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00:00I just wanted to ask permission to show you something real quick.
00:05We're all having a very tight time schedule, but he wanted to show you a quick something.
00:10So, I'm going to need to stand over there, stand over there, hold this, hold this, hold this.
00:19I'll just ask that.
00:20I think it might be, at 50 years age, you know, always when you go through something like this,
00:28to really explain a few things.
00:35You got to stage.
00:37I'm going to.
00:38Larry, David, come here.
00:43David.
00:48Okay, stop right.
00:51I need a commentator.
00:58Where's the Michigan boy?
01:01You here?
01:04This technique is slow, darn fast.
01:07You got to be a little bit of a kid.
01:09You're not going to be a kid.
01:11But I learned this last night.
01:12I learned this last night.
01:15That's really good.
01:17I learned that it's really good.
01:19It shows loyalty.
01:22So, the technique, what I'm going to do.
01:24You got your cameras ready?
01:25Let's see how fast it is.
01:27Okay.
01:28Are you ready?
01:2930.
01:30Are you ready?
01:31Yes, sir.
01:33Are you ready?
01:34Yes, sir.
01:35You want to see it again?
01:38Okay.
01:41That was the best lesson I think I've ever had.
01:43Hey, wait a minute.
01:44It's not done.
01:45Oh, it's not done.
01:46I'm going to do it again.
01:49You see it?
01:49Yeah.
01:51And this is how it is.
01:52I'm sorry.
01:53You're facing him.
01:54Yeah, there are these guys.
02:06All right.
02:06Mr. Tim has the role of...
02:09Let's go.
02:11Floor.
02:12All right.
02:13Come on up, you guys.
02:15Oh, my.
02:19All right.
02:21Let's go.
02:28Let's go.
02:31Let's go.
02:32Let's go.
02:34Let's go.
02:36Let's go.
02:37Let's go.
02:39Let's go.
02:40Let's go.
02:41Let's go.
02:44Let's go.
02:46Let's go.
02:47Let's go.
02:49Let's go.
02:51I'll have a brand new one?
02:52Yes, sir.
02:53You guys, I'm in this medication here, all right?
02:59This guy was sharp.
03:01I mean, they're masters of what they do.
03:03They're not, they're very real and poor company with their knowledge.
03:11And it's been a pleasure when I got to work.
03:14He was at Caltech.
03:16Sure.
03:17And we walked on the mats and, yeah, he graduated from Caltech.
03:24And he told me he's from Caltech.
03:26And I said, how am I going to teach you?
03:29How am I going to approach you?
03:31And we did it on a kind of a scientific program?
03:36A little bit.
03:38Very work for me.
03:39Oh, my gosh.
03:42He got a very interested into physics of the universe.
03:48Fascinating.
03:49Fascinating.
03:53And so, questions.
03:57Somebody had any questions?
04:00You wanted me to go over?
04:03I have a question.
04:05I was reading one time that it was able to develop power off the universal pattern.
04:13How did you develop the strength of the power off the universal pattern?
04:18Well, because, it's a good question.
04:24When you are reverent to a doing a form correctly,
04:34correctly, do it.
04:38It doesn't mean that you are reverent to it when you get the strength of it, right?
04:44Of course it does.
04:45But it carries certain shapes.
04:48And it has certain areas within it that produces more power than other areas.
04:56Okay?
04:59Now, the form itself is reverent to who?
05:03Or what?
05:04The form.
05:07What's the form reverent to?
05:09It says the universal pattern.
05:10The universal pattern.
05:13Okay.
05:14So, what am I saying?
05:16Good form, so it'll be your ballot.
05:18Oh.
05:19Who's the universal pattern?
05:21You.
05:21You.
05:23Okay.
05:26If I have...
05:29Oh, excuse me.
05:30Stay this.
05:31We're here with your back.
05:33Okay.
05:35Okay.
05:38If I drew a line straight through his head, straight down, where's the middle on there?
05:44How many minutes stop?
05:47Vance.
05:48I'm not that short.
05:52If I drew a line out this way, okay, what do I have?
05:59Force cross.
06:00That's a plus.
06:01That's a plus.
06:01That's a plus.
06:02That's a plus.
06:02Right.
06:02Exactly.
06:04Now, now that I've gotten these lines, I can do anything to this, right?
06:10So, if I took a line from here to here, and from here to here, I have what?
06:15X.
06:16Okay.
06:17So, I turned it this way, and that X becomes what?
06:22A plus.
06:24So, it's all perspective, right?
06:26Yeah.
06:26All right, now, if I took this line, put it here, this line, put it here, one here, and I
06:35put his arms out like this, and I have a triangle here, one here, two up here, square here, where
06:48do I have?
06:48The universal path.
06:50But he is the pattern.
06:52You guys are the pattern.
06:55Okay?
06:56All right.
06:57So, that's very important to understand.
06:59You've got to understand.
07:01You have to understand that.
07:04You are the walking universal path.
07:08Okay?
07:08You are symmetrically aligned to yourself.
07:12Okay?
07:13It's very important.
07:15You're symmetrically aligned to yourself.
07:18How many knew this?
07:22You didn't know this.
07:24But you should know that.
07:26Okay?
07:27If you live in this world, you should be born.
07:31And somebody say, by the way, you are symmetrically aligned to yourself, and you are also symmetrically aligned to what?
07:39Other people.
07:40Amen.
07:41Okay?
07:42And we are one.
07:43Exactly.
07:44All right?
07:46All right.
07:46So, how many people live their lives in a symmetrical realm of reality?
07:53You all do.
07:55But how many use that reality to enhance your physical effort?
08:03Okay?
08:06Perfect example, if somebody doesn't understand their physiology, and the relationship to themselves, and they get to fight, they're all
08:13out of the what?
08:16Outside the ramp.
08:17Outside the ramp.
08:18They're outside the ramp.
08:19Okay?
08:19So, they have taken themselves and put themselves in negative geometric shapes that are relative to the planet.
08:31It doesn't mean that it's like out of the pattern, but that's not just a bigger universal pattern.
08:37That's what I'm saying, out of their pattern.
08:41Now, you can stretch your pattern.
08:43Okay?
08:44You can stretch your geometric shapes that allow you to move as a human being.
08:50Okay?
08:53What would it be like if you didn't have heights, width, and depth?
08:59Two-dimensional.
09:01Two-dimensional.
09:02Well, you wouldn't be so.
09:03Yeah.
09:06Okay.
09:07You've got to have heights.
09:08You've got to have width.
09:09You're what?
09:10Yeah.
09:10Or you wouldn't be alive.
09:12All right?
09:12Now, why is it important to be alive?
09:18When you were saying you can stretch your universal pattern, could you change it to an oval?
09:27Yeah.
09:28So your pattern is an oval?
09:29Or can you change it to?
09:32You can stretch.
09:33You can stretch the pattern.
09:35You stretch the geometric shape.
09:37You stretch one, does the other ones have to be stretched?
09:41Reportedly?
09:43Yeah.
09:44No.
09:44No.
09:46You bring that stretch pattern back in.
09:48Yes.
09:50Okay?
09:50Does that make sense?
09:55Here it is right there.
09:56That's what you are.
09:57Okay?
09:59And now you're up there.
10:00You see the square?
10:01You see the plus?
10:02You see the other lines?
10:04That's what it is.
10:06Okay?
10:07Now, if you weren't, didn't have three dimensions, you couldn't live, nor could you make any what?
10:15You would have nothing to look like.
10:16Decisions.
10:18You would have nothing to what?
10:21Reference.
10:22You couldn't reference anything.
10:24Goodness.
10:26Okay?
10:26What would you use as contrast to what you are?
10:31Okay, so we're in here in the studio, and you see all these universal patterns out there.
10:37Okay, some are bigger than others, and some are really big.
10:40Okay?
10:41And some are very small.
10:45How do you reference each other?
10:48What you're doing today.
10:51Okay?
10:52You are a universal pattern, and he or she is, and suddenly you're what?
10:58Intertwined.
10:58You're intertwined.
11:00Okay?
11:02Now, your job for a technique, if you're a cat, is to do what's their pattern?
11:08Disrupt it.
11:09Disrupt it.
11:10Put those shapes in negative positions relative to themselves.
11:16But keep yourself in what?
11:18Oh.
11:19At a positive.
11:21Does that make sense?
11:22Yes, sir.
11:22Okay, so what I'm talking now through the universal pattern I'm speaking to you is I'm not saying, okay, she
11:31or he is this, this, that, that, that, and so forth.
11:34You know, she is a pattern.
11:37Okay?
11:39A very divine pattern.
11:41Very important.
11:42Very important.
11:43Very divine.
11:45All right, so would you, is that helping you?
11:48Yes, yes, yes.
11:49Would that help a little bit?
11:50Yes.
11:51Yes.
11:51I would say another philosophical part of it.
11:53Okay, all right.
11:53It doesn't mean.
11:54It's, it's, it's a double blade.
11:56It's just philosophical, but it's truth.
11:58Yes.
12:00Yeah.
12:00It's bad.
12:02Okay, it's bad.
12:03It's what you are.
12:04Okay.
12:07Now, if I have, what, have I worked for a second?
12:11A couple of weeks.
12:13Would you do the first movement on your hammer?
12:15I'm just walking.
12:17Now, one, if he drops his knee down on the ground, he's going to be knee-a-heel.
12:23Go ahead.
12:24Do you see how that is?
12:27That's just the way it should be.
12:29And the reason it should be, he's geometrically aligned to himself.
12:33Okay?
12:34And geometrically aligned to something else.
12:36Stand up.
12:38Now, if he turns that knee to the back of this knee, into a closed knee hook, because he
12:46was geometrically aligned when he stepped into this guy, this becomes a what?
12:51A check.
12:51A weapon.
12:52A weapon.
12:53That's right.
12:54Okay?
12:55Now, if one did this, you're blocking that.
12:57And he stepped in deep, you'll be.
13:00Okay, now turn it in.
13:02Now the other.
13:10It works.
13:12When I come from here, and if I step too deep, this works, but I'm not what?
13:21Because I'm not knee-to-heel.
13:24Okay?
13:25All right?
13:26Because one, naturally, after all his years, we need to heal from the start, everything
13:33else falls into alignment.
13:36Go ahead.
13:36Because they're both patterns.
13:39The difference between his pattern and his is what?
13:42This is positive.
13:44And I'm in a negative.
13:45He's in a negative.
13:46Positive.
13:46But now here's the contradiction.
13:49He's negative to him, but he's not negative to the guy you're punching right here.
13:58Position's a relative.
13:59Huh?
14:00Position's a relative.
14:01Relative position.
14:02That's the end of sleeper.
14:03He just drops it and blasts it.
14:05Okay.
14:06Wow.
14:07That's right.
14:12Too much thinking.
14:14You guys, does this make sense?
14:16Yes, sir.
14:17Okay?
14:18It's all relative and it's perspective.
14:20Okay?
14:21I'm working with patterns.
14:22Okay.
14:23First move.
14:24Go.
14:26All right.
14:27Next move.
14:27Go.
14:28Wow.
14:29This is lined up with a kidney.
14:34Why?
14:37Straight line.
14:38It's a straight line.
14:39It's a target that presented itself.
14:41No.
14:42What was the future?
14:46What was the first move?
14:50Okay.
14:51Do the first move.
14:52It was not.
14:54Pass.
14:55It was not.
14:55Pass.
14:57Lessons.
14:58And the future.
15:00Is that by design or accident?
15:03Design.
15:04Okay.
15:04Because universally, they're what?
15:07Aligned.
15:08Aligned to each other.
15:11Okay?
15:12Does that make sense?
15:13Very exactly.
15:14Okay.
15:15Now, so one doesn't have to worry about the other moves being aligned to each other as long as the
15:20first move is what?
15:22Correct.
15:22Correct.
15:23Right away.
15:23You see what I'm saying?
15:25Correct.
15:25Okay.
15:26Some guys, they get in there, and it looks great for movies.
15:33Okay?
15:35So I had a guy I saw on a piece of wood years ago.
15:38He said, this is how I punch one here.
15:41I said, great.
15:41I said, put it over a saw horse.
15:44I saw that board for me.
15:47And he couldn't.
15:49I said, well, saw it.
15:50So he went up there and he saw it.
15:52And he was in a perfect place.
15:57He said, okay, if somebody has to teach him to go to knee to heel, it's inherent.
16:03But somebody else taught him, this is how I want you to fight.
16:08You can win trophies just the way and caught us.
16:12You understand what I'm saying?
16:13But you don't fight, nor do you saw a board that way.
16:17When you saw a board like this, like that, still need proper balance.
16:25So the point I'm making, let's go back here.
16:27Let's do five swords.
16:29First of all.
16:31Now.
16:37Now, because one is still knee to heel, when he intercepted his knee and his punch,
16:46he was hit by all of his mass.
16:49Not just the weight of his limbs, but the mass that were fused to his what?
16:55The limbs that were fused to his body mass.
16:59You see what I'm saying?
17:00So, what?
17:01How much is your brother?
17:02A hundred weight.
17:03Yeah.
17:05He hits like a lot more.
17:10I guess the weight.
17:11I guess I'm going to throw it in, but don't throw it in the knee and just block the arm.
17:19That's still good.
17:24All right, it's good, but it's not 125 pounds good.
17:30Now, do it the other way.
17:33That's 125 pounds, but it's more than 125 pounds.
17:38Factor than what?
17:38She added a minimum.
17:40Mass.
17:40Mass.
17:40Mass operation.
17:41Factor than what?
17:42Mass operation.
17:44Mass operation.
17:45Okay.
17:45So, how much does he have to weigh to make this work for him?
17:51That's the way he is.
17:53That's the way he is.
17:53That's the way he is.
17:55Okay.
17:56All right.
17:56Does this make sense to you guys?
17:58Yes, sir.
17:59Okay, good.
18:02Give him a hand.
18:10Okay. Now you guys know, when you're doing a form, what you are doing is you're etching a universal pattern.
18:19Did you know that? You do now. You do now. You're etching a universal pattern.
18:27Okay. You want to know what you look like, don't look in the mirror. Look at that. Okay. Kind of
18:36an odd way to go. And that's only two dimensional, you know, the way it is right now.
18:42Okay. Now, watch this. One comes up. Throws me a left punch. Okay. And I decide to hammer. Okay. And
18:56as I hammer, this comes up.
19:01All right. So, this is, what's the upper scale of an inward block? You have middle and what? Upper case.
19:14Upper case comes across and hits him and the lower, the middle case hits him.
19:20All right. Now, if he shot a straight left, lower case, upper, and what?
19:29That's the other one. Okay. It falls into place. That is no more than a what?
19:36That's a rectangle. It's a rectangle this way, but to me it's a what?
19:45Okay. Now, if you look up here, he does.
19:50You see the diamond? You follow this. You see this spot here? What part of the arm is that?
20:00Coming from the center? That's upper case. Now, I'm going to go to the middle.
20:03Lower. They all, they all intercept these lines. They all intercept. That triangle will intercept anything that you have.
20:18In that quadrant. In that quadrant. Okay. Yeah. That make sense? That's it. Okay. Any questions so far?
20:28Okay. Oh, yeah. Yeah. So, we're working from the middle. So, we're saying we're in the middle of the universal
20:33pattern.
20:34We could meet. But see, the pattern is not unique in one place at all. When you see a pattern,
20:43a universal pattern, you're defending yourself.
20:48Okay. This is the demarcation pattern right here. You're on this side and your opponent's on that side. Did you
20:54know that?
20:56Is that anything? You see the line of demarcation? Yes, sir. Line of demarcation. You're on this side right now.
21:06And your opponent's on the other side.
21:09You don't occupy the entire pattern. Okay. But you can. Okay. All right. Now, watch this. If he throws a
21:24right or left?
21:25Oh, right left. So, let's exchange. Inward out there. Okay. Okay. Good. Perfect.
21:33Now, he shuffles in and hammer his nose. He can use a heel palm. Turn this way. Okay.
21:41You can use a heel palm to reach him. Right? And you can use this. Okay. But now, I'm going
21:51to have him occupy the whole pattern. Okay. Do your first move.
22:01One, two. Okay. Now, as you move, we're going to compound those three basics as he crosses over. Go.
22:13Now, because of the hex, he's on both sides. And now, if I take him out of the pitch here,
22:20put your hands on your hips. Okay.
22:25Here's that line. Here's this line. Here's, okay. Back here. He's occupying that. That's why they call it the universal
22:36stance.
22:37Because it occupies all of the eight angles, including the ninth angle going through. All nine angles. What does that
22:46do for you?
22:48Okay. We occupy a pattern like that. I'll give you a look. We do this. We do this. Right? And
22:57as I move, right?
23:00Okay. Then, everything else is opened up to me immediately. Because I'm one universal pattern. Okay?
23:12Everything opens up. All of the things that I couldn't get with a neutral stance is now offered to me
23:21by occupying.
23:23You okay? Yes, sir.
23:24A complete pattern. You want to try that?
23:34Okay. I'll do it without the crossover.
23:43What happened?
23:45You lost the ability to reach the diagonal. You got stuck in front with the side. When you're in the
23:49cross, you can go left, right. If you're, if you're exit universal, you can hit all the locks.
23:55You want to try that? Yes.
23:56You want to try that? Yes.
24:01Okay. Now, in answer to your question, thank you so much. Okay. As I move, I have so many areas
24:13where I'm getting power from. I can't name them.
24:18But I think it's a moment. It's a rhythm with your movement throughout the universal pattern.
24:25What I do is when I throw something into motion, okay, I don't need to backtrack to get it. I
24:34can shorten my circle. Okay?
24:36This is called travel. This is a little bit of travel. Okay? Now, what I do is I set the
24:45energy in motion. Turn on me. And I let this stuff go. I let the extremes go. You see what
24:54I'm saying? Okay.
24:59So, he's getting, uh, he's getting hit as if I was, see what I'm saying? Which is good, but it's
25:09block printing. You see what I'm saying? You can reach a point to where you're at you.
25:17And you're at power. All four of those stripes that I put in here, including me, okay, was in one
25:25motion. It was like I had a machine gun. Hold the trigger once. And that's what I'm doing on this.
25:35Does that make sense?
25:36Yes, sir.
25:36Okay, now, you okay? You okay, sir? All right.
25:41Sir, is, uh, when you rolled this, what, is it tightening up the circle? Yes.
25:46So your circles are large, they started large, and then they compressed into a smaller...
25:51Yeah, and if you look at what I do is I engage, you know, I expand, and then I won't.
26:02Contra-trap. Contra-trap, okay?
26:05You breathe, you breathe, and you what?
26:08Now they finally found out that the universe is not expanding, but it's...
26:15Breathing.
26:16Breathing.
26:17Breathing.
26:18Okay?
26:19All right.
26:20That's it.
26:21That's it.
26:22See, so it tells you what about the universe?
26:24It's alive.
26:25That's alive.
26:27And it needs to what?
26:29Breathe.
26:30It needs to breathe.
26:32Whew.
26:35Is this boring or is this healthy?
26:38No, sir, it's awesome.
26:39Well, this is important because you have to find your relationship to what you're doing in this art, okay?
26:51And why it makes you feel so good and you become critical thinkers unknowingly, you know, for many, and...
27:03It's because geometrically you are placing your body and your mind in a universal conjunction where they all coexist.
27:14Okay?
27:16That's what you are.
27:17That's exactly what you are.
27:20Okay?
27:20Any questions about that?
27:23No.
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