Academy of Jeet Kune Do Fighting Technology

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Jun Fan Jeet Kune Do Instructor

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Miscellaneous Articles

What Makes JKD Different Than Kickboxing Today?

The Corner-stones of Jeet Kune Do

Take The Challenge

Burt Offerings

Western Fencing & Jeet Kune Do

Taky Kimura: JKD’s Honorable Master

Coming to grips with Bruce Lee

Bruce Lee The Early Years

Bruce Lee in 1965 (An Interview)

JKD: As simple as ABC

What Makes JKD Different Than Kickboxing Today? by Cass Magda

In the late 60's and early 70's the JKD clan was on the cutting edge of martial arts development in America. Bruce Lee's students were sparring full contact, and emphasized conditioning in their training. They had vigorous training similar to boxers and used equipment like hand pads, jump ropes, and kicking sheilds. They wore protective equipment and went 'all out' in the sparring. This is typical today but unheard of for martial arts karate people in the 60's and early 70's. Some well known tournament champions of the day took JKD ideas and introduced them as "kickboxing" to the American public in the 70s. Today the term kickboxing is in common usage. However, JKD was never meant to be a ring sport. Although it may have been the precursor to American kickboxing today, it always trained with the idea of self defense for the street.

The Corner-stones of Jeet Kune Do by Cass Magda

In JKD we always search for ways to make ourselves more functional in combat. This can be done by researching other arts, fitting what is useful into our structure, absorbing what we learn through the rigorous test of full contact sparring, and then eliminating what doesn't work or modifying it so it does. In this research we use the criteria and theory of JKD as a method of study. JKD is our way to study other things to decide if they're functional or not. Dan Inosanto once told me that one of the most important things that Bruce Lee taught him was the ability to decide what was functional and what was not. He called it, "The Functional Eye."

"Simple, direct, and non-classical," is a phrase which describes the three cornerstones of JKD. These cornerstones are the criteria for our method of study and analysis of what is functional and what isn’t. They are used when analyzing other martial arts techniques or when trying to improve within our own system of JKD.

The first cornerstone is "simplicity." If a technique sequence against an attack takes six moves then the chances of it being used successfully in reality are slim. It's a simple fact that the more moves one has to make, the more chances there are of something going terribly wrong. So part of using simplicity as a criteria is to ask, "How can that six-move sequence be shortened to three moves? Can those three moves be shortened to two?" Ultimately, modifying and changing a six-move sequence to one or two moves and getting the same end result is a JKD way of thinking and studying.

"Directness" is the next cornerstone. The techniques of various martial arts can be simple but still not be direct. So, a simple counter such as blocking an attack then hitting back may be simple, but it is not direct. One way to improve directness is to improve the timing of the counterattack. Try to hit just before the opponent's blow lands. In other words, beat him to the punch or perhaps simultaneous block and hit. Interception is considered the highest stage of JKD. Directness can also be improved by minimizing preparatory movements. The less we have to move to hit the better.

The last cornerstone is "non-classical." This is the freedom to go outside the established classical system and break the rules of the techniques or theory. The classical system says there is only one way to do something. "Non-classical" in JKD means personalization. When we are being non-classical, we have the freedom to change things for our needs. We may absorb a theory or technique from another source but accomplish it in quite a different way. A lot of the time, as a result of these modifications, the finished motion may end up only faintly resembling or looking nothing like the original source. The modifications change the technique, principle, or training method into something unrecognizable from the style of origin, hence it becomes non-classical. It may also mean that we don't go outside our system to absorb from another source but instead modify what we already have or even create something new to solve the problem.

Take The Challenge by Burt Richardson

Are you the type of person who can rise to the occasion, and perform better when there is a great challenge ahead of you? If not, would you like to become this type of person? Like so many things, acquiring this positive attitude is a matter of choice and training.

One of the things we should learn through martial arts training is that we have choices to make in bad situations. If an attacker is throwing a big haymaker at you, you have the choice to block, duck, enter and tackle, or kick. Depending on the distance, your awareness, and your training, one of these responses should be executed. You have to make a decision as to which is most appropriate, then follow through to make it work. It sounds easy, but we know that in a real situation there are other factors that can work against us.

If a big, ornery fellow decides to take out his family problems on you, instincts and training are what will get you through the problem. Things will happen very quickly, and there is no time to get ready. The attack comes, and you must respond without thinking. If your training has been realistic, you will respond technically, but if your training has not been in specific counters to street attacks, you will probably go back to instincts, relying on those tactics that have been genetically encoded in your DNA over the last 100,000 years.

So what does this have to do with taking up a challenge? The factor that is often missing in our training is pressure. It is easy to make the right choice when we have enough time to think, and we are level-headed, but that is not the environment in which a fight or important life challenges occur. Real-life challenges are full of pressure from outside and from within. If we want to respond tactically, rather than instinctually, we must practice making good choices under pressure.

Let’s look at a martial arts-related challenge. Imagine that someone challenged you to a no-holds-barred fight in two weeks, and you accept. This person has about the same amount of training and experience as you do, and is the same size and weight.

You go to your school, and some of the other students have heard about the fight. They start telling you that you are crazy, and that you will never be able to defeat this guy. He is just too good, too aggressive, and too powerful. How do you respond to this mental pressure? Does this depress you? Do you start to think that you accepted the fight hastily, and that you should reconsider?

This is what most people do naturally, because most human beings doubt themselves.

How do you think a champion would respond to this kind of talk? He would rise to the challenge, saying that there is no way this guy can beat him. A person with a winning attitude will be thoroughly convinced that the outcome could be nothing but victory.

Instead of moping, he would actually use this negative talk to whip himself into a frenzy so he would train and perform even better than usual. This is the sort of choice we need to make when we hear negative talk about a goal we are trying to accomplish.

Here is a question for you to ponder. What would you do if you had friends that constantly doubted you? Every time you thought of doing something positive, these friends gave you a hundred reasons why you would fail. Sounds like these are not the type of people that you should be around, right? Why hang around people that doubt you?

Doubt is just negativity that can do you absolutely no good. If your friend says, "I doubt that you can win" he is just expressing his negative imagination. He could have just as easily imagined a positive outcome, but instead chose to create a negative picture in his mind, then transfer it to yours. Not much of a friend! We need people around who will support our efforts to overcome obstacles, not make them appear larger than they really are.

Now let’s go inside your head. Here is where we must spend a great deal of time training to choose the aggressive, positive thoughts of a champion. If you accepted that challenge to fight, what happened inside? Did you get a little nervous? Did you hear a little voice inside talking to you? If you are like most people, you will begin to doubt yourself. Somewhere inside your mind you will begin to imagine yourself failing. You go over scenario after scenario where you end up being beaten by your opponent in a variety of ways.

Over time, these ideas become more and more detailed until it seems very real to you. Your own mind is working against you much like those no-good, doubting friends. You have to break out of this mindset to achieve your goals in life! You have to take the time to retrain your thought processes. Just like in martial arts training, this takes a lot of time and effort to get good results. First you have to start recognizing every time you have a negative thought pop into your head. As soon as you hear that voice of doubt, refuse to accept it. Instead, replace that voice with a strong, confident thought of success. Use your imagination to create positive pictures rather than negative, self-defeating scenarios.

It takes the same amount of effort to visualize positively, and these good pictures will draw you toward self-confidence and success just as the negative scenes lead to self-doubt and failure.

Unfortunately, negative self-talk seems to be instinctual. Maybe it is a survival mechanism that kept our cave-dwelling ancestors from tackling lions without proper preparation. Today, most decisions are not life-and-death propositions, even though it may seem like it to your subconscious. Just as you must train diligently to modify your instinctual response in a fight, you must make ingraining creative optimism a priority to overcome negative programming.

Burt Offerings by Burt Richarson

Oh, the battles we wage with our egos. While the ego can sometimes light a fire of motivation in a person that results in positive advances, it often becomes the leash that keeps us tied to the doghouse of our own creation.

Our own ego can keep us from exploring worlds of wonder that are within our reach, if we will succumb to its limiting impulses.

One of the hardest phrases for “experts” to say is, “I don’t know.” For some reason, experts in all types of disciplines from medicine to martial arts feel that they must have an answer for every question.

We see this in the martial arts everyday, and I know that I used to fall prey to this dastardly ideal. I remember teaching a class many years ago at the Inosanto Academy when it was in Marina del Rey, Calif.

Ego-Driven Image
A student asked me a question about an art in which I had no experience. Rather than admit that I didn’t know much about that style, I came back with an answer that seemed logical from the very limited knowledge I had. The student seemed satisfied, but later that night the situation started to bother me. I realized that I had just made something up, rather than simply telling the student that I didn’t know. I should have told the truth, and said that I would try to find someone who could answer the question. I lied to the student to keep some ego-driven image alive. I have made it a point to get away from this sort of attitude for three main reasons.

Developing Yourself
First, creating the image that you know everything is really dishonest. As soon as we slip into the world of deceit, all sorts of negative things occur. You can’t feel good about yourself when you are living a lie. People who do this routinely may seem very confident, but somewhere there is serious doubt lurking. If I was totally comfortable with myself, and didn’t feel like I had to impress the student, I would not have felt compelled to fabricate an answer.

I would have told the truth, and if the student thought less of me for that, then so be it. I would be content with the most important judgment, which is how I feel about myself. If you feel you need to lie or pretend to be someone you are not, then you need to work on developing yourself into the person you want to be. This is one of the greatest lessons we can learn from studying martial arts, especially when one progresses to higher ranks, or becomes an instructor.

How you deal with the expectations of others, especially when those expectations are higher than you can currently deliver, will reveal your character. If you don’t like the way you handled the situation, resolve to put it right next time.

Lead by Example
The second problem with being a “know-it-all” is that it is not beneficial to the students. If you teach, then you lead by example whether or not you want to. Students will not only absorb the technical lesson, but will also be influenced by your behaviors. Strive to display the character of a champion so that your students will do the same. Giving them misinformation may also prove dangerous to the student.

What if an instructor told a student that grappling is not an important part of training? He might say it is unnecessary to practice it because we simply won’t go to the ground in a streetfight. The instructor would be doing that student a huge disservice. The student may believe it because his teacher knows better than he does.

If the student ever gets into a real altercation, he may end up on the ground without any skills at all. That is a bad place to be. It would be much better to say, “I haven’t actually spent time learning grappling, so you would be better off talking to someone who has cross-trained in standing and ground fighting.” How many times have you heard that sort of response? Not often, I’ll bet.

Personal Growth
The third reason for getting rid of the attitude that we must have an answer for everything is that it will impede your personal growth. It will be very hard to train outside your own system if you act like you already have all the answers. You will get caught in a negative loop where you want to explore other areas, but are afraid to because you may lose that image of being the “master”.

Liberating Experiences
Again, if you become secure with yourself, it is all right to be a beginner and make mistakes. Keep your mind on progressing, and you will always be on an interesting and rewarding road. If you teach, then your students will get to enjoy a similar path.
Being able to say, “I don’t know” has been one of the most-liberating experiences of my life. I don’t need to act like someone else, or put on airs that I am more educated or experienced than I am. Try this in everyday life as well. If someone asks you a question and you don’t know the answer, just say so. You will feel good, and you may end up learning something yourself.

Western Fencing & Jeet Kune Do by William Edgeworth

The Eastern martial arts and their influences have been stated and analyzed throughout the past two decades in the examination of jeet kune do.
Since the propositions exist that JKD is American, yet borrows heavily from other Eastern arts, where and how does Western fencing enter into the equation?

In the original synopsis that he was drawing up while attending the University of Washington, JKD founder Bruce Lee stated he was working on a new martial arts program or concept. This idea was to merge the mind and body into one cohesive unit. One of the first physical arts mentioned was Western fencing.
Fencing is an art which requires more than just the physical attributes of quickness, athletic prowess, cunning and lightning hand/eye coordination. It is both a Western (and Olympic) sport that is attractive and alien due to the unavailability of both instructors and salons (training facilities) in the United States.

It’s In The Bible
The analogies bonding the influences both directly and indirectly between fencing and JKD are quoted in the fractured, yet absorbing thesis known as the Tao of Jeet Kune Do.
This formidable treatise on Lee’s concepts of the complete fighting art directly observes the similarities between the two. And makes note of it throughout its rendering. One of the first analogies is that of the fencer’s foil. Equated to that of the lead (right) hand of the JKD practitioner, it is the single most important tool in both arts. Fast, evasive, and able to hit both high and low lines. The lead hand in JKD is Western sword fencing without the sword.
This lead hand must be mobile and able to penetrate deep within the opponent’s lines, sometimes obscuring his vision so as to enter into a combination sequence.
In foil competition, the foil is used as a probing tool, engaging and disengaging the opponent’s blade, using the sensitivity or energy of the opponent’s blade as a reference point. This includes moving inside, outside or feinting an attack to gain a committal action based on these probing nuances.
Everything in JKD can and does work off the integrity of the lead hand. The jab. The cross. The hooks, counters, stop hits and traps. This is similar to the fashion in which the foil allows the fencer to counter or stop hit based on its initial probing with the blade. In context, both the eye jab in JKD and the blade in general are said to be felt and not seen. Each illustratrates the lightning swiftness needed to execute lead hand movements.

Best Foot Forward
Further examination yields the following relationship dealing with footwork. The on-guard stance or by jong in JKD is a modified variation of wing chun and Western boxing basic foot positions. However, more elemental is the stance itself. Often controversial, Lee believed in the strong side forward position. Critics argue that conventional boxing and some, if not most, fighting arts utilize an orthodox or left-side forward position. This saves your strong punch or right hand to be used after the setting up of your opponent.
In relation to fencing, Lee realized the dominant hand is the one cradling the foil. It would be fruitless for a fencer to switch the foil during a match; switching leads would yield little impact in the way of scoring on an opponent without your fastest, most economical tool.
However, when dealing with empty-hand fighting Lee believed this should not be written in stone. In JKD the ability to adapt and change leads within the course of an engagement may be beneficial to outwitting a clever foe. Thus, matching unlike or like leads can open lines or gates not previously available.
The basic footwork patterns such as the step and slide, slide and step, and even the JKD straight blast (jit chung chuie) reflect the extend advance, quick advance and Flesche (running attack) in fencing.
We also have seen an exchange between the two arts in the way of terminology. However, if true to the premise that more than a subtle relationship exists between JKD and fencing. What attributes are gained through this association?
Let us first examine the methodology of “getting to” an opponent. By discovering the proper angle of attack through correct timing and line (high or low) choice, you can bridge the gap to close-range fighting.
As previously mentioned, basic step and slide or slide and step footwork will advance you toward your opponent. Utilizing the footwork from fencing entails utilizing the attributes of pushing off the rear foot. Thus, the rear foot in JKD acts as an accelerator or piston in which to propel you smoothly and rapidly forward. This footwork is supplemented with one of the most basic elements in fencing feints.

Taky Kimura: JKD’s Honorable Master by Interview conducted by Jose Fraguas

He is the senior member of the jeet kune do family and was one of Bruce Lee's closest friends. Bruce took him under his wing and made him his assistant in the Jun Fan Gung Fu Institute in Seattle, Wash. During the years following Bruce's death, Taky Kimura decided to be silent about his training and relationship with the founder of jeet kune do. As a person, Taky Kimura is extremely humble and respectful to his teacher and to the art he received. For almost four decades, Taky Kimura has been teaching the Jun Fan method of gung-fu in his basement. He doesn't advertise for students and he likes to walk softly. As a teacher, he understands his students and supports them in any direction they decide to go. Since 1973 he has taken care of his sifu's grave and keeps it clean by visiting several times a week. "It's not a chore. It's an honor and a privilege. It's a humble way of paying back everything Bruce did for me."

INSIDE KUNG-FU: When did you meet Bruce Lee?
TAKY KIMURA: It was shortly after he arrived in Seattle. I was 38 and almost old enough to be his father. He was 17 years old at that time and came to stay with Ping and Ruby Chow, who were longtime friends of his father and who owned a restaurant where Bruce was supposed to work as a waiter. I met him through Jesse Glover, who was Bruce's first student in Seattle.

IKF: What was your first reaction to him?
TK: He was full of energy and somewhat flamboyant but on the other side he was a typical teenager. He spoke English with a British accent and at that time he stuttered a bit which made it a little bit difficult for him to express himself properly. No one ever kidded him about that because it would have been a disaster! In fact, a good friend of mine stuttered also. I introduced him to Bruce and my friend began to stutter. Bruce was looking at him and began tensing up because he felt my friend was making fun of him. Thank God my friend quickly said, "I stutter too!" Bruce realized the whole situation and we all laughed.

IKF: What was Bruce's art during this time?
TK: His nucleus was definitely the wing chun system, but taught us a modified version of it. Of course, he was familiar with many other Chinese kung-fu styles such as praying mantis, choy lee fut, hung gar, but I think he really identified himself with the wing chun method. The realistic approach to fighting that he used later on to create the art of jeet kune do was taking form within him because he already knew what he felt was the most useful from all these styles.

IKF: Traditionally, Chinese teachers hold back certain methods. Was Bruce this way?
TK: I do believe he kept a lot of things for himself, but I also know that he was very open with me. I understand that the traditional teachers do not teach 100 percent, but that they keep things for themselves in case some student turns on them. I can honestly say that if he felt you were trustworthy, he was very unselfish about his teachings. If you were sincere, honest, and dedicated he would teach you without holding anything back. He didn't care what race or nationality you were either. That attitude brought him some problems because some Chinese masters felt uncomfortable with him teaching non-Chinese people.

IKF: How do you view the art of jeet kune do?
TK: The art of jeet kune do was developed by Bruce while he was living in Los Angeles. I can say that it was the product of many years of martial arts research. Probably because my close relationship with him as a friend, I am the only guy in Seattle that saw the JKD level that he was into whenever he came up here. His approach was very revolutionary in the mid-'60s and many people weren't ready to understand what he was talking about. The training emphasized contact sparring with headgear, gloves, and shin guards — that was something very uncommon then. He was talking about "liberating" the martial artist when a lot of people didn't understand what it meant "to be slave of a style." I can compare the art of jeet kune do to a beautiful sculptured object. The final product is awesome but how did he do it? I think it's important to go through the pieces that he discarded, study them, and learn them to get up to that point because it was an ongoing process of "shedding away the nonessentials." Sometimes there are things that we don't understand today but that will became increasingly clear to us in time. Unfortunately, I have seen the effects of exploitation and inadequacy in jeet kune do and rarely, if ever, do many gain more than just a physical understanding of what the art is all about.

IKF: How important is the material Bruce taught in Seattle in the context of the whole JKD experience?
TK: The principles of simplicity, directness, and efficiency were already his guidelines during his time in Seattle. He was evolving and being very creative. His knowledge was limited at that time but the basic principles of economy of motion, simplicity and directness that he was teaching in Seattle were the same that he taught later on in the Oakland and Los Angeles schools. The difference was in the delivery systems of the techniques and the training methods that he developed after being exposed to other arts such as boxing and Western fencing. For instance, his straight punch was pretty much the same but the footwork he was using in Los Angeles was from fencing. He realized that he had to be able to punch and hit targets from a longer distance than a classic wing chun man — he wanted to be more mobile as well.

IKF: Did Bruce update you on his progress and evolution?
TK: He used to come to Seattle because (wife) Linda's mother was living here. He used to call me in advance so I could take time away from work to be trained in the new things he was going into. I was very fortunate that he didn't forget me and was willing to share his knowledge with me. He was very perceptive as a teacher because he knew that I was only capable of assimilating a certain amount of knowledge at any given point, so he never threw a bunch of stuff at me. He paced himself as a teacher according to my capabilities as student.

IKF: It is true that Bruce called you and told you “chi sao was out?"
TK: He called me and said that chi sao was not the focal point anymore, as we had thought earlier. I was shocked. He probably realized the limitations of certain aspects of wing chun when trying to practice "sticky hands" with someone like Kareem Abdul-Jabbar. I have to say that at that time I didn't understand what Bruce meant, but now I do. I guess this was part of his "liberation" as a martial artist. He didn't mean chi sao was useless, but only that it was not the nucleus of what he was teaching in Los Angeles. He realized that it was a important part of the totality in combat, but not the only part of it as he emphasized during his days in Seattle where he taught wing chun. For a wing chun man, chi sao is probably the most important aspect in training and it dictates the students' approach to fighting. He didn't have the tunnel-vision approach of the classic gung-fu man. The wing chun that I know is the modified version Bruce taught me and I guess its structure takes away a lot of the impractical things that you can learn in other systems. But don't misunderstand me, I don't want to take anything away from anyone else.

IKF: How did you two became such good friends?
TK: We were both Oriental and they say that "blood is thicker than water." I guess he needed someone that he could trust and depend on for more than simply gung-fu training.

IKF: You mentioned once that Bruce helped you to overcome many complex issues. Like what?
TK: I went through a lot of very hard situations in my life, and at that time I had no respect or regard for myself. Bruce made me realize that I am a human being and I have equal rights. He changed my way of thinking and looking at myself. He told me I'm just as good as anyone else and I began to believe in myself. In the gung-fu school he took me aside, under his wing, and helped me to develop self-confidence.

IKF: You were injured during a class demonstrations, right?
TK: Yes, I was badly injured in my right eye. Bruce was demonstrating the principle of a straight punch, telling everyone that he wanted the force of the punch to penetrate through the target. He looked at the group and at the same time he threw the punch. His fist connected to my right eye, broke my glasses and cut my eyeball. We went to the hospital where the doctor took all the glass splinters out of my eye and scolded me for wearing glasses during such a violent physical activity.

IKF: What did Bruce say?
TK: He scolded me for moving! I was sure as hell I didn't, but I wasn't going to be one telling him I hadn't!

IKF: What is your personal goal as far as teaching is concerned?
TK: I'm not here to teach people how to fight. If with what I'm sharing can help them to feel good about themselves, then I'm happy. I don't make instructors and I don't certify people. I'm not here to tell students that what we have is better that this style or that style. I'm just interested in being in my little corner. At one time Bruce and I were talking about starting a chain of schools in United States, but later on we decided against it. I still remember what he said: "What is really important is that you have a few close friends around, and work out a couple of times a week, and go down to Chinatown to have a cup of tea."

IKF: Do you think a good instructor has to be a good fighter?
TK: Well, the basic idea to become a good fighter is that you have to be trained to be a good fighter; and so to become a good teacher you have to be trained and taught to be a good teacher. Definitely if you can use what you know in a fight, then later on as an instructor, you’ll have direct experience to pass onto your students. But don’t be mistaken — you may fight many times and not learn anything from those experiences, and in the end you won’t have any direct experience to pass on.

IKF: Why you have been teaching in your basement all these years when you could gone public?
TK: I am a private person. I like to stay in the woodwork and I don’t think I have that much to offer because my knowledge is limited but I feel secure with what Bruce taught me. I kept the school out of respect for Bruce. It’s a private club. I don’t feel the need of being in the public eye and I really enjoy sharing with a small group of people what I learned from Bruce. I don’t charge anything and I don’t look for students. I do it in honor to him. I don’t think I can ever pay him back what he did for me as a friend. So, I do my best to keep his memory alive.

Coming to grips with Bruce Lee by Terry L. Wilson

While working on the "Green Hornet," Bruce Lee and Gene LeBell formed a lasting friendship based on martial arts.

Judo and wrestling legend Gene LeBell has hooked horns with the best in the game and in the process has earned the moniker "The Toughest Man Alive," by his peers. One of those to sing the praises of "Judo" Gene was Bruce Lee. In addition to his years of training and teaching martial arts, Gene is also one of Hollywood's top stuntmen. In fact, it's almost impossible to watch an action film without seeing Gene firing a machine gun, getting tossed out of a window or taking a fall for one of the superstars of the silver screen.

It was because of Gene's prowess in the martial arts and his popularity in Hollywood's stunt community that he was called in to check out a "new guy" by the name of Bruce Lee. I met Bruce when he was working on the television series, "Green Hornet," I recalled LeBell. Benny Dobbins was stunt coordinator for the show and he called and asked me to check out some kid by the name of Bruce Lee. "I got this guy who does the same stuff you do," Dobbins said. Of course, Benny didn't know the difference between judo and kung-fu, but he wanted me to watch this new actor work. One of the first things I noticed was that although Bruce was small, about 130 pounds, he had a tremendous upper body. Bruce was also very fast and wanted to always take the action beyond what the script called for. Once the director called action, he got that and a lot more from Bruce."

Bruce Soars to New Heights New to American humor, the Chinese actor didn't know what to make of it when Gene hoisted him over his shoulders and ran up and down the stairs doing a fireman's carry with Lee draped over his shoulders. "Stuntmen and wrestlers have their own brand of humor and at first Bruce didn't take my little joke too kindly," LeBell said with a chuckle. "Eventually he realized we were just welcoming him into our group and before long he fit right in with the rest of the rowdy stuntmen." Gene went on to do stuntwork in many episodes of the "Green Hornet" with Lee. During their time together on the set, the future kung-fu superstar and the legendary judo master got to know each other. "Bruce liked doing parlor tricks on the set," recalled LeBell. "He would make a dollar disappear and other magic tricks. "You've got to remember when I first met him Bruce wasn't famous. Back then he was just another actor who did martial arts."

Gene's Grappling Lesson LeBell and Lee became friends and frequently trained at each other's dojo. It was during these sessions that Bruce was introduced to Gene's grappling skills, and in return Bruce taught Gene how to kick. "At that time I had a small dojo near Paramount Studios," LeBell explained. "Bruce would come to my school and I'd go to his. Back then he had a small school in Chinatown. We worked out on a one-on-one basis and we both learned a great deal from each other. He taught me a lot of kung-fu moves that I had never seen before, and Bruce was phenomenal with his kicks. He taught me how to do crescent kicks and spinning backkicks. Of course, nowadays everybody does those kicks, but back then it was all new and exciting. In return, I showed Bruce some judo throws and grappling techniques. In fact, he used one of the judo grappling armbars I taught him in Enter The Dragon."

Although Bruce was impressed with Gene's skill he wasnít taken with grappling as a sport that would ever draw a big audience. "I remember Bruce saying that pro wrestling would never be a popular spectator sport because they spend so much time struggling to get a hold or grip on each other," Gene said. "Bruce would say, "Wrestling is boring and people will turn on another channel." Well, I wonder what Bruce would say if he were around today and saw the WWF, which is the most popular show on television today."

Grappling's "Green Hornet" As Gene and Bruce continued to work together on the "Green Hornet", the kung-fu star incorporated a few of Gene's judo moves into the action. "There was a couple of times when Bruce threw me using a judo throw during the filming of the ëGreen Hornets," Gene said. "He'd use a shoulder throw on me and I said to him, "Bruce, toss in a couple of your kicks and show off your versatility." Another time I did a martial arts demonstration with Bruce. I was throwing a bunch of people all over the place then Bruce came out and threw me using a judo throw. Iíve even got a tape of that somewhere around the house." Gene also recalled the time when his friend, martial arts legend Bob Wall, called and was all excited about working with Bruce Lee in the film Enter The Dragon. Bob called and said, "This guy is the toughest guy in the world." Of course, I'd been working with Bruce and I told Bob that Bruce was also the nicest guy in the world. Another thing that made Bruce a superstar was his outstanding showmanship and on-screen charisma." The Son Also Rises In addition to working with Bruce, Gene also shared a lot of screen time with his son, Brandon. "Brandon was a very tough martial artist and his dad would have been very proud of him," Gene said. "The way Brandon and I met was kind of funny. Mike Vendrell is a great stuntman as well as an outstanding martial artist and Brandon's kung-fu teacher; well, he frequently worked out with Brandon and one day Mike brought him to my dojo. Mike (Mike Vendrell is a man that Gene respects so much he named a move after him in his Encyclopedia of Finishing Holds: "The Vendrell Vice") introduced us and asked me to work out with Brandon. Brandon said, "You really want me to work with this old man?" Well I was about 50 then so I got on the mat and showed him how sadistic some old men are. (Gene claims he's still an old man and some claim he's just as sadistic. Gene's definition of "sadistic" is administering an attitude adjustment.) We had a lot of fun together and by the end of our workout I think Brandon went away with a newfound respect for judo and senior citizens." Following their initial meeting some time passed before Brandon and LeBell met again. This time it was on the set of the movie Rapid Fire. Gene was naturally playing the bad guy and Brandon the good guy.

"I was shooting a machine gun and Brandon shot me during a fight sequence," Gene said. "I wanted them to let Brandon beat me up and throw me through a window so I could take some nice falls for him and really show off his martial arts skills. Unfortunately they didn't have time to do the extra stunts and it would have changed the script so Brandon just shot me. Too bad, it would have been fun if he could have beaten me up a little first. Brandon was a great, great athlete. I just wish he could beat me up on screen. I mean, every star in Hollywood has beaten me up at one time or another so it would have been nice if Brandon could have done that too." Like his father, Brandon realized that Gene's techniques could greatly augment his fight scenes in the movies so he sought out "Judo" Gene’s help to add some throws and locks to his growing martial arts repertoire.

"Brandon was really into his acting, but he also didn't mind mixing it up on the mat either," Gene said. "He came down to a few classes and we worked out together just like I did with his dad. Brandon was a tough little scrapper." In recounting his experiences with Bruce Lee, LeBell modestly said, "He learned a lot from me and I learned a lot from him. It was a tremendous experience knowing him and Brandon. I'm grateful for the opportunity to have shared mat time with such a nice and talented family." 

Bruce Lee The Early Years by David Tadman

The first knight of Hong Kong, the opera performer, the child actor, the rock star. These are just a few of the amazing stories you've heard about Robert Lee. Twenty-seven years after the death of his brother Bruce, there are so few stories to be told. Yet, so few have had the chance to hear Robert Lee's slant on life as a member of the Lee family. This interview will take you from the beginning of Robert's life, through Bruce's death and up to the present day, where the light of his life is his son, Clarence, who bears both an uncanny  physical and emotional resemblance to his late uncle.

INSIDE KUNG-FU: Robert, the Lee family was well-known even before the birth of your brother Bruce. Can you tell us the history of the Lee family?

ROBERT LEE: Yes, my father was one of the top four opera comics in all of Hong Kong. At first there were many struggles, and then later in his career he became very famous. I guess you can say the entertainment blood ran first, through my father's veins. Not too many people know that my mother's uncle was the very first knight of Hong Kong. He was the first "Sir" in Hong Kong to be knighted by the King of England. That meant a lot for our family. My mother's father had 13 wives. Is that notorious enough?

IKF: I know your father trained in tai chi chuan. Did you have any other relatives who trained in the martial arts around the same time as your father?

RL: No I don't believe so. My father started training in tai chi because he was not feeling well. He knew he had to get his body back into shape and tai chi was perfect for that. The older Chinese people believe that tai chi gives the body a holistic workout. It's good for your soul and body. This is the reason for my father training in the art tai chi chuan. The only other family member I can think of who trained in the martial arts  would be my cousin Frank. He trained with Bruce in wing chun.

IKF: Was tai chi chuan the only martial art your father studied?

RL: When my father trained with the Opera, he had to go through a lot of rigorous training, which involved many of the other arts, different animal systems and many acrobatics. I would say overall, he did study other arts, but mainly tai chi chuan. Looking back at my father's opera career it's similar in what Jackie Chan or Sammo Hung went through. He had to learn stunts, acrobatics, singing, etc. My father was a well-rounded entertainer.

IKF: Was your father a philosophical man?

RL: My father was a very traditional man and would always come up with certain quotes the older generations used to use. I remember he would always like to use famous quotes from generations past to teach us certain lessons.

IKF: Can you tell us a little bit about your mother and how she raised you and Bruce along with your other siblings?

RL: Well, my father did most of the raising with the traditional Chinese way, which at  times could be very stern. My mother, on the other hand, was mixed Asian and European so she had more Western views on certain situations. Sometimes we would do some very bad things and she would hide them from our father.

IKF: Are there any moments that stand out in your mind when growing up in Hong Kong you would like to share with us.

RL: I used to hang out with my father in his room, and we use to talk about many different things. I was the youngest so my father liked playing around with me and things in that nature. I remember one day my father bought sticks of bamboo, and began to shape them with a knife. About a day or so later, I walked into the house and there was a bow made out of bamboo. That meant a lot to me, just knowing that my father was a very stern and strict man and at the same time, had a soft heart. To this day it is very touching for me.

IKF: We all know that Bruce was a child actor. Does anything stand out about those times?

RL: I was very young at that time, but my mother used to tell us stories about Bruce as a child actor. She would say that Bruce was a very professional worker on the set. There were times when Bruce was on a break and they would call him back to work, and all of a sudden, he would stand at attention, take his acting directions and be a complete professional. No matter if it was late at night or early in the morning, being tired or bored, he would rise to the occasion and do his job.

IKF: Did you ever want to pursue an acting career as a child or young adult?

RL: I guess the entertainment blood runs in our family. My interest has always been music. When I turned around 14 or 15 I had the urge to sing, so I asked my mother if I could have a guitar. I knew if I asked my father he would say, "No way." He believed if it was a Western instrument, it was no good. It meant bad karma. The problem is that I wanted that guitar so badly, I kept asking my mother over and over again without my father's knowledge, and finally she gave in. The only way I could play it was to keep it in the servant's quarters, because I knew my father would never go in there. I would sit down without an amplifier and learn how to play it by myself. But to answer your question, acting was not my thing.

IKF: Who was your inspiration as a musician at that time?

RL: I really liked Ricky Nelson.

IKF: Before Bruce left for the States, what was your relationship like with him?

RL: Most of the time Bruce would be doing his own thing - either chasing girls or hanging around with friends. As time got closer toward his leaving Hong Kong, he became more somber. I remember one time shortly before Bruce left, we were playing on this huge bed we would frequent in one of the rooms. Anyway we were having fun and playing games and all of the sudden he stopped and looked at me and said, "Well Robert, you know I will be leaving in a couple of days." He looked at me in sadness and walked away. I look back now and realize he was showing me he was going to miss me.

IKF: We all heard how Bruce as a young man would always get into trouble. Is there anything that stands out in your mind from those times?

RL: Well, one day when I was at home I heard a knock at the door. I went to the door and opened it only to find Bruce with his head down looking toward the ground. I remembered a few days earlier I heard Bruce was supposed to fight some guy over a disagreement. As Bruce raised his head, I could see one of his eyes was black and blue. I started to laugh and Bruce said, "If you think this is funny, you should see the other guy, he has no more teeth. My mother rushed him into the maid's quarters and put a boiled egg on his eye. The Chinese people believe if you put an egg over a bruised eye, it will heel quickly, and she wanted to do anything to help the eye heal before my father saw it. Luckily my father never found out about that situation.

IKF: I know your father showed Bruce a little tai chi chuan. Can you tell us anything about those times?

RL: I remember I used to take a lot of pictures of my father training Bruce. As a matter of fact, a lot of those pictures you see in magazines with Bruce and my father training came from my camera. My father also showed me a little tai chi, those are great memories. I also remember taking all the film I shot and going under my staircase at home with a friend of mine and we would be developing the film. The only way we could do it was if we stole our mother's cigarettes and burned them so we can see the image on the negative. When we were done developing, we would leave the closet, choking on smoke. Who would know today that those pictures in a way would be priceless?

IKF: Were there any special outings you took with Bruce and the rest your family before Bruce left for the States?

RL: I'm glad you brought that up. My father used to love fishing, and on most weekends he would rent a boat. We all would drive to the countryside and get on the boat and go fishing and enjoy the day. Bruce did not like to go that often because he would always get seasick. But at the end of the day we would cook the fish and have a great lunch or dinner. Those were great times.

IKF: Can you tell us how Bruce came to meet Yip Man?

RL: When Bruce was about 14 he was a sharp dresser and always liked to flaunt himself to others. Because of this, he started getting into fights and ending up hurt. Bruce decided to learn how to protect himself and was then introduced to Yip Man by our father.

IKF: What was Bruce's relationship like with Yip Man?

RL: Yip Man believed Bruce had a lot of potential, so therefore he showed Bruce a lot of techniques. Some of these techniques were not even shown to the other students. It was great, everytime Bruce learned a new technique he would come home and show myself and my cousin, Frank. At this time Bruce had his own wing chun dummy and he would be practicing everyday.

IKF: Did you see any changes in Bruce's personality as his training grew with Yip Man?

RL: No, not really. He was still very full of himself. He was still kind of showing off a lot. I noticed a big change when I came to the States in 1969. Bruce seemed to be more humble. At that time in his life, he knew what he could do, so all the pretense and cockiness I saw in Hong Kong was gone. He was more a philosophical and secure individual. I guess that was the new Bruce.

IKF: Going back a little, when did Bruce get involved with cha cha dancing?

RL: Bruce was about 17 and always chasing the girls, and the girls were always dancing cha cha at the nightclubs. As we know, Bruce could move pretty good and I guess the next step of things was to learn cha cha. At the beginning, Bruce did not know many steps in cha cha, but he compensated by knowing how to move well. At that time, Bruce used to go to a nightclub where the band members were all Filipino, and at that time the band members knew cha cha. From what I remember, the band members knew Bruce came a lot to the club and they all became friendly. After awhile they taught Bruce many different steps. That's how Bruce excelled in his dancing.

IKF: How did Bruce's leaving Hong Kong effect the family?

RL: As I remember, the whole family went to the dock where the ship was to depart and we all went up to his room where he began talking to my mother and father. I was still pretty young at that time and all I can remember was this huge ship and I was in awe. From what my mother had told me it was a somber time. She said when the whistle blew for the ship to leave we all had to leave Bruce on the ship. As we walked on to the dock, we could see Bruce from the second story of the ship, waving a streamer, which they gave to all the passengers. He was waving to us and that was it.

IKF: I have had the privilege to see many rare notes from Bruce in your possession. Some of his notes document his complete trip to the States while on the ship. Tell us about some of those notes?

RL: Bruce's notes basically document his day-to-day life on the ship. His teaching of cha cha and  meetings of different people. Bruce did write a lot about teaching cha cha and in return he would get better accommodations and upgrades. He really liked that.

IKF: When Bruce made it big with the "Green Hornet", how did your family react to his newfound fame in the states.

RL: At that time my father died, so he did not have a chance to see his son with that success. My mother, on the other hand, was very proud of Bruce, as were the rest of us. I can remember watching it on television and thinking cool, that's my brother. The family though was kind of used to his success being a child actor. And all the people in Hong Kong already considered him a star from his early films.

IKF: Within five years after Bruce arrived stateside he was introduced to a lot of martial artists. Did Bruce ever tell you about them? Did he have a favorite?

RL: Bruce never discussed with me any of the martial artists he had met. He did tell me he really respected Muhammad Ali and thought he was a great fighter.

IKF: When Bruce had his success  in The Big Boss, Fist of Fury, Way of the Dragon, etc., what was it like for your family?

RL: At that time my mother and myself were stateside. When the movies came to the theaters, we would go see them. It was amazing. I would forget sometimes he was my brother and just get involved with the film like everyone else. It was amazing just to see him move on film. I remember just being blown away hearing people scream when Bruce made any type of fighting move. Man, he was the coolest. My mother couldn't get enough of the fans complimenting her son. I was very proud to be his brother.

IKF: If Bruce were to describe his films in a brief sentence, what do you think he would say? Starting with The Big Boss.

RL: Bruce would probably say it was a film I had to do to establish myself.

IKF: Fist of Fury?

RL: Bruce would say, I wanted to show the strength of the Chinese people.

IKF: Way of the Dragon?

RL: Bruce would say, I wanted to show my talents as a writer, producer and director and of course,  acting.

IKF: Did he ever mention anything about his films, Enter the Dragon or Game of Death?

RL: Not really, he was in the process of working on both films. All I can say is, he felt Enter the Dragon  was going to be big, and he was very happy with the way it was coming out.

IKF: I heard that Bruce was pretty impressed with your music career. Was this true?

RL: Oh ya. I remember when I came over to the States, I brought singles that I recorded. I gave them to Bruce, and he would bring them over to James Coburn's house and they would listen to them. He would brag about me to his friends, and tell them how good of a musician I was. I remember one day I was playing my guitar in the living room, and Bruce approached and asked if it was hard to play the guitar. I told him not for me, and asked him if he would like me to show him a few chords. Well he sat down and for ten or 15 minutes he could not get it. He finally got up and walked away saying under his breath, "I will stick to martial arts."

IKF: Bruce had many friends and students. If I were to mention a few, what two words would describe them, from your conversations with Bruce?

RL: It would be hard to do it in just a few words, but I will try.

IKF: Danny Inosanto?

RL: True Friend.

IKF: Taky Kimura?

RL: True friend.

IKF: Herb Jackson?

RL: Loyal and dedicated.

IKF: James Coburn?

RL: Philosophical.

IKF: Ted Wong?

RL: Good Friend.

IKF: Robert, I heard your son, Clarence, just signed a contract for film and music in Hong Kong. How does it feel that another generation of
the Lee family is taking the show business path?

RL: I have always tried to instill in my son to be yourself, to express yourself truthfully. If I can show him and help him develop his skill as a performer, and help him somehow find himself in all of that, I will be a very happy father.

IKF: Is it true you will be re-recording the "Ballad of Bruce Lee", with your son in Hong Kong?

RL: Funny enough, he wants to do it with me with a few new tricks added in.

IKF: I had the privilege in meeting Clarence and was amazed in how much he looks liked a younger Bruce. Have you noticed any traits that your son has that remind you of Bruce?

RL: My son is still young and is still finding his true self. If you mean by him being very independent and a go-getter, yes those were traits Bruce had.

IKF: How does your son react knowing his uncle was the famous Bruce Lee?

RL: He has always been amazed that Bruce is considered his uncle. He has always been very proud of that fact. He just wishes that he could have met him. But my son understands, he really does.

IKF: Do you still write or record any music.

RL: I'm always fine-tuning my craft, and hopefully in the near future, I will be doing a few projects with my son.

IKF: I know you have been working on a few book projects, one about the Lee Family, and the other called Thirty-Two Dragons, which is a loving tribute to your brother. When are these due for release?

RL: If all goes well, yes, these projects should he released soon.

IKF: Finally Robert, to all the fans that can't ask you questions about Bruce and your family, what would you like to say to them?

Bruce Lee in 1965 (An Interview) by John Little

The following interview was conducted during Bruce Lee’s screentest for "Number One Son," a television series that was never made. Instead, Lee would be cast as "Kato" in The Green Hornet television series. However, this interview provides a unique keyhole through which to view Bruce Lee’s views on his life, art and career up to this time in his life (i.e., 1965). In two years time he would forsake much of the gung fu methodology he herein embraced, and would create the art of Jeet Kune Do and, ultimately, its application as the "way of no-way." The screentest is used in part in John Little’s forthcoming film, Bruce Lee: A Warrior’s Journey, which also includes the never-before-seen "The Game of Death" footage we have all been waiting to see for so long. The screentest excerpt is transcripted here with permission.

Now Bruce, just look right into the camera lens right here and tell us your name, your age and when you were born.

BRUCE LEE:  My last name is Lee, Bruce Lee. I was born in San Francisco. 1940. I'm 24 right now.

And you worked in motion pictures in Hong Kong?

BRUCE LEE:  Yes, since I was around six years old.

And when did you leave Hong Kong?

BRUCE LEE:  1959. When I was eighteen.

I see. Now look over to me, Bruce, as we talk. I understand you just had a baby boy?

BRUCE LEE: (smiles) Yeah.

And you've lost a little sleep over it, have you?

BRUCE LEE: (laughs) Oh, three nights.

And tell the crew what time they shoot the pictures in Hong Kong.

BRUCE LEE: Well it's mostly in the morning because it's kind of noisy in Hong Kong, you know? Around three million people there, and so every time when they have a picture it's mostly, say, around 12:00 a.m. to 5:00 a.m. in the morning.

I see. (sarcastically) You love that, do you?

BRUCE LEE: (smiles)

And you went to College in the United States?

BRUCE LEE: Yes.

And what did you study?

BRUCE LEE: Ah, philosophy.

I see. Now you told me earlier today, that karate and ju-jitsu are not the most powerful or the best forms of Oriental fighting. What is the most powerful or the best form?

BRUCE LEE: (smiles) Well, it's bad to say "the best" but, in my opinion, I think Gung Fu is pretty good.

And would you tell us a little bit about Gung Fu?

BRUCE LEE: Well, Gung Fu was originated in China. It is the ancestor of karate and ju-jitsu. It's more of a complete system and it's more fluid. By that I mean, it's more flowing; there's continuity in movement instead of one movement, two movement and then stop.

Would you look right into the camera lens and explain the principle of the glass of water as it applies to Gung Fu?

BRUCE LEE: Well, Gung Fu -- the best example would be a glass of water. Why? Because water is the softest substance in the world, but yet it can penetrate the hardest rock or anything -- granite, you name it. Water is also insubstantial; by that I mean you cannot grasp hold of it, you cannot punch it and hurt it. So every Gung Fu man is trying to do that; to be soft like water, and flexible and adapt itself to the opponent.

I see. What's the difference between a Gung Fu punch and a karate punch?

BRUCE LEE: Well, a karate punch is like an iron bar -- whack! A Gung Fu punch is like an iron chain with an iron ball attached to the end and it goes Wang! And it hurts inside (laughs).

Okay. In a moment we're going to cut and in just a second we'll have you stand up and show us some Gung Fu and some movements in Gung Fu.

BRUCE LEE: Okay.

PART TWO:
Now look directly into the camera Bruce. Now the camera will pull back and, Bruce, first show me the movements in the Classical Chinese Theater.

BRUCE LEE: (curiously) "Classical Chinese Theater?"

Well, you know, what we talked about in the office; how they walk and how they start a move.

BRUCE LEE: Well in the Chinese Opera, they have the Warrior, and then the Scholar. The way the Warrior walks would be something like this; Walking this way, straight, come out -- bend [ing his leg], straight, and then walk out again. An ordinary scholar would be just like a female; a weakling -- 90 pounds in Charles Atlas (laughs). You would be just walking, you know, like a girl – real…shoulders up and everything.

So you can tell by the way they walk you can immediately tell who they are?

BRUCE LEE: Right, what character they represent.

Now show us some Gung Fu movements.

BRUCE LEE: Well, it is hard to show it alone, but I will try and do my best.

All right, maybe one of the fellows will walk in. Go ahead, Frank. (sounds of camera crew cajoling one of their senior members with "go ahead Frank," Come on, Lee -- get in there!")

BRUCE LEE: (joking to crew) Although "accidents do happen," but, you know, there are various kinds of strikes. It depends on where you hit and what weapon you will be using. To the eyes you would use fingers. (he flicks out an eye jab and the man, startled, backs up a bit. Lee says to him: "Don't worry. I won't hit you." He fires a second eye jab) Or, straight to the face (he fires a straight punch), using the waist. (he fires a second punch) Everything on. (fires a third punch).

Hold it just a minute. Let's move the gentleman around this way so that you're doing it more into the camera. (the questioner appear in the shot and guides the gentleman from a 90 degree angle to the left, so that the angle is more of a three-quarter or 45 degree angle) Okay, swell.

BRUCE LEE: And then there is the bent-arm strike (Lee demonstrates a slow motion backfist)-- using the waist again -- into a backfist. (Lee performs one more slow-motion backfist, followed by one at half-throttle and two more lightening fast backfists).

And let's have the Assistant Director back up just a little bit...(everyone laughs). Okay, go ahead. Continue.

BRUCE LEE: And then, of course, Gung Fu is very sneaky; (sarcastically) you know the Chinese. They always hit low (he again performs a slow motion backfist to the man's head). From high (he moves his backfist from the man's head area quickly to a groin strike) -- go back to the groin.(the man reacts -- Bruce says "Don’t worry").

Now turn around the other way, would you Bruce?

BRUCE LEE: Okay. Do you want him to move too?

Yes.

Man in Foreground: (trying to explain his reactions to Lee's techniques) These are just natural reactions.

BRUCE LEE: Right. Right (smiles).

Look into the camera a little bit and show us again.

BRUCE LEE: All right. There's the finger jab (performs a lighting-fast finger jab). There is the punch (performs a lightening-fast punch), there is the backfist (performs a lightening-fast backfist to the head), and then low (performs a lightening-fast backfist to the groin). Of course, then they use legs -- straight in the groin (performs a lightening-fast front kick to the man's groin area) and then come up (performs a high hook kick to the man's shoulder area). Or, if I can back up a little bit -- they start back from here (throws a high hook kick to the man's face area) and then come back. (Lee smiles and pats the man's shoulder: "He's kind of worried.")

He has nothing to worry about. Now again, show us how a good Gung Fu man would very cooly handle it and then walk away, rather than get involved in a series of actions that...(a buzzer goes off, the man in the foreground turns and says "Sound!"). Okay. (scene ends).

PART THREE:
Now Bruce, so that we can clearly what you're doing this time, we'll face the fact that there's nobody there (i.e., in the shot with him).

BRUCE LEE: Okay.