How to Solve the Puzzle of Kung Fu!

The story of  Matrix Kung Fu, what I often call Monkey Boxing, is interesting, and it is one of the biggest breakthroughs I have ever made. It is one of the crucial pieces to the whole martial arts puzzle.

I had studied a lot of different arts. A short list would be four types of Kenpo, Eight types of Karate, Aikido, Northern Shaolin (Ton Toi), Southern Shaolin (Fut Ga), some Wing Chun (specifically the Sticky Hands), several types of Pa Kua, weapons, and so on.

Mind you, some of these studies were truncated and odd, some of them were wildly in depth. Some of them I spent a lot of time on, some of them I slid through and cataloged them and continued on.

At any rate, I had a fair amount of martial arts under my belt, over thirty years worth of studies, and I had done a lot of teaching.

The one thing that bugged me, however, was that it didn’t all fit together. There were so many holes, so many gaps between arts, points at which the martial arts even conflicted, and so on.

This went against my western mind. I believed in logic, I wanted things to be nice and tidy, I wanted the martial arts to make sense as one body of knowledge. Thus, one day, a result of this underlying irritation, I decided to ‘solve the martial arts.’

As far as I know, this is the first and only time the martial arts had been considered as a problem which had to be solved. Up to this point, you see, the Martial Arts were the the result of necessity, or of inspiration. They had been cobbled together, bits and pieces compiled by location/geography/etc., ordered by whim, passed on by tournament and vested interest, and so on.

But I wanted to solve them, and in this I managed to pose the martial arts as a vast, gigantic puzzle.

One day I got out all my boxes of notes, my video collections, my books, and even my memory, and I began listing the techniques of the martial arts on the backs of business cards. I filled out thousands of cards, techniques on kicking, throws, punches, combos, everything, and I laid the whole mess out.

My living room was covered with cards…and it was a big living room. I had cards filled with techniques everywhere, on the rug, on the tables, on the furniture, everywhere.

My wife came home, saw the thing, and thought I was crazy. Well, she was likely right, but the monkey was jumping up and down on my back now, I had started, and I had to see the thing through.

I began to categorize the cards, not by art or style, but by technique. I put the kicks over here, the punches there, left handed techniques stacked up there, the various types of throws in little bunches across the wall, and so on.

Slowly, I began to look at what I had, and I began to throw away duplicate techniques. Then I began to work on poser techniques, the ones where the attacker has to wait for the defender to do his thing. The groupings of techniques began to take shape, and I began to realize certain things.

There was a geometry that threaded through the arts, and the individual arts could be defined by these geometries. The arts did not go against each other, they actually fit together. And the whole puzzle, all the pieces, began to fit together.

Whole chunks of knowledge slid across my mind, turned, and backed into different places. Techniques slithered through my head, chose different arts. Arts twisted and morphed and began to take on incredibly simple shapes.

Eventually I wound up with some 72 techniques.

I had a school at the time, and I chose one of the fellows for a test case. His name was Mike.

I took Mike aside, and I began to teach him the techniques I had isolated. As I taught him I went through another process, and the techniques eventually dropped down to 40.

40 techniques covered all the material of the martial arts. Well, not quite, but the specific things I was doing isolate and made clear a whole subsection of martial art. Oddly, it was configured like Kenpo in certain ways, like Silat in other ways, and like other arts, too.

Well, of course. They were spread out through all the arts, so a ‘reverse engineering’ type of concept was appearing.

Now, here’s the thing. When I began teaching Mike he was a green belt. Had probably three or four months experience. Enough to be solid in his basics, but definitely not polished.

Then I taught him the forty techniques and something amazing happened: he began accelerating in ability, and within a month he was suddenly taking my black belts on and equaling them.

These were my black belts, they were good, and Mike was suddenly as good, and I realized something.

The idea that one needed to ‘instill muscle memory’ in the body, or some other such stuff, was pretty much trashed.

In short, I wasn’t teaching the body, I was teaching the human being. I was giving knowledge, and the knowledge was working, and working about ten times faster.

Think about it, some guy says you need to to collect enough bruises before your muscles twitch enough to create a technique. Huh? Does that mean if you hit your child with a piano he will grow up to be Beethoven?

Do you understand? Yes, muscle training has to occur–it is a physical art, after all–but the real training occurs in the mind, and the real training consists of…knowledge.

All I had done was give Mike knowledge. I hadn’t even drilled him that much, merely relying on a few months of classroom basics, and yet the results were phenomenal. A green belt taking on Black Belts.

And I knew that with a little more practice he was going to be the King Kong in my class. The 40 techniques worked that well.

And, here’s something that made me blink and say WTF!, I was the first and only person in history to have solved the martial arts.

So I taught some of the other fellows in my school, and the blinders came off, the floodgates opened, and fellows started learning martial arts faster than they had ever been learned in the history of mankind.

Now, to be sure, the Forty Techniques aren’t everything. They are, however, the first piece of the puzzle that I truly solved. They are the thing that made things come together for me.

Of course, I already had dozens of arts under my belt, and the sequence I had learned in, and the people I had learned with, those things all made a difference.

Sure, I recommend you do Matrix Karate first, but I’m not so foolish to think that I know you better than you know you. So for Matrix Kung Fu, or any of the arts on this website, do the art that calls to you. Simply, enter into Matrixing where Matrixing calls to you.

I’d love it if Matrix Karate was the first, but the degree of your experiences, the things you have done and the order in which you have done them, they will influence you, so listen to your inner voice.

Now, that is the story behind Matrix Kung Fu (MonkeyBoxing), so what does the course hold?

What Matrix Kung Fu does is explore  the only forty takedown techniques you will ever need to know. The reason for this is that all other techniques fall within the realm of these techniques.

This is done through rock solid theory that does not deviate.

In fact, once you see the central theory, once you see how the concept behind how the forty techniques fit together, you will slap your head and say, ‘OMFG!’

The theory is so simple that it has been hidden. And once you have the theory, even without the forty techniques, the takedowns and throws of your own art will instantly start to fall into a logic that cannot be denied.

But we don’t stop there. We take the body apart, show how the theory applies to each and every joint. This means that even if your art has the majority of techniques, you will now have any that it doesn’t have.

Furthermore, my experience in teaching these forty techniques is that there is a precise and exact entry method for each technique. I show you the entry methods.

This means that the collapsation of distance, which is the constant of any fight, is actually matrixed.

I hope you understand what a fantastic breakthrough this is. Not just a bunch of techniques,  but how they change as the distance collapses.

The end result is that you will be going through door after door, exploring ‘what if’ after ‘what if,’ and finding the ‘neverending’ that the True Art is.

And, we show you how to matrix the techniques into freestyle. This is not an art with lots of techniques, and then a separate art of freestyle.

This is an art which is applied, without change, directly into freestyle.

This is totally different than tournament freestyle. This is the real thing.

So here’s what you get: the course pack, two DVDs, showing forty techniques and how they relate to freestyle.

This is the whole weaponless portion of Monkey Boxing. It is a perfect art, as it is the art I devised to present matrixing, and to introduce you to the True Art.

The price of this course was $199.95

Was two hundred bucks!

Now it is only $39.95

That’s right. This course previously sold for $199.95.

Was two hundred bucks!

Now it is only $39.95

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The Matrix Kung Fu Course is copyrighted, but you have special permission to download the course to your hard drive, to store the course on disk, and to make a paper copy of the instruction manual.

This art fits together with the Blinding Steel program. If you wish to explore Monkey Boxing further, simply look into the Blinding Steel program.