selection of programmes for a broadcast schedule or an on demand catalogue.
Why has the EU adopted new rules on audiovisual media services?
Audiovisual Europe has seen tremendous change since 1989 when the Television without Frontiers Directive first defined a set of rules for television broadcasting in the EU. New opportunities for delivering content have raised the question of how these services should be regulated and what rules should apply to videos available from the internet or to films that are supplied at the user's request.
The old rules clearly distinguished between traditional broadcast content services and information society services that appeared with the development of new technologies. Today audiovisual content is no longer transmitted on a one-to-many basis only, but also on demand as a one-to-one service. The digitisation of information, the increase in transmission bandwidth, and the development of new distribution platforms have rendered the old technology-based approach to identifying media services obsolete.
The new "Audiovisual Media Services" Directive replaces the old "Television without Frontiers" Directive, which was last amended in 1997. It preserves the core principles of the existing television rules and adapts them to the new audiovisual environment and services like on demand films and news: protection of minors and consumers, fight against hate speech, promotion of European content, increased accessibility and an improved right to information through the right to short reporting. The underlying goal of the Directive remains the same: providing a single market for audiovisual content with European standards for "traditional" and new services so that national borders are no longer obstacles for viewers and users.
What sort of new services and technologies are being taken into account?
The Audiovisual Media Services Directive represents a shift from a technology-based definition of services to an approach based on the use of media, reflecting the following technology and market developments:
What does the Directive aim to do?
The aim of the Audiovisual Media Services Directive is to provide a modern, competition-friendly set of rules for Europe's providers of TV and TV-like services, by giving more flexibility for financing audiovisual content with new forms of advertising, for example. While continuing to ensure a high level of consumer protection the new Directive also creates a level playing field for all companies that offer on-demand audiovisual media services, allowing them to profit from Europe's single market, regardless of the technology they use to deliver their services.
The main elements of the Directive are:
Until when do the Member States have to implement the new rules?
Member States have two years from the entry into force of the Audiovisual Media Services Directive to transpose its provisions into their national legal systems. The modernised rules for Audiovisual Europe will fully apply in December 2009.
How far are the Member States in the process of implementation of the new Directive?
Only Romania has completed the necessary steps to fully implement the new Directive. The other 26 as well as the EEA countries (European Economic Area) and the candidate countries are in the process of putting it in place. In some Member States, the government has not even completed the consultation of stakeholders on the main options for implementing the EU rules (Bulgaria, Germany, Slovenia, Slovakia, Sweden, the Czech Republic, Spain, the UK, Italy, Estonia, Greece, Finland, Denmark and Cyprus). In others, drafts of the new rules are ready for parliamentary procedures early next year (the Netherlands, Lithuania, Latvia, Luxembourg, Spain, Belgium, Hungary, Poland, Portugal, and Ireland). Austria and Malta have already implemented some of the new rules, notably advertising rules.
What does the Commission do to help to transpose the Directive into the national law?
The Commission assists the Member States and organises regular discussions with national administrations in the framework of a "Contact Committee" as well as in ad hoc meetings with Member States' independent regulators.
In 2008 the Contact Committee met four times to discuss questions related to the implementation of the new Directive. The minutes of these meetings are available on the website of the Commission.
How many TV channels are there today in the EU?
The television landscape is more and more diversified and has reached considerable scope: over 4 000 TV channels are active in the 27 EU Member States. .About 350 can be classified as "mainstream" national channels (both public and private); about 1 750 channels distributed via cable, satellite, IPTV and mobile platforms are more specialised and almost 1 300 channels are considered as regional, territorial or local. About 650 channels are specifically aimed at trans-national audiences.
How many providers of video-on-demand (VOD) services are there today in the EU?
On demand services are rapidly expanding in the EU. They currently number over 400. Internet is the main distribution platform - 260 services – followed by IPTV services – about 100 - and by services distributed via cable connections – about 50. There are about 10 VOD services delivered by satellite and 2 operate in one country on a digital terrestrial platform.
Are TV and video on demand treated alike by the new EU rules?
The Directive covers both "linear" television broadcasting and new on-demand services, but treats them as two distinct categories of audiovisual media services. The distinction depends on who decides when a specific programme is transmitted and whether users chose (and control) what they view from a predetermined schedule or catalogue.
In other words, the Directive applies lighter-touch regulation to on-demand services, taking into account the increased degree of choice and user-control over the service. This also reflects the relative impact they have on society as a whole.
What advantages do EU consumers have from the new rules?
A single market for TV and TV-like services will give European viewers greater choice and more quality programmes. Enlarging this market to on-demand services will make it easier for users to watch what they want, when they want.
Consumers will also benefit directly from updated rules on advertising. The Directive strikes a balance between protecting viewers from excesses and stimulating revenues for media companies. It limits the amount of television advertising spots to twelve minutes per hour while allowing for more flexibility with regard to the insertion of spots between and sometimes in programmes. It also improves the level of consumer protection by establishing qualitative advertising rules for on-demand services.
The new Directive also sets out transparency obligations for service providers so as to ensure that they can be held liable for their actions. This obliges service providers to identify themselves so that editorial decision-makers can be held to account. There is a provision requiring all audiovisual media services to increase their accessibility for people with a hearing or viewing disability (e.g. through sub titling or audio description).
Access to short extracts for news reports of events of high importance, otherwise subject to exclusive rights, is ensured and promotes the public's right to information.
The Directive also encourages providers of children's programmes to develop codes of conduct on the inappropriate advertising of foods and beverages containing nutrients and substances with a nutritional or physiological effect, excessive intakes of which are not recommended.
In which way does the EU's audiovisual industry benefit from the new rules?
The Audiovisual Media Services Directive will contribute to the growth of EU's audiovisual industry in several ways:
Will the new Directive allow more advertising on TV?
The Directive introduces a set of rules for commercial communications across the new audiovisual environment. As a result, users now benefit from general requirements that make advertising and commercial messages readily recognizable, protect human dignity, and abstain from using surreptitious and subliminal techniques.
The amount of advertising spots will remain limited to 12 minutes in any given hour, so that viewers will not be overwhelmed with excessive advertising. Films, current affairs programmes and news cannot be interrupted by adverts more than once for each period of 30 minutes. Children's programmes over 30 minutes may be interrupted only once in each 30-minute period. However, service providers are given more flexibility regarding advertising breaks during other types of programmes, notably with the abolition of the rule obliging broadcasters to have 20 minutes between each break during the same programme.
Member States have to ensure that neither the integrity of programmes nor the rights of the copyright owners are prejudiced when advertising or teleshopping spots are inserted. This means that ad breaks should take account of programmes' natural breaks, duration and type.
Will there be product placement in all programmes?
As a basic principle, product placement is prohibited. There is no exception to this rule for tobacco products and specific prescription medicines. Exceptions are however provided for paid product placement in cinematographic works, films and series made for audiovisual services, sports and light entertainment programmes, unless a Member State decides otherwise for broadcasters under its jurisdiction. Product placement is also admissible where it consists of the provision of certain goods or services free of charge, such as production props and prizes. This type of unpaid product placement is also allowed in children's programmes.
Product placement is governed by presentational rules. The content and the scheduling of programmes that contain product placement should not influence a provider's responsibility and editorial independence. Programmes should not directly encourage the purchase or rental of goods or services, nor give undue prominence to a product.
Viewers must be clearly informed if there is a product placement at the start and end of a programme, and after advertising breaks.
Why are there rules for product placement?
Product placement has become common practice in independently produced works and feature films. The absence of EU-wide rules was an obstacle to the single market. Not only did this lead to unclear or divergent rules on product placement and prevent audiovisual content producers from making use of this important source of financing, but it also failed to adequately protect consumers, who have the right to know what kind of content they are watching.
How does the new Directive strengthen cultural diversity?
The new Directive requires Member States to ensure that European works are promoted beyond the world of traditional TV broadcasting in on-demand services. For example, media service providers can be obliged to invest a certain percentage of turnover in European audiovisual production, reserve a certain share of the catalogue for European works, and present European works prominently in catalogues. These measures will foster cultural diversity by strengthening the economic basis of Europe's production industries and encouraging the circulation of European works.
The Directive reaffirms the common policy objectives at the heart of Europe's audiovisual policy since 1989. It requires Member States to protect minors, promote European works and independent audiovisual productions, and prohibit content that would incite religious or racial hatred. New provisions safeguard the right to information and ensure increased accessibility for people with disabilities.
How culturally diverse our European TV screens are in practice?
More than 63% of Europe's television broadcasters' programming time is devoted to European works and over 36% to works by independent European producers. These new figures come from a biennial Commission report on the effectiveness of EU rules in promoting European works on European TV screens covering the period 2005-2006 (IP/08/1207).
How does the new Directive strengthen media pluralism?
The Directive explicitly encourages industry self- and co-regulation and underlines the importance of independent national media regulators to democracy and media pluralism.
It promotes pluralism through the diversity of news production and the free flow of information. Any broadcaster in the EU is guaranteed access to extracts of events of high public interest for the purpose of short news reporting, even if the event is transmitted on an exclusive basis by a broadcaster in another Member State. Some Member States had already introduced rules on short reporting, but others had not. This lack of harmonisation caused legal uncertainty for broadcasters. The new Directive ensures that there are equal opportunities for broadcasters under Community law.
What do the new rules do to ensure the protection of minors?
The old Television without Frontiers Directive protected children from TV programmes that could seriously impair their physical, mental or moral development. The new Audiovisual Media Services Directive extends this to on-demand services. On demand services that might seriously harm minors, may only be provided in a way that minors will not normally hear or see them. This can be achieved by password protection, encryption or other technical means.
What happens if a service provider from one country tries to circumvent stricter national measures of another?
The Directive contains a new procedure regarding broadcasters from other Member States allegedly circumventing stricter rules of the targeted Member State. The first stage of the procedure consists of dialogue between the Member States concerned on a "best endeavours" basis, and should enable most difficulties to be solved. Should this dialogue fail, a second, formal stage with binding measures would begin, requiring the European Commission to verify that the aggrieved Member State's proposed measures are allowed under EU law.
Side Bar


text:
Netflix shares have been on fire lately.
Yes, sure, the earning report that came out wednesday night blew Wall Street expectations out of the water, and sent investors streaming back into the stock.
But Rob Lowe knows the real reason for the nearly 60 percent pop in Netflix's share price (NFLX) since Thursday morning: It's because Netflix is now streaming The West Wing.
Lowe said as much in a tweet, reading "Hmmm, I wonder why Netflix just posted a surprise profit report?
#WestWing ???"
It's been re-tweeted more than 500 times, favorited more than 300.
Now, improved profits, and a jump in subscribers is at least part of the reason for the stock's rocket ride. But West Wing started streaming on Netflix Jan. 7, when Netflix traded for $95 a share.
As of this writing? Netflix trades for $170 a share.
Rob, you have a point.
Scott, like Rob Lowe, is also on Twitter: