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The True Story of Kenpo Karate

What a thing to say, The Man Who Killed Kenpo.

But there is a story here, and this story has to do with what happened to Kenpo. 

Mind you, I will be talking about people who are considered icons, and I won’t always be saying pleasant things.

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Here’s the real story, and the start of per 150 kenpo techniques scientifically analyzed…Click on the Cover!

But that’s the truth of real history. Accept the fairy tale and learn a little, or look at the truth, no matter how much it hurts, and learn a lot.

So here’s the truth: what happened to Kenpo to make it long and hard to learn, what certain people did to mess Kenpo up, and the one man who, though he is praised as an icon, actually did more to destroy Kenpo than any other person in the history of the art.

Here’s the story.

 

The Real Story of Kenpo…

In the early 1940s a young man name of James Mitose began teaching Kenpo in Hawaii. He had learned the art in Japan, and it was a combination of karate and jujitsu. His specific interest, however, was street self defense, so he tailored the art to reflect that.

A young man name of William Chow studied with Mr. Mitose. He would go on to teach, and he would call the art Kenpo Karate. Chow, whose nickname was ‘Thunderbolt,’ liked to street fight, so he altered the art for street fighting purposes.

So we have two pioneers, each of whom took the art and did what they wanted to with it, changing it from its original roots into something more.

But shouldn’t people be able to do that with a martial art? Make it work for themselves in their unique circumstances?

Shouldn’t you be able to alter Kenpo to fit yourself?

That’s what these pioneers did. Shouldn’t you be able to do that, also?

Then a young man name of Ed Parker began studying with Chow. He was a large fellow, talented, but he was also busy. He would study, then leave, then come back and study, then leave…and he made it to brown belt. (Years later Chow would give Ed a black belt.)

That’s all.

He was just busy, and he went as far as he went, then he left the Hawaiian Islands and went to school in Utah.

In Utah, Ed taught Kenpo. He was a good teacher, and his students excelled, and it wasn’t long before Ed ran out of material to teach them.

So Ed went back to the islands and asked Chow to teach him more.

But Chow refused!

One story has it that he was upset because Ed was teaching without permission.

At this point we have to ask what, exactly, Ed was teaching.

In one of his first books he demonstrates a string of techniques which represent the exact forms called the ‘heian’ forms in Japanese. So while he used the name Kenpo, he was actually teaching Karate. But that’s okay, because, remember, Kenpo was a combination of Karate and jujitsu.

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The dichotomy of the universe…in infinite directions…the logo for the second How to Create Kenpo book.

The interesting question here is that while Karate, if that was Ed’s first taught martial art, worked, then why did he change it?

And he did change it. There have been at least five major variations of the art known as his Kenpo. The first of which was, as I have just stated, was actually karate.

The second art was Kenpo, and it was a string of techniques as taught by Chow.

So did Ed merely teach Karate as a prerunner to Kenpo? Was it part of Kenpo?

Interesting questions, but what is really important, at this point in time, is that the second version of kenpo was likely a string of hundreds of techniques. These techniques are still taught in their original form by the Tracy Brothers, who studied with Ed, but had a falling out with him, and who then went back to Chow as the source of their martial art. It is these techniques which are at the heart of this author’s books ‘How to Create Kenpo.’

Anyway, there are two distinct martial arts here, classical karate, and the strings of techniques which are true kenpo, and which are currently passed on by the Tracy brothers.

The third version of Kenpo came about because of a rather sordid situation created by Ed Parker.

Ed ran out of material to teach, his instructor refused to promote him or teach him anymore, and that gave Ed a problem: what was he going to teach his students?

So Ed looked around for somebody to teach him, and he found a fellow by the name of Jimmy Wing Woo.

Jimmy had studied Kung Fu in China for many years, and he was exactly what Ed needed: Jimmy was willing to teach without holding back.

Ed invited Jimmy to live with him, he was living in Pasadena now, and to help him write a book on Martial Arts.

Jimmy moved in, helped Ed write the book, and even began teaching his classes.

Some people noted that this was when Kenpo really began to look like Kenpo. The students got low to the ground, moved like panthers, and their techniques were crisp and shining.

kenpo training book
Here’s how you actually do the Kenpo forms, and create even more of them! Click on the Cover!

Interestingly, it wasn’t that Ed’s art looked like Kenpo, if this occurence is accurately noted, but that Kenpo began to look like Kung Fu!

Ed finished the book and began working with a publisher. The story goes that Jimmy saw a proof of the book and noted that his name wasn’t on it.

When Jimmy asked Ed about this, Ed is said to have asked Jimmy to take a ride with him, and then abandoned him on a street corner in Hollywood.

Jimmy didn’t speak English well, and he only had a single coin in his pocket. He used that coin to call one of Ed’s (now his) students. The student came over and was outraged by what Ed had done.

And, the story goes, all of Ed’s black belts left him, and they helped Jimmy start a martial arts school where many of them went to study. Indeed, some of them are supposed to be still studying with Jimmy.

On his website Jimmy doesn’t tell this exact story, and politely deflects what happened with a reference to his refusing to sign the book deal. Other people have been more forthcoming in their descriptions of this incident. The truth, unless Mr. Woo wishes to elaborate, will probably never be learned.

The Jimmy Woo inspired teachings of Kung Fu are likely the third version of Kenpo.

And there are apparently a fourth and fifth version of Kenpo. The fourth being a stripped down version of Kenpo, so he could promote students faster, and then the final (fifth) version of Kenpo, which he is said to have been proud that it wasn’t Kenpo at all!

But the point here is that he had the power of Karate in his first version, real Kenpo in his second version, classical Kung fu in his third version, and one has to wonder why he kept changing his art?

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A REAL block belt, not the memorization of techniques which worked for somebody else, but the art that is created by…YOU!

It was working, and on several levels, so why change?

But change he did, and he called his new art American Kenpo, and was proud of the fact that there was little, if any , actual Kenpo in it. This was reported by Will Tracy, who wrote a brilliant series of articles concerning the real history of Kenpo, and who opened up and shared actual incidents in the history of Kenpo, incidents which he was present at.

In fact, Will made a statement to the effect that Kenpo didn’t leave Ed, Ed left Kenpo. Will was referring specifically to Ed creating a style other than Kenpo, and that the Tracy brothers preferred to remain true to the original Kenpo teachings of Mitose and Chow.

At any rate, we have a lot to consider here concerning the establishment of of kenpo, and how it changed.

It is apparently an art that is Karate or jujitsu, and has been slanted for self defense or street fighting, and then remade into Kung Fu, and finally…it wasn’t Kenpo at all!

And, if you are a kenpo student, where does that leave you?

Which version are you studying? And, importantly…

What the Heck has been done to it!

But, I hate to tell you, but that’s not the end of the story!

One more thing was to happen, and this was to prove to be the death knell for Kenpo as it was once known.

Many people accuse Kenpo of having ‘car contracts.’ They are almost right. The real Kenpo contract was designed by a fellow named Hal Bowen, who had worked at Arthur Murray’s Dance Studios, and originally implemented by the Tracy’s.

With the introduction of sales contracts Kenpo was reconfigured to forty techniques per belt level, and the time to black belt was lengthened to four years.

Mind you, before then people made black belt in a year or two.

Chuck Norris made it in a year and a half. Mike Stone, arguably the greatest tournament fighter of all time, made it to Black Belt in something like 7 months!

But restructuring the system so it would take four years to get to black belt made people money, so it was here to stay, and the students coming in had no idea that things had ever been different!

Okay, now you now what happened to Kenpo. You understand that it fell victim to people who wanted to slant it this way or that, who morphed it into other systems and even arts, and eventually put it to contracts.

Mind you, what happened isn’t always bad. For every abuse of contracts, there is somebody who joined and became life long involved. And Kenpo has become one of the most popular martial arts in the world.

The question now is what can you do to fix it. To return it to the original concepts. To make it work like it used to work, before it was murdered, mutilated, and proudly left behind.

And this is where we have to consider what, exactly, my books on How to Create Kenpo come in.

Matrixing and Kenpo

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How to create a brand new Kenpo, one that fits your mind, your body, your unique and individual spirit! Click on the Cover!

There are actually 11 specific points wrong with Kenpo.

Some of these are easy to spot: why are there two arts, the art of kenpo, and the art of freestyle?

Or, what do you do about ‘posers?’ Posers being those techniques in which the attacker has to stand still and wait while the defender does the technique.

And then there are things like the balance of right to left and the problem of being too ‘busy’ with one side or the other.

Or the problem of not being stable in your direction. In other words, moving in and out, in and out, which moves causes you to stop your direction, change it, stop your direction, change it, and so on, all of which is VASTLY inefficient and non-scientific.

And there are 7 other specific problems with Kenpo.

Matrixing can fix those 11 problems.

Matrixing is a form of logic. It is a science, and it is a way of analyzing motion so that it adheres to logical concepts, so that motion makes sense, so that the body can truly be used as one unit.

Here are just some of the things that Matrixing fixes…

Many kenpo techniques begin from a body part being grabbed. This means that you let a person touch you, when you should have handled it BEFORE contact occurred. MATRIXING FIXES THAT!

Many Kenpo techniques rely too much on the use of only one hand. MATRIXING FIXES THAT!

Many Kenpo techniques are unbalanced, not efficiently blending the use of the right and the left sides. MATRIXING FIXES THAT!

Many Kenpo techniques do not effectively  use the collapsing of distance (which is what really happens in a fight). MATRIXING FIXES THAT!

All Kenpo techniques are arranged out of order. MATRIXING FIXES THAT!

The Kenpo forms are more akin to dancing. MATRIXING FIXES THAT!

Most kenpo techniques do not work in tournament or on the street or in any REAL situation. MATRIXING FIXES THAT!

Kenpo is two systems: freestyle and the library of techniques. MATRIXING FIXES THAT!

Kenpo is learned through the ‘monkey see monkey do’ method, which is to say by memorization of a large number of random motions. MATRIXING FIXES THAT!

Many kenpo techniques are ‘posers,’ which means that the attacker has to unrealistically wait while the defender goes through the technique.

And the list goes on.

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You creating the art of Kenpo…in an infinity of directions. This is the logo of the third volume in the How to Create Kenpo series.

These are all VERY real concerns if you want to make your martial art work, if you want your martial art to really go somewhere.

But here is the real thing that matrixing does…by putting the techniques in the correct order, by getting rid of inconsistencies that are just not logical, Kenpo becomes easier to learn, easier to remember, easier to make intuitive, easier to use.

Further, and this is incredibly important, you are not memorizing a long list of random motions, hoping that some day they will become intuitive…you are resolving Kenpo in your mind so that it becomes your own!

This means that you are not putting somebody else’s martial art in a copy machine and copycatting them, and hoping that what worked for somebody else will work for you…but rather that you are ‘creating Kenpo’ in your own mind. Making the art from the ground up.

Look, when you matrix something you make it unique to yourself. It FITS your body and your mind. It FITS your ideas of what works and why.

So isn’t it easier to remember something you created? Rather than remember something somebody else created?

And the point is this: when you do How to Create Kenpo you stop memorizing, you make the techniques your own, you create them anew according to what you need, according to what is best for you.

But it’s not just the fact of you creating a new kenpo specifically designed for you…the simple fact of the matter is that the mind LIKES being stripped of distractions and illogical arrangements of motion.

The mind LIKES ease and simplicity.

It LIKES the scientific viewpoint.

It LIKES having the real reasons behind the techniques.

Look, the simple truth is this: the martial arts are a conglomeration, a random sequence of random moves. Nowhere is this more true than in Kenpo.

With Matrixing, for the first time, you can see a better logic, a way of organizing motion so that it doesn’t have to be laboriously memorized, but can easily be absorbed.

But, if you have read this far, then you understand that Ed ‘destroyed’ Kenpo back in the sixties, and that the Kenpo you have been learning might not really be Kenpo at all. You have been learning what Ed Parker created to fit the twists and turns of his own mind. And the real truth is that every person should create kenpo for themselves! This is the ONLY way to get to the heart of the art.

This is actually what Ed did with his 5 different systems of Kenpo, and it is what you should be doing. You should be evolving the art so it fits you…and my three Kenpo books show you EXACTLY how to do that.

How to Create Kenpo: The Real History

How to Create Kenpo: The Secret of Forms

How to Create Kenpo: Creating a New Kenpo

When you read these three books, when you DO these three books, you will definitely find the one true Kenpo Conept behind it all.

You will find that true art that drove people like Mitose, and Chow, and Edmund Parker.

You will find the one concept that drove Ed Parker to create five different versions of Kenpo, to create an at that was a true extension of himself.

You will find the one true Kenpo that is best for you, designed for you by you, that is scientifically true…TO YOU!

Here are the three books, guaranteed delivery through Amazon…simply click on the covers to go to the books on Amazon….

How to Create Kenpo Karate One: The Real History

ed parker kenpo karate training manualThe real history of Kenpo, including in depth analysis of James Mitose, thunderbolt Chow, Ed Parker, The Tracey Brothers, and more. Includes special chapters giving the exact 11 things that are wrong with Kenpo, and how to fix them! This book begins the scientific analysis of 150 kenpo techniques. Click on the cover to the right.

How to Create Kenpo Karate Two: The Secret of Forms

kenpo training bookAn example of how to analyze a classical kenpo form, and change it so it is quicker, more powerful, has even more techniques in it! Continues the scientific analysis of 150 Kenpo techniques. Technique by technique, belt by belt, you go through the whole system. Click on the cover to the right.

How to Create Kenpo Karate Three: Creating a New Kenpo

kenpo karate 3This book concludes the scientific analysis of 150 kenpo techniques. More important, it gives you the scientific method, known as ‘Matrixing,’ which enables you to take apart what you have learned and put it together in a brand new format, it helps you create a Kenpo that is true to you, that fits your body, your mind, your spirit. Click on the cover to the right.

31 thoughts on “Home”

  1. Just a comment, from an aging kung fu practitioner… My purpose to practice, to teach, to learn, is to live long and well. Did Mr. Parker? My understanding was not. Fighting, defense, all well and very good, as far as they go. Lets explore the next level tho. I for one deeply appreciate more than fighting skill.

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  2. I study Kenpo Karate under Grand master Mr Mills one of Ed Parkers original students. I can tell you this that our style of kenpo is continually evolving . the depth of motion and understanding of body mechanics that we are taught is second to none. as for your remarks on the history of Kenpo I will refrain from commenting as I see no need to explain what is a never ending journey. where the past masters have chosen to stop evolving from the true kenpo as you say…they are by thier very action condemning their art to history. We are taught to embody the spirit of kenpo and evolve and strive for continual improvement..always asking why…this is I believe the only way one can be …….enjoy your journey…and stay true to yourself and your art….peace. Bill

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  3. I owe my life to this man and the art that he created many times over. Nobody will ever know how much and to what extent. Kenpo was there when I needed it most. Paying it forward is all I have to offer. You are more than welcome to explore the refinements of Kenpo with us at http://www.reddragonskenpo.com/ here in Arizona. My instructor is Clyde O’Briant. I have been practicing American Kenpo for 40 years. My name is Curtis Kipp. We are all over FaceBook.

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  4. I study martial arts and I love it no matter what it is and I have used my art on the streets so I know what works because there are no rules on the streets.

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  5. I’m Bob Yoder the Grandmaster/Founder of Tai Shu Do. I have studied various forms of Kenpo and have incorporated them into my art of Tai Shu Do as reaction drills. Tai Shu Do is a combination of American & Muay Thai Kickboxing, Kenpo, Aikido, Jujitsu, and Shaolin Iron Tiger Kung Fu. There are a total of 20 action drills. The first 10 action drills come from American & Muay Thai Kickboxing, the second 10 come from Shaolin Iron tiger Kung Fu, There are 20 reaction drills. The first 10 reaction drills come from kenpo which consist of countering holds and grabs, the second 10 also come from Kenpo and are reaction drills which consist of countered weapons such as the club (storm), the knife (lance), and the gun (rod). There are 10 zones which come from Aikido & Jujitsu and consist of learning to step of the line of attack, deflecting & redirected an attacker’s own energy, and then countering with strikes to the attacker. There are 10 line drills which come from Aikido & Jujitsu and consist of learning to step of the line of attack, deflecting & redirected an attacker’s own energy, and then countering with joint locks, take downs, throws, and if necessary strikes to the attacker. There are also 6 falls and rolls with come from Aikido & Jujitsu. There is also the Tai Shu Do version of three star blocking which involved striking with the forearms and shins. Sparring starts at white belt with slow sparring then increases in speed with each belt. Forms come from Shaolin Iron Tiger Kung Fu and 5 forms are required for each degree of black belt. The first 9 forms are required to be learned first then the student gets to pick which forms they wish to learn after the first 9 forms have been mastered. Of course there is much more to the art but this is the basic breakdown of Tai Shu Do. To learn more me, my art, and my academy please visit http://www.taishudo.com and feel free to contact me if you have any questions and or would like to learn Tai Shu Do. We are currently working on a Home Study Course which will consist of a Manual and DVDs. This will allow students to learn Tai Shu Do in the comfort of there own homes and or schools. Take care & God Bless!!!

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  6. The article serves as a great history lesson. I have underdtood that the art of chuan fa is the original form of Kenpo, even before Jimmy Woo got involved. I have seen material taught by Jimmy Woo’s black belts. Neither the material or energy in which it us taught resembles Kenpo. My 2 cents.

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    1. There may be some confusion between Jimmy H. Woo who taught San Soo in Elmonte, Ca., and James Wing Woo who taught Kung Fu and Tai Chi in Hollywood.

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  7. You are truly a complete idiot. Your facts are completely wrong, and for you to discredit a highly educated man. A Pioneer in the Art of Kenpo. Its completely beyond me why you would do this. You obviously never studied Martial Arts. your botched history of fact is a total ignorant move. Question? How do you keep and idiot preoccupied? Figure it out genius!

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  8. I’ve studied a ch’uan fa system for 60 some years.i studied with two grandmasters of tiek soo chang ch’uan fa.i do know the true and original orig.of kenpo .i do have some problems with whats been written here.

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  9. State your problems. My material came from a variety of sources, but the main one was the Tracy’s Kenpo site. Always open to new material or differing opinions. Al

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  10. i have studied and taught kenpo for forty five years you get out of it what you put into it. what hurts kenpo is all the so called masters that think they are the chosen ones. parker left no one in charge. willie pineda wyo,

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  11. CHA-3 Kenpo is the closet you will get to the teachings of James Mitose. Universal Kenpo is a close second. There are way to many self proclaimed Grand Masters and other self given titles. CHA-3 has one Professor and all are under him.

    My opinion about Ed Parker is that he is all Hollywood and not a true representation of Kenpo.

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  12. The information here is pretty shocking. I wouldn’t just rip into Mr. Case like some have done here. If Case is slanderous, I think it is pertinent to ask, “did Parker really leave Mr. Woo “holding the bag” out on Hollywood Blvd?!?” That says a lot right there. That is absolutely scandalous. If that really happened it demonstrates a degree of fraud and a kind of Martial Arts-Plagiarism: Parker is taking credit for something that he didn’t really create, slapping a name-brand on something that isn’t authentic. He knew he couldn’t market “Kung Fu” because it was laughable back then: just watch some interviews from the 1960s with Bruce Lee’s caucasian co-stars– there’s at least one instance where the Interviewer chuckles at the very term, “Kung Fu”. Granted, that’s one case, but the whole Bruce Lee reality in America testifies to Chinese and Kung Fu marginalization. Parker definitely knew about this and probably capitalized on the image and culture of Kenpo– a Hawaiian-Japanese background more palatable to American masses. Granted, Parker accepted Bruce Lee’s demonstration in the early 60s in Long Beach, but that is different than mainstream appeal. It’s quite likely that Mr. Parker was intensely motivated to market something fresh and Kenpo as a brand was very opportunistic. At the end of the day, I think no matter what side the reader lands on– pro Parker or contra Parker, it comes down to the science of motion we can glean from Parker’s concepts and techniques and also other great instructors. Thanks so much Sensei Case-

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  13. The study of Kenpo though out my life has been a wonderful journey. Kenpo is fine Art Form that has attracted some of the very best of humanity. My brothers that I have found in Kenpo have been and always well be a wonderful family.

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  14. You really think Ed Parker studied under Professor Bill Chow? and got a brown belt? It’s a shame many don’t know the real truth including the Tracey’s! They also wrote fake stories about Mitose when they don’t even know the real truth about Mitose, Parker and Kenpo! Only the real martial artists Old Timers know! How sad!

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  15. So as a ‘real martial arts’ “Old Timer”, please enlighten us as to the truth? Did Ed Parker study under Professor Chow? What IS the truth about Mitose, Parker, and Kenpo.

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  16. Way back in the early 1960’s Oriental Martial Arts were a mystery. Very few publications addressed the history & techniques. Dozens of companies sprung up overnight offering “true” manuals or correspondence courses. So the market was open for everyone. Ever since then I have pursued my study of the Martial Arts. it is a fascinating Journey Path !

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  17. I have practiced Kenpo for many years. And as with all martial arts there have been, are now, and always will be purists, rather like religious fundamentalists who may believe there is one and only one true practice, one true method… theirs! Such a mindset is, in my view, not understanding at all, but rather ideology and cult. Yet even ideologies and cults evolve and change with time. In contrast, martial arts are by definition “art” which, like the images and shapes captured in a painting represent the mind, spirit, and experience of the artist in the moment of creation. Many persons will learn the techniques and skills needed to paint a human hand, but no painting of a hand will be like any other. Combat, like life, is chaos. It is inevitable then that a martial artist will infuse her own nature into her practice, her unique strengths and weaknesses, and so art is always changing, always evolving, reacting to the chaos, never the same. And who would want it to be? How boring and how dangerous! I salute Sensei Case and will be honored to read his meditations on Kenpo.

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  18. I studied kenpo off and on for a couple of decades. And found that the reason for my leaving was that there isn’t anyone teaching or practicing a cohesive method for actually working the techniques against resistance, especially when it comes to realistic punch attacks. It’s a fun martial art, but I found in the end I was nothing more than a paper tiger kata dancer. So I went on to other more sport based styles and found practical ability. I wish I wouldn’t have chased my tail in kenpo for that long.

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  19. Wow.. This article is the most accurate history of Kenpo that I have seen. I would like the author and other readers more into the background of Kenpo\Kempo.

    A lot of long time Kempo or Kenpo practitioners do not the real truth in regards to the real origin of Kenpo. I have practiced original Kosho Ryu Kenpo and also Shaolin Kempo Karate for several years, going way back and I am sharing this knowledge openly in the public. Some instructors do not want the truth out as they have told their students fantastic tales of the origin of this style. Some think this below discredits them as well as who they learned the style from, but in reality it does not.

    The beginning of Kosho Ryu Kenpo came back over to Hawaii from James Mitose visiting Okinawa / Japan. In Hawaii the style and teachings was refined by James Mitose. He renamed the style a few times before ending up with Kosho-Ryū (Old pine tree school).

    ———————————–
    Here is the differences on the original Kosho Ryu Kenpo style and the West Coast Ed Parker Kenpo modified style and the East Coast Fred Villarii Shaolin Kempo Karate style… and it most important to read and under what techniques are in each of them
    ———————————

    The system of Kenpo taught by James Mitose employed hard linear strikes and kicks from Okinawa based Karate, and pressure point manipulation, circular movement patterns, and joint locking and breaking from Japanese Ju-Jitsu. William Kwai Sun Chow (known more commonly as William Chow) was a student of James Mitose. James Mitose trained Chow, who would go on to instruct Ed Parker and Bobby Lowe.

    Ed Parker again, was a student of William Chow in Hawaii, Ed Parker moved to the US mainland to and around 1957 (some say a different year), he began teaching the Kenpo that he had learned from Chow, and throughout his life modified and refined the art until it became Ed Parker’s American Kenpo. It employs a blend of circular movements and hard linear movements. Ed Parker also created techniques with “classical like” Chinese names such as Thundering Hammers, Five Swords,Prance Of The Tiger, ECT…

    Ed Parker’s Kenpo was modified and taught originally in the west coast of the U.S.A., and then in the early 1980’s Fred Villari who was a student of Nick Cerio and William Chow (some say Fred Villari knew Kajukenbo but is was solely Chinese Kenpo that Nick Cerio learned from William Chow and later was award black belt in 1983 by Ed Parker himself), modified the Kenpo style more, and named it Shaolin Kempo Karate which still employed the same hard linear strikes and kicks of Okinawa Karate, but also added Shaolin Kung Fu Five Animal hand strikes, Jujutsu (some say Aikido), China Na, and Mongolian Wrestling. He also added the Kempo with the “m” to make the name more Chinese based and to separate it from the Okinawa based Kenpo with the “n”. There is countless variants off of both Ed Parker’s and Fred Villari’s styles, as well as the original James Mitose Kosho Ryu Kenpo style.

    The two last facts are this:

    1) Any of the Kenpo or Kempo style ARE effective IF the style is practiced in a real world self defense mind set… reality based self defense in which “all three” noted styles must be modified for that purpose, including modern self defense weapons.

    2) Kenpo and all of it’s variants are 100% made in the U.S.A! The style again is Okinawa Karate and Japanese Ju-jitsu or Chinese techniques and / or sounding combinations blended together with the Okinawa Karate and Japanese Jujitsu.. but it was originally put together and refined right in Hawaii and the style IS 100% American!

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  20. Ed Parker taught at a time and into an American culture where it was, and still is believed that “more” is better. This together with the marketing aspect of the system sets the backdrop to a large, complex and and in some areas, a disjointed martial arts system. The only problem with this approach – and a major criticism from a lot of Kenpo practioners – is that Kenpo introduces confusion into what should be seen and delivered as instinctive and explosive techniques. After all, how many different ways does a Karateka need to respond to say – a roundhouse punch? I recall participating in a tournament where I Ko’ed a guy. It just seemed as though he took off and landed a few feet away on his back and out cold. Afterwards I was asked what I hit him with and my response was “you tell me as I haven’t a clue – I didn’t even think”. Counter attacks in this way may be launched at amazing speed with no thought – and that is the way they should be delivered, and not should I hit him with this technique or that technique, and what if he varies the levels or angles of attack. Kenpo has a ridiculous number of self defense techniques, and while some are really good, others are just plain flashy or flat out would not work. Take for example Five Swords considered one of the corner stones of the Parker Kenpo system – Responding to a right roundhouse punch by stepping in with the right foot and double block (parry and block). Really! – Such a move is just short of suicidal as that second punch is almost certainly coming. Compare this defender response with the simplicity of a Wing Chun counter. Onto Kenpo tournament or competition fighting. Show me any Kenpo guy that uses Kenpo techniques that are different to a standard Karate system such as Shotokan. They become indistinguishable to other systems techniques with the possible exception of the lack of kicking ability of the Kenpo stylist which is understandable considering that Kenpo is not a kicking art. A cursory analysis of the forms in Kenpo will reveil that up to Short 3 there is some definite structure however, at Short 3 the forms morphs into something else. The two man set is an anachronism to the rest of the system and was clearly taken from another Chinese system being similar to Hung Gar.

    Lastly – As I understand it – Ed Parker left Hawaii as a Brown Belt in Kenpo although Ed Parker was elusive as to how he progressed through the Black Belt ranks claiming in more than one interview that William Chow promoted him to Shodan. Something that William Chow flat out denied! According to Al Tracy, one of his earlier students, William Chow promoted Ed Parker to 3rd Dan around 1961. Now for my perspective! But first read this extract from a Black Belt Magazine interview with William Chow.

    BB: Wow.
    Chow: (pulls out another old photograph of himself and Ed Parker) you know who this guy is?

    BB: Yeah, Ed Parker.
    Chow: (upset that I recognized him) Yes, that right. Parker big shot on the mainland, right?

    BB: Oh, yeah. Everyone knows him. They call him the Father of American Karate.
    Chow: Well, I tell you something, and you remember this: Elvis Presley is the King of Rock ’n’ Roll; and Bruce Lee, he the King of Kung Fu, yeah?

    BB: I guess.
    Chow: (loud and clear) Ed Parker think he the King of Kenpo, but he wrong! There is no King of Kenpo. There is only the professor!

    BB: Yes, of course. But I don’t think he thinks he’s the king.
    Chow: Yes, he does.

    BB: But he’s one of your black belts.
    Chow: No, he’s not! He tell people that to make himself look big. Everyone says they black belt under the professor just to make money.

    BB: So he didn’t train under you?
    Chow: He trained under me, but he only make it to purple belt. He work more with professor Emperado than me. Go talk to him.
    Chow denies giving Ed Parker any rank above Purple Belt. Probably Emperado ranked him to Brown Belt but I think that Ed Parker awarded himself the Black Belt Shodan ranking. Al Tracy is hardly going to admit to this if was true, as it would undermine his own credibility and ranking. Lastly – In an interview in 1971 Ed Parker stated that he earned his black belt from William Chow (Official Karate October 1971 – V-3 No. 15).

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  21. In the early 1980’s just prior to professor Chows death I travelled to Hawaii and was invited to train with professor Chow and his one and only remaining student, Walter Lu. Walter was a new white belt. This was when professor Chow was teaching from a Catholic church near Pearl city Hawaii. I had many conversations with Professor Chow over the next two years. I lived in the mainland and visited Hawaii several times prior to Professor Chow’s death. I spoke with Professor Chow weekly via telephone we became quite close. In short professor Chow denied being an actual student of James Mitosie. He indicated that they were partners and not a student teacher relationship. He also indicated that Parker was in fact his student. That he advanced Parker to the rank of brown belt. He denied ever giving Parker his black belt. I provide this information as a personal first-hand witness to Professor chows last claim. The techniques and movements that professor Chow was teaching to student Walter and myself were completely different from the Ed Parker curriculum. As a particular note my name on this post is not my real name because I prefer to keep my real identity private. I do not want to get involved and petty disputes as to the real history of kenpo.

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    1. That was my question as well. And the story I hear from the Grand Master pretty much corroborates this story too. Ed Parker wanted to bring Professor Chow’s teachings to the mainland, and the Professor refused. Parker left the system, and did his own thing with it. My son and I were involved in the Kara Ho system, but moved away to where there was no school. We were told when we got here that the closest thing to Kara Ho was Ed Parker’s American Kempo school, because he trained under Professor Chow. When I went in to check out the school, I was met with some bad vibes from the instructor (can’t remember his name) after I told him we came from Kara Ho. His whole demeanor changed, and made me feel unwelcomed. I then went and checked out a Castro Kempo school, because I had heard Ralph Castro studied under Professor Chow as well. They were much more pleasant there. They closed soon after that, so we never were able to go.

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