From: FB
Subject: Boxing Tips for Fighting
Date: 1999/03/04
Message-ID: 36DE4C4B.5E930A96@NOSPAMhotmail.com
Newsgroups: rec.martial-arts
The following are some requested tips that will help you improve your
fighting ability. They are truisms that, in my own experience, are
universal to fighting in general. I have been boxing since the early
1980's, and have taught and trained continuously since then. I must be
in a giving mood to hand this over like I am, but here goes.
We'll start with some basics, and move into some more involved material
as we go. I will inevitably skip some things, since I'm just rattling
these off the top of my head.
- Stance -
Chin tucked. Lead shoulder slightly shrugged (though not unnaturally).
Elbows in. Hands up (measure your eyebrows with your fists now and
then). Knees slightly bent. Feet shoulder width apart, nearly
parallel. Groin not open.
Dynamic, phasic, mobile stance.
- Range -
Learn to become really comfortable standing just out of his reach.
Develop the sensitivity to gauge people's reach, and allow them to just
barely miss. This will give you two valuable things: The ability to
not freak out because things are flying at your face and barely missing,
and the posture and positioning to hit him with little adjustment.
In other words, your defense has to facilitate your offense. Everything
"defensive" is really a matter of doing AS LITTLE AS POSSIBLE to make
him miss while not messing up your alignment to hit him back. This is
why multi-step blocking and highly eccentric movements (literally, "far
from center") are not practiced in boxing.
- Never, ever, ever -
. . . take your eyes off of your opponent.
- Let it go by -
Don't always try to stay out of his reach, or you'll always find him out
of your reach. Train your slip and bob to stay in range and let the
punch go right by so you're still in range to deal it out. Don't weave
too much.
- Everything serves your ends -
Like Musashi says, "Do nothing that is without a reason". Beware of
gratuitous and wasteful motions that don't serve any purpose. For
example, jab when you slip his jab. Cross when you slip his cross.
Etc. Don't let him become comfortable, or secure in the knowledge that
you're going to stand there while he does what he wants.
The thing that weakens an opponent's offense is your own offense.
Everything else (e.g. slipping without countering, blocking as an
isolated movement) is just prolonging the inevitable.
- Read the hips -
Learn to read his hips. Whenever a hip comes toward you, that is
advance notice that something is coming from that side. Some also
telegraph with their shoulders, but this is overt and amateurish -- i.e.
wouldn't expect a good fighter to do it. Try to read his loading up in
the hips, too.
- The jab -
To me, the art of boxing is founded on the jab. If you've got a jab,
you can box. If you don't, then boxing is hard. Simple as that.
Without the jab, expect to get hit a lot. The jab helps to make you a
good boxer. Without one, you're just a puncher (which can also be
effective, but requires specialized attributes to pull it off).
- The Can Opener, and the Spoon -
There's a saying in boxing that your jab is a can opener, and your cross
is a spoon. The opponent is a can of meat. You've got to use your can
opener to open the can BEFORE you can use your spoon to dig out the
meat. If you try to use your spoon first, you'll generally fail. Even
if you like to lead off with a cross (not usually advisable, unless
you're Roy Jones, Ali, or a pissed off Jack Johnson), it is advisable
that you at least feint a jab to conceal the load-up of your rear
shoulder for the cross.
- The Hook -- "Crushing Peanuts, and Come Here" -
Two things to remember in throwing your hook. Lead foot rotates on the
ball like you're crushing peanuts. Lead arm hooks horizontally and
tight, like you're grabbing one of your friends around the neck with
your arm and saying, "Come here!" (the noogie position).
Also regarding the hook, THERE IS NO WRIST. Your wrist does not exist.
You can use horizontal or vertical fist -- matter of what range you're
hooking at.
- Balls of the feet are the gas, heels are the brakes -
Rule of thumb for mobility and planting.
- Christmas -
Better to give, than to receive.
- Speed -
Speed is very important. But quickness and suddenness are even more
important. Don't build up in speed. If you do, you will tend to miss
against a person with movement, even though your punches are fast at
full extension. This is because there is a discernible buildup in your
acceleration. Relaxation is important for speed. Don't tighten your
fist up until you're almost fully extended.
- Shoe in the Bucket -
This is a common mistake in martial arts that you will really pay for
when full contact is happening. It describes a failure to shift the
weight off of one foot and onto the other when throwing a power punch.
Classic example is in the cross -- at full extension, your rear foot is
on the ball, allowing the weight to shift and that hip to come forward.
This contradicts the planted rear foot of many traditional martial arts
in their "reverse punch" -- what in boxing we call shoe in the bucket.
- Barrel of a gun -
Look down your punching arm like you're looking down the barrel of a
gun. This will help that arm to provide cover for your chin on that
side while you're punching. Common mistake is for people to leave their
chin open on the side of the arm they are punching with. Depending on
your personal style, it can also help to turn your thumbs downward to
help bring the shoulders up and provide better cover.
Your arms are like two soldiers guarding a fort. When one of them
leaves the fort to make war, he has to build a wall to protect his post
while he's gone. Also, in keeping with this analogy the other soldier
at such times is extra vigilant.
- Where there's weight, there's power -
Proper loading is essential for power punching. But, do not telegraph.
Conceal the shift of weight in your combinations.
- Hourglass stance -
This is a dangerous but necessary position in hitting. It happens at
the tail end of your cross. Be ready to duck and cover. Your cross
will put you in a bob position. You should be ready to stay low and
elbow block, weave under, or jab to correct your posture. DO NOT just
stand there fully extended with nowhere to go.
- 60/40 Rule -
In your stancing and movement, do not put more than 60 percent of your
weight on either foot *except in brief extreme situations*. i.e. In the
course of regular movement stand in balance. One-legged stances,
stilted and straight knee stances, overextended forward stances, etc.,
are a big mistake both offensively and defensively.
- Dancing -
Don't dance around, or bounce up and down. Quick, short, even-keeled
adjustments are what you want. Stay mobile, but don't waste any
motion. In keeping with the gas and brakes analogy above, stay on the
balls for quick range adjustment, but SETTLE IN on your punches. You
get your punching power from the ground, through the legs, and off the
hips.
- The generator -
This is a principle I teach my students. Everything you do needs to
derive power from somewhere. Your hips are your generator. Plug
everything you do into your generator. Throwing punches without the
hips is like fighting a duel with an unloaded gun. You might get the
first shot off, but he'll be the one who really connects.
- Better to make him miss by an inch, than by a mile -
This relates to some other things I've already said. When you make him
miss by a mile, you'll often find yourself too far out of alignment to
fire back. Make him miss by an inch, and it's as if he's not punching
you at all -- as far as your ability to counterpunch is concerned.
- Head at the level of your punch -
You have to drop your head to the level of your target. THIS INCLUDES
BODY SHOTS. Not to do this is to get hit. Some say you should put your
eyes at the level of where you're punching, some say the chin or
shoulders. I usually put my eyes at the target level.
- Punching Power -
The power of your punch is on the very end of it. This is one way in
which boxing/fighting is a range game. You've got to find your
distance, in order to tee off. The real art comes in catching him at
the right time and place when your punch is at its max. It's like
catching a train. You've got to coordinate things, so that both you AND
the train are at the station if you're going to catch the train. Both
of you are on the move, though, and this takes timing.
- When to catch him -
Often, an opponent is ready to move once off of your first attack to
make you miss. But, usually after this first movement he has nowhere to
go unless he's pretty good. Often you can catch him flatfooted at this
time, if you're ready to follow up and keep gaining range. Most common
of all is simply leaning away from your initial attack. If you're ready
to follow up from that, you can usually catch most people (unless your
opponent is Chris Byrd).
Musashi once said something related to this: Throw something up at his
face, and you'll see his reaction. Then you can know exactly what to
do, since he has tipped his hand, and show his intention. Example: You
throw a threatening jab (good safe angle, well-covered, but believable)
and he reacts by moving slightly back away. This tells you to do the
same thing, but follow with an overhand to catch him -- because you know
where his head is going to be after the jab.
- The chin -
The chin is the magic button. Tuck yours, exploit his. Some people
look really tough, but they go down from a tap on the chin. Whereas,
trying to knock a guy out by punching his skull can take a while, unless
you hit really hard. Head's like a helmet. Not a good target, unless
you can already break patio blocks with your fists. I've knocked people
out by punching their skull without hurting my hands, but it takes a
while to get your fists tough enough for it.
- Jab like a fencer -
Jabbing is a game of controlled lunging in coordinated footwork to
achieve the right range for other things. Some people use the jab in a
light way, like a fly swatter. I like to use it light, but also as a
heavier punch as well -- a dichotomy which comes from originally
learning to box at 175 lbs., but finding myself now at a trim 215-220
lbs. with enough speed AND weight to use it both ways.
- Sparring -
The quality of your sparring partners will influence your skill level.
Highly skilled fighters do not need to go full contact all the time to
get a lot from the exchange. Besides, if you're a heavyweight like me,
here's an important stat for you: 87% of all heavyweight pros suffer
from permanent brain damage as a result of full contact sparring and
fighting. No thanks. I want to be able to remember my wife's name when
I'm 60.
Moreover, you can't explore new combinations and options if there's too
big a price to pay. When somebody is out there trying to knock your
block off all the time, you'll tend to fall back on just surviving
instead of consciously enforcing actions that are intelligent if not yet
reflexive.
- Shadowboxing -
You should shadowbox EVERY DAY. The most valuable training experiences
for me have been those little 15 or 20 minute sessions where I shadowbox
and play with different angles and combos. Keeps you sharp, too.
- Number your angles -
Start with a basic numbering system:
1. Jab
2. Cross
3. Lead Hook
4. Rear Overhand
5. Lead Uppercut
Eventually add other angles (e.g. from close range, squared face-off, or
opponent moves to inside):
6. Rear Uppercut
7. Lead overhand
8. Rear Hook
Now. When working the focus mitts, have the feeder call out combos by
number:
"1,1"
"1,1 while circling"
"1,2"
"1,2,3"
"1,3"
"1,2,5,4"
Etc.
The feeder should collide the mitts with your punches so that the mitts
do not snap back, making it possible for him to stay with you on faster
combinations, and to give you a satisfying impact when you punch.
Next, work into advancing combos where the feeder throws angles after
your first one or two shots, you evade and continue with your counter.
"1,2,weave,2"
Etc.
Again, these are mostly BASICS. I've just skipped around a bit, in
addition to avoiding kicking altogether which is a favorite area of
mine. Maybe some other time. But what I've given here is based
entirely on my experience, and it will help you if you apply it.
Good luck.
Frank Benn
Integrated Arts
Austin, Texas
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