Suparinpei

[The Editor]

Dr. Glasheen,

Individuals who no longer work with us in a senior capacity suggested that allowing J.D. and Anthony to work together would further their therapeutic development in a positive fashion.

Unfortunately, they were in error.

In retrospect, placing two volatile individuals together--"protective enclosure" not with standing--could result in reenforcement of extreme behavior. We could forgive the honest intentions of our operatives. To have left them alone with access to a cappuccino apparatus constitutes, frankly, gross negligence.

In order to provide some calming influence without resorting to methods that some liberal thinking war crimes tribunals have deemed "excessive," we felt a video of you would serve as an example of appropriate behavior.

This to, unfortunately, proved an error.

After resorting to "stern" methods of "redirection," we were able to determine the source of their recent set-back as best as one can given their "concerns" were done in finger-paint.

With regards to your fine Suparinpei video, it appears they have some questions concerning one of the moves. Despite their hysterical chortling, we have elicited some possible names for this move, to wit:

1. Piano Plinking Phalanges of Pain
2. Disembowling Digits of Doom
3 Tickling the Dragon's CENSORED
4. Petting the Shi Shi Puppies
5. Shoo the Blue Tail Flies
6. Lady of Evening Dries Her Nails
7. My Hands are on Fire
8. Do the Hand Jive

We believe that information describing the application of such an interesting manuever would provide a positive influence.

It may cease their laughter.

--Ed.

[RACastanet]

To The Editor: I believe Bill refers to that move as 'Splashing Hands'. Like in a bathtub or at the pool maybe?
Rich

[gmattson]

Unfortunately, Bill is one of the selective group of web visitors, who cannot access Uechi-ryu.com due to technical problems with our server. However, I'm sure he will have a few choice words for the "editor" when he returns.

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GEM

[Bill Glasheen]

Editor

You are....creative...in your analysis of technique.

I too was baffled by the very technique. Furthermore, Simon Lailey did not offer me an explanation that I considered satisfactory. Then I had my epiphany. No, I was not in the presence of the little smoke that day. It just came to me.

Rather than give it away, I want to lead you and see if you come away with the exact same conclusion I had. Look carefully in the form. This sequence occurs twice. Look at both places where it occurs in the form, and then look what happens after the above-mentioned mystery technique. I'll give you another big hint. Don't think Okinawan karate; think southern Chinese gung fu.

Tell me what you think.

-- Keeper of the magic hands

[Evan Pantazi]

Glasheen Sensei,

I still await the Suparempi video, but I remember talking with you at last year's Summer Camp while you were filming. Is this portion of Kata under discussion the low horse stance with the 3 (imagine that) double slaps downward. If so I developed a great KO from it (a bit on the dangerous side, but hey that's what Kata is about. Could you tell me what the move or moves are after and before the downward slaps.

[Bill Glasheen]

Well now, quite a few directions here.

It seems that the Editor is preoccupied. I hear his charges keep him busy. Too bad...

EVAN

Somehow we need to get you a copy of that tape. I'm ordering a batch from Bill Jackson this week. I'll take care of you.

Yes, this is the sequence you and I were talking about late Saturday afternoon of camp. As I recall, you had some unique thoughts about it along the line of a KO. Certainly your experience base is very different from mine, so this is to be expected. I'll answer your specific questions and let you comment before I tell my own interpretation.

THE BEFORE

In both cases, the move appears to be the start of a sequence.

The first time, one turns 90 degrees counterclockwise with a left "crane hand" and a right lateral wrist movement (looks like a wrist strike). Nothing special here, because that sequence happens again and again in the form. To me this appears to be the end of a sequence, where you are grabbing at the opponents right wrist (potentially stimulating points while doing so) and doing a wrist strike up under the ear or in the side of the neck. A KO in my book. Thus....it appears you are now starting from scratch.

The second time you have just done a low left side thrust kick and followed with a shoken strike down. Again, it looks like curtains for that dude and you are starting afresh.

THE AFTER

This - to me - is much more interesting and relevant. In both cases you are "spotting" or "targeting" the next technique with your left hand (after having done the three hand movements.

First time you put your left hand out with palm down, and swing your right hand up (like doing and underhand pitch with a softball). while rotating counterclockwise to give a little extra umph. Your left palm slams against the inside of the right arm at around the elbow, and then you grab with the right hand. You witdraw/chamber the right while doing a "peeling" motion with the left hand. Several women who have done this form with me get a look of glee in their eyes with this technique, and give a kind of Zena warrior cry when squeezing the right hand. You get the picture.

In the second instance you put your left hand out to the left and use it as a target for a jumping crescent kick.

Again....in my book it's the left hand "targeting" following the "splashing hands" that is a fascinating (and relevant) similarity in the two different applications.

ANTHONY

The move you talk about in the beginning can be thought of as another manifestation of tiger moves found elsewhere in the Uechi system. Look at the grabbing and lifting move in seisan kata. Also look at the scooping block with shokens in sanseiryu (also done in dan kumite). The shoken is not just a thrusting implement. The more interesting applications involve tiger-like grabbing, twisting, and shearing. An extremely simplistic application might be grabbing the collar to move an opponent after having done a neck thrust with the shoken. However there are many more creative ways to use this. Jiu jitsu would be a good place to start looking for applications. There's a young fellow (name escapes me) who teaches at camp every year that I can introduce you to. He always has a few nasty joint locks to show off for moves like this.

-- Bill

[Evan Pantazi]

Bill San,

I ordered it form the internet but it didn't go through, tried it for about a month couldn't get it.  I finally emailed Mattson sensei and he had Mrs. Mattson is sending me a copy.  This was about a week ago so it should be along any day now.  Thanks for the offer though.

I believe I have some great ideas for all the moves you described but I will refrain until I see it done so as to make sure I can give a more accurate description. I will however comment on the "Zena" technique as we have that move in several Ryukyu Kata as well:

Imagine an opponent doing a waist tackle with your left palm catching the base of the skull (GB-20) with the Right palming the opposite GB cluster on the forhead in and toward the chin, (This KO I first saw about 6 years ago and was invented by Jack Hogan of Jacksonville, FL one of Dillmans higher ranks). If this didn't quite do it the right hand grabs the chin with the left bracing the shoulder to pull the chin back to break the neck...just another answer and just as satisfying for those that had a tough day at the office.

Agian the rest I will comment on or post an MPEG as soon as I review the tape.

Thanks for the input, can't wait.

------------------
Evan Pantazi
http://www.erols.com/kyusho

[Bill Glasheen]

Evan

Interesting interpretation of what now seems to be getting called the "Zena" move. I have seen several creative alternatives to this. You might like to know that following the right underhand swing, grab, and drawback/chamber, one swings around from a left to a right horse stance with a hooking right foot, followed by an elbow and back fist like one would do in kanshiwa kata. One then finishes with a double grab and front kick, and then the requisite wrist strike while turning.

Interesting that a pistol instructor once told me that any person worth shooting was worth shooting twice. This superinpei seems to carry that philosophy to an extreme. Keep hitting 'till they stop wiggling. Actually though I think the philosophy is more like what I learned from an aikido instructor. Many initial things won't work right so you need to keep flowing to the next, the next, and then the next technique until you land the sequence you want.

OK, here is my personal interpretation of "splashing hands". Ever wonder how you would fight someone if you were blinded by finger strikes or dirt thrown in the eyes? Well...you have to see with your hands. I find that I can target exactly where I want to hit if I can feel my opponent. Once my hands find the right features on the body, I can throw the subsequent techniques in the form right where I want them to go. I've demonstrated this a number of times and never missed. And you want to be damned precise in your control on one of these techniques unless your partner wants to become a tenor. This is very "Wing Chun-ish". You also (physiologically) react faster to what you feel than what you see. Note also that you are rotating away from the opponent's line of attack as you are "feeling". Very wise, and a "guess" that would usually work.

But....often these techniques have a life of their own. Your interpretation, Evan, might just be what the author intended.

-- Bill

P.S. I'm very interested in getting sections of this on MPEG to discuss. Need to start a topic with Tony some time on this. I've had some private chats with George already about what video equipment to get.

[Evan Pantazi]

Bill San,

If I may when I get the tape, copy a portion to the MPEG format and place it on your forum for discussion. I would like your permission sir, (as I am sure that FBI warning thing is on the tape).

[Bill Glasheen]

Anthony

I spent most of the video intentionally doing the motions slowly and making each technique distinctly obvious. I wanted it to be an instructional video. The form at the end shows somewhat how it should really be done. It flows very well, and it's obvious that one was meant to do a half dozen techniques (or more) at a time as a single thought or intent. One could do the form differently, as a long chain of power moves. But that would remove the flowing power that you speak of.

This is one form that - when done full power and speed - can sap the juices right out of you. I have done it several times as a demo. You won't see it at that intensity on the tape. Each time I have done it that way, it takes me about 10 minutes or so to get my heart rate and respiration back to normal. Even with the efficiency gained with good flow, a form like this begs for the fire in the belly. It's a good demo form for a ham like myself. Maybe one day I'll do it in a tournament (masters forms) for grins.

Bill