When I use the principles of Yanagi Hara Ryu and I combine them with the "machine gun style" that Edmund Parker used, you really need to have a trained uke or he will get damaged quite easily.
In this video, Bill is not a trained Kenpo karateka so I intentionally remained in what Edmund Parker would have called the mechanical state and the fluid state. To go into the gaseous state (where you internally implode before you explode) would have just been too dangerous. The gaseous state is where your internal space (inside your body) opens and closes, or rather implodes and explodes as the technique is executed.
Every time I parry, block or strike, I am taking stability and balance. Double factor blocking with "frictional guidance" keeps the person off-balance by the use of structure and positioning. Parries and strikes literally follow the old formula of "suck-in- spit out" like the Chinese talk about.
Uke literally is falling into many of my "flow patterns" through the use of aikijujitsu-like connections and body manipulations. If Aiki and Kenpo are fused, Kenpo techniques are not theoretical anymore and you simply cannot "punk" tori by resisting it, unless your structure is better than his. If you strike nerve points that create autonomic reactions, even better, but I am intentionally not doing this, I am just using heavy hands, Kuzushi and body positioning to make the flow work.
Joe Arriola talks about percussion. This is one version of percussion. He also talks about sticking as in push hands. For me, push hands builds the skill to stick and connect. But you often have to release (even if minimally) in order to go percussive.
The key to success when you break the sticky connection is to
(1) set uke into a path of action that he cannot recuperate from,
(2) place your body where you have angles of cancellation (where he cannot hit you intentionally or by accident), and then
(3) "reclaim the stickiness after you go percussive.
Kenpo is built from the movements of the tiger and the crane. While it is not the most pretty or subtle fighting art, it is quite powerful and effective if you allow your flows to contain the following Kenpo principles:
Paths of Action
Angles of Cancellation
Flow Patterns and Grafting of Different Flow Patterns
Uses of Hammers, Whips, Thrusts and Lifts as Either Major or Minor Motions
How to use rythm (like the music of Edmund Parker's Ukelele) to pace your major and minor motions rather than using speed only.
Comments and observations are welcome. Please, let us avoid contentious arguments.