 In the last episode, we had Master Jeff Speakman take us to the process of creating and developing the Kempo 5.0 system. Today he is back with us, but this time he's going to share his vast experience with Gojiru Karate and how he got his start in the art and how he transitioned to American Kempo and how the two arts compare with each other. So let's start off with what impact did Lou Angel have in the world of Gojiru and bringing that training here to America? It was an enormous impact. He had an amazing life, you know, he just transitioned to the other side a little over a year ago. But in 1963, he got his third degree black belt directly from Goganyamaguchi in Tokyo. And he was probably only the second or third non-Asian to go over there and achieve that level. And in my dojo are all these pictures of Angel back there in 1963 getting his diploma and all that. It was a momentous accomplishment and him bringing that to the United States. You know, it's a very rigid, very traditional, but yet very, very powerful martial art. And that's how I started. I learned directly from him. And he was so unique in what he did. And he wasn't a big guy at all, but he was so powerful. I mean, you know, in the Japanese arts, they train the fist, you know, to the first two knuckles, always breaking knuckle push-ups on concrete. And I did that all my years with him. But he had this fist that there was just one big knuckle across these two. So it was calloused and it was, he could hit a brick wall full blast with everything and not feel it at all. And that's how we got the nickname Old Iron Fist. But we were very, very close. And for those people who are listening to our temple people, you'll recall in the perfect weapon, the opening scene I did a form. It was a mix of form four and form six. However, there's a little piece right in middle where I kind of do moves like this, you know, that's actually from a Gojiru club. Now, I knew that when Perfect Weapon opened and dropped in Missouri, which is where I met him and where I went to college, that he would be sitting in the audience watching a movie, of course. So I put that in the middle of that form, just as a salute to him and to show him the respect that I think he deserved. Man, when I saw him again, he was like tears in his eyes that I did that for him. He said, my chest was out there here when I was watching. He was just blown away. And that's what I want. You know, I think a great way to go through life is the lead with gratitude. Be grateful. The fact that you're here, we live in this amazing time. We live in this amazing country. The world is a wonderful place as long as you choose to look at it that way. And be grateful for that. And then contribute with the positive energy and try to recognize people and things and events that lead with negativity, that lead with, you know, this is what's wrong with the system and my political opponent did this. And it's all 80, 90 percent or rant on what everybody else is doing that's wrong. Well, I got a great idea. Why don't you tell me how to do it right? So I can listen to you and I can understand your intellect and your leadership, how you view the world. And then I can say, okay, I want to follow this guy because of those reasons of being positive and intelligent, communicative and caring about the rest of the world and other people in the world instead of dominating. Did you find a lot of these qualities taught under Lou Angel? There was a long journey which goes back to why I was so drawn into the martial arts. So the answer is yes, they were there. And once you got to know this amazing person named Ed Parker, you found out they were there big time. This guy was just simply brilliant. He was really a genius. I was so fortunate to be able to know him at all and to be able to have the relationship I did. And then obviously we got very close when I was doing the perfect weapon. We were together all the time. I used to go over to his house and we'd sit and talk about the fight scenes and the perfect weapon. And I would draw out little schematics which I still have. I still have all the fight scenes from Perfect Weapon that I drew out on a legal pad. And we had a blast. He was on the set with me every day. We did fight scenes. It'd be three, four or five o'clock in the morning. He'd be right there with me. And I would finish the, they would call cut. I'd go back to my church. You know, I'm exhausted at three o'clock in the morning. He'd put my shoulder on my, my coat on my shoulder. I'd sit down. He'd be holding my water bottle for me. Then he would, we'd go over the fight scene. He'd say, you know, when you did this move, you dropped your hand. Your hand should have been up here and make little corrections like that. So he was always coaching me right on the set during the filming of the fight scenes. The only thing he never saw, which, you know, he died before the movie was released, right? The only thing that he didn't see was the kata, the form that I did. I went over to his house one day and I said, I want to show you what I'm thinking of doing for the form, which was going to be this combination of four and six with that little bit of Gojuru stuck in the middle for a blue angel. And he said, I don't want to see it. I want this to be your personal expression of how you see the art and where you've come. And I'll see it when the movie comes out. I said, yes, sir. Okay. So of course that's the only thing he didn't see. He did see edited fight scenes in my trailer on this little monitor. You know, we shared the same trailer on the set. So the big fight scene was the one in the Taekwondo gym, right? But the other three guys. So that fight was edited and without sound effects or color correction or anything. And we sat in my trailer with the director and the producer and put on the video and watched it. And we were sitting next to each other on the couch. He was bouncing up and down like this, cheering and like, that's it. That's it. I mean, I was getting thrown off the place, but he was ecstatic. He was so happy. And it brought an enormous sense of accomplishment to me that through my little life that I led, I was able to give back to such a great, great person and made him happy. You know, gave him something that he wanted all his life that he never could have. And that's totally a subjective experience. I don't expect anybody listening to this to really completely understand what I'm talking about. But what I can tell you is that it was so rewarding for me to know that I delivered for him. And I was able to give back something to a man who gave the world this amazing art called American Campbell. I love that you actually infused a little bit of the Goju stuff in there. And I want to come back for a second. What made you start Goju to begin with? How did you get into that? How did you meet Mr. Angel? Yeah. When I was in grade school and in high school, I was a gymnast during the winter and then a springboard diver in the summer because I grew up in Chicago. So obviously the Chicago winters are not very conducive. But so I was always very much into the movement, you know, and gymnastics and the power of that. So when I left and then I moved away from Chicago, I went to Joplin, Missouri to attend Missouri Southern State University, which I did for six years. And that's where I met Lou Angel. So I either wanted to try maybe some kind of professional dance or martial arts, something movement related. So I'm there working in my roommate for a year. I'm friends with this guy. And all of a sudden I found out he's a black belt Japanese Goju Ru under Lou Angel. And I thought, how amazing. I've been living with this guy for a year and I had no idea. So he started to teach me at first and then he introduced me to Lou Angel. And then I started to study from him. But I'm sure you remember the old TV series where David Carradine called Kung Fu, right? What was interesting to me about that and drove me further into that lifestyle was there seemed to be a way of looking at the world that gave great clarity to the deeper meanings of being alive. You know, I have always wanted to live a life where I felt fulfilled. So whenever my time to transition to the other side would come, I could look back at the life that I led and went, okay, good job. You know, you did good. You helped other people. You set an example of health and fitness and pursuing higher education. You know, whatever those things are, I wanted to be known for that. How would you describe your experience the first time you went to class, your first Goju class, your expectations when you walked in the front door versus what your experience was and your impression when you left that first day? Great question. I'm going to have to set this up because this is a truly unique experience. So as I mentioned, Joplin, Missouri, that's where I live, attended the university there. And then I learned about my roommate who was a black belt with Luangelo and started with him a little bit. And then I said, can I meet Luangelo? I want to study, but I can try. And it turns out that there's a neighboring little community called Web City just outside of Joplin. They had a lot of difficult people that lived there. And Angel was the night sergeant. So whenever there was trouble and there was a lot of it there, they sent Angel out to take care of it. And this was, you know, back in the mid-70s. So policing was very different then than the way it is now. So I go to finally meet him at this very, very small, very old building which is the Web City Police Department. And so we went for our first class, which was in the abandoned basement jail cell of the Web City Police Department. So I walked down this dark stone stairway, bars everywhere. You know, this was a jail, clicks on the light. There's one light hanging from one wire with a bulb. And that was our only light source. We went into one of the jail cells. He had some of the dummies set up in bags and stuff. And I started learning right there from him in the abandoned basement jail cell of the Web City Police Department. Classic. I mean, you cannot make this stuff up. And I went there for quite a while until he really got motivated to come out and open a commercial karate school again, which was called the Academy of Self-Defense, which he continued to have that open and teach all the way to the end of his life, which was last year. How long were you in the art? You actually, you're quite accomplished in the art with a pretty high rank. So how long was Gojiru part of your primary training? Almost exactly five years. And when I left, so the reason why I went to Kemple and met Ed Parker was because of New Angel. You know, back in the day, think of what it was like in 1954, 56, 58, a handful of karate schools in the country. So obviously they all knew each other. Turned out Angel was very good friends back in those days with Ed Parker. And so when I was getting ready to graduate with my undergraduate degree in general psychology, Angel came to me and said, look, if you want to make martial arts your life, you should move to California and study Kemple from Ed Parker because he's the best in the world. Of course, I knew the name Ed Parker a little bit, but I really didn't know that much about it. But I said, I mean, obviously, if you're telling, I mean, he could have told me to go to San Francisco and learn from Yamaguchi's son who's teaching there. But he didn't. He told me to leave his art, go to another art that's radically different and learn from a guy that he's not connected to other than through his friendship. And I thought, God, how amazing was that? Because he certainly could have kept me in the system, had me go anywhere. But he asked me because he was more engaged with trying to find the best journey for me as opposed to the best journey for him. And that act of selflessness has always touched me deeply and always guided me in the decisions I've made throughout my life. So back in 83, the summer of 83, is when I sold my car to pay for the U-Haul, had a friend to stay with in LA, packed my stuff and hit the road. And the first time I met Ed Parker was in 1983 at the Long Beach Championships, which was the biggest in the world at that time. Picture that, right? I leave Joplin, Missouri and wind up in Los Angeles. It was like another planet. And so I walked into this gigantic auditorium of thousands of people, over a thousand competitors. I walk in their stages all over the place, people competing on just blown away, right? The scale of it was unthinkable to me. So I worked my way through the crowd and I keep asking, where's Ed Parker? So finally I found him. I bowed very deeply to him and I handed him this letter of recommendation from Lou Angel. He opened it, read it, said, oh, my old friend Lou Angel, you're from him. Wonderful. He gave me his home phone. He said, give me two weeks to get done with this. Call me at home and I'll get started. So that's how I came from Japanese Gojuru over to Kempo. Then I called Mr. Parker. He sent me to the West Los Angeles School, which was being managed by Larry Tatum at that time. And I studied there for years until I went and every test, my first, second and third degree black belt test, Ed Parker was sitting there on the board. It was at the school he sent me to. Then it was a short time after that. It was 86, I believe, where he ironically happened to be in Dallas, Texas at the same time he was coming through to teach a karate seminar. And I went, great. So of course I show up. And it was there when he said, I don't want you to go to the West LA school anymore and want you to start coming to my house with these other three people once a week. And I didn't ask why. Of course. I mean, what do you do? Two words. Yes, sir. You know, you get invited to go to Ed Parker's house to be a private student. What are you going to do? Well, I don't know. Of course you go. Okay. So now I'm taking weekly lessons with three other people at Mr. Parker's house in his living room. And the Kempo he was teaching was so different. But the good news is the difference was it was much more like in many ways. The Japanese go drew that I was studying because it was about power first and speed second and stance and stability and impact value. Then you brought in the science and the physics and it just blew my mind. I just, I just realized how little I knew of Kempo. And then I'm going to get that information from that source. I mean, you can't ask for anything better than that. So I turned everything else out and studied as diligently as I could directly from Mr. Parker. And then shortly after that I began to study acting. And I studied for five years, got a little bit of work here and there until I got my break to perform for the president to production of Paramount, which in turn led to my signing of my contract at Paramount. My first movie was the perfect weapon. And we finished filming in November of 90. And then it was December 15th of 90 is when he died and the film was released in March of 91. So although he never saw the film, he did see fight scenes in my trailer and so he was really, really a part of it. And in all that time I spent with them, I took notes on the kind of things he would like to see that would really highlight Kempo because I knew I'd be on for at least a few movies. It turned out to be 10, but so I made notes on that. So in the success of movies I did after that, I included these at Parker fight scenes, I call them, things he wanted to see that I didn't do in perfect weapon that I did in the next couple of movies that followed. What was your, when you first started taking your first Kempo classes either at Larry Tatum School or with Mr. Parker, did you experience a sort of culture shock coming from such a radically different system like Oju? And like what was that transition like for you material-wise? It was sticking your finger in a light socket. That's what it was. It was such a radical departure and the talent in that West LA school back then was absolutely outrageous. And so they let me continue to wear my second degree black belt which I was a full knee down from Angel when I moved there. And I did that and everybody was very, very nice, very welcoming and they just beat the crap out of me. I mean, I took it all every, you know, until I started getting it and then I went, okay, you know, now I think I get this, but I was trashed, you know, over and over and over again. But I kept showing up and I did get hurt, my nose broke and surgery for that and blah, blah, blah. But I don't know how to explain it. I mean, I was hooked, you know, from the first time I walked in and started taking Kempo, I went, wow, this just blew my mind, you know, and they kept doing that month after year and then I started to study directly from Ed Parker. Okay, now we're in a whole new universe and then you pick up a knife and you start doing what we do with Kempo with a knife. It was just, I just couldn't believe how amazing and intense and informational and the depth of the art was just blew me away every week. I'm not kidding. Three and a half years, roughly, I went to Mr. Parker's house every week with these three other people and we would take our shoes off on the front porch and we wouldn't carry it into the house and every single time I left his house, I would sit on the front porch and put my shoes on and just shake my head and go, he did it again. You know, it's like every time I went there, he blew me away. This art is 20 times the information of Roger or more. And yet it's all interrelated. It all fits together in one mosaic where they all joined together into one expression of your self-defense procedure that's based on physics and impact, not on technique and not on your belt. It was just amazing, the depth. And that is 100% Ed Parker bringing that brilliance in. And I can tell you, when he died, we all, all of us in the martial art world, lost a lot. He had so much to offer. And that's the part that brings him back to what I don't get. How can you guys who were many years my senior be around a man like that so brilliant and not get who he was? You know, how can you, there are all these people who started and then left him. And he continued to evolve and change and grow over time. So their tempo looks different than the tempo I was learning. But I kept thinking to myself, what is it you want that you don't have here? Why did you leave? And maybe there were other personal reasons that are none of my business. I didn't always agree with everything that Lou Angel did, but who the heck am I? You know, I'm his student. You tell me to do something. You get two words out of me. Yes, sir. You know, I'm going to do exactly that because the respect that evolved into love and affection that I had for both of these gentlemen was as genuine as anything that you'll experience in your life. I like what you mentioned a few minutes ago about when you started to, you know, you've got your Gojiru training, you've got your Kemple training, but it's still an expression in the mosaic. What were some of the, you know, comparing the two arts, the curriculum-wise to each other, what are some of the striking differences and similarities that you see in the material to be in talk? Yeah. Of course, the difference is far away the similarities because now we're really talking about traditional versus non-traditional, and they are universes apart. But what's important is where are they the same? Where are they similar? How can one help the other? And this is where even long before Kemple 5.0 came on the scene, long, long before, the Kemple that I was doing, especially after I became a student of Ed Parker, was quite different from most everybody else's Kemple because I came from the Japanese arts. And they have such an appreciation and dedication to the basics and the power of the single move. Which is referred to as white dot focus. So you imagine a black circle and a little white dot in the middle, and you focus on that one thing where Kemple was really a black dot focus kind of an art because you've taken this huge amount of information simultaneously. But there is such value to learning the correct way to use a forward stance to strike someone. And what are the physics involved? And why do we do it? Why is it there? And when you understand that, you can explain it. Then not only do you become a better martial artist, but your students become better because now they know why they're doing what they're doing. Speaking about, I noticed that the belt that you were now is not the traditional Parker or Kemple ranking. Right. Was there significance to the change? Does it represent? Very significant, yeah. This was actually given to me in 2018 by one of Mr. Angel's senior belts. He was too sick to travel to Las Vegas then at that time. But the red and white bars that you see are a traditional length-degree black belt in Japanese martial arts. What Angel did was he put this black bar through the whole thing so he could put his kanji here. So this is the Lu Angel Tenchi Gojiru system. And he presented me with that belt. Well, that, in turn, I went, wow, that's a... Because I know that even for fourth and fifth-degree black belt in the Japanese arts, it's like it'll be half white and half red. And then when the half white is on top around your waist, you're a fourth. When you go to fifth, you just flip it upside down. So you have one belt for two ranks. Well, we took that idea and then made that work for our Kemple 5.0 system. So six and seven is that way. Seven and eight, I mean, eight and nine is another belt, but that's a similar idea. And then tenth is a completely different belt. But we did put a stripe through it like this so that at the end we can put our kanji. There's three different, they're actually Chinese, so they'd be called kanji. Three characters that you see on the belts of everyone who is a sixth-degree black belt in Kemple or higher. And those three kanjis are the attributes that I want all of my students to aspire to, and they are right here. And they are trying to get that up. So they are wisdom, strength, and kindness. So that's what I want all of us to try to keep in mind that this is a way to go through life with those attributes. So those patches are worn on all of our giz, every student of every rank, all around the world. And those three hanjis are hanging up in all of our dojos because it's a thing we aspire to. Wisdom, strength, and kindness. Those are the things that I have learned throughout my life that I think are important to be able to have a meaningful, successful life. So I like that. So you're actually marrying your roots in Goju Ryu and bringing it into your Kemple, making it kind of one like the mosaic. Are there any other attributes or areas where the Goju material will pop up here and there for you? It does on a very, very, very regular basis, literally in every single technique, in how we execute our Kemple techniques. When you get into brown belt, let's say in the Kemple system, whichever one you're in, technically then you're into the quote, advanced material. And it just goes up from there with all the extensions and everything. It's quite amazing. But even in those more advanced techniques, we still keep the dynamic and the power of the correct forward bow or reverse bow, hitting your stance in time and in rhythm with the impact on the target. It gives you that thing called marriage of gravity, right? So if you think that marriage of gravity is the greatest way to increase your impact value, which it is, then you would want to focus in on that so that there is marriage of gravity and that power-based execution of the Kemple technique in absolutely everything that you do. Then you add one more dimension to those two, the settling, the impact, and then the breath. Because the breath is the way that you access your inner energy, called chi in the Chinese key in Japanese, beta rhythms that we call it in the West. But there's an internal energy. So imagine if I had perfect physics and then perfect metaphysics, the non-physical met with the physical at precisely the moment of impact, then I'm moving at 100% of my potential. Then that becomes one strike in the middle of six, eight, 10 strikes in that sequence that we call a technique that you know as well as I. Then you're putting all of the principles and the physics of the Newtonian physics of the world where we live, and the metaphysics of the world that we live in combined together into one magical moment where that's when you watch somebody do a Kemple technique and you're just draw hits the ground. You go, wow, look at that. Well, that's what it is. It's those elements of the perfect timing of the physical and the event of the non-physical, which is accessing that internal energy, Chi energy as a word through your breath. So if I can settle an impact and exhale at that very same moment within that sequence of every single time I hit you, that's when I'm moving at 100% of my potential. Will I win the fight? Who knows? We don't judge it whether you can beat somebody up or not, whether you have a trophy or not, whether you have a belt you wear or not. Can you do the art? Can you effectively do the, do you know it? Can you teach it to me? Can you explain to me what these principles and concepts are? Our entire system is based on that. If that is interesting to you, if you think, critically think in that way, then we're going to be your cup of tea. If you're not, if you just want to beat the crap out of somebody or win a trophy or belts or whatever it is, okay, you're not going to like us very much. Just go someplace else. Just leave us to our thing. As we did our deep dive, we did an episode looking at the history of Go Dru and there's a heavy emphasis on the heart soft and the lines and circles. But Kempo also has its own rules and principles with lines and circles. How do they, are they compatible philosophies with each other? They're almost the same. They're almost the only difference between the two is Kempo's circles are much, much smaller. And then the circle, the very few circles they do in Go Dru, of course, Japan, this is much more of a linear art. Kempo's really a combination of both linear and circular when you get more into the advanced techniques, there's much more continuous motion. But it's the, as Mr. Parker used to say, where a straight line ends, the circle begins. That's how you get that work up. All those hits happening in such rapid succession. So I might use a straight line to go to the target because it's the most effective path from the weapon to the target. But then when I make impact, I might roll that over into a circle to follow with my next strike. So it's an interesting dance. I mean, you have to thread the idea when you really get good at Kempo and this is what really advanced Kempo is. It's about timing changeups. Kabuto is a big part of a lot of the Okinawan training and the Japanese arts training with the different weapons. In Kempo, anyone who knows the perfect weapon knows the poster, it's you with the Kali sticks. And I've always wondered this question and Kali sticks seem to be the favorite weapon amongst Kempo was, even though it's not necessarily part of the curriculum like per se, but it just seems like every Kempo as I know is drawn to the sticks. Do you think that's because of the work you did with the perfect weapon or is there some other attractive attribute that just lends itself for Kempo and Kali to kind of intermix? I think at best it was an influence. You know, I think the best it was. And, you know, as a Kempo guy, when you first start out, you go, okay, form seven is for fourth degree black belt, form eight is the ninth form. So that's for fifth degree black belt. That's 20 years out, you know. So when you begin in Kempo, you go, okay, and the emphasis is put on empty hands because that's what you're going to have if you get spontaneously in trouble in the street. You're not going to pull on a knife, have a pair of sticks that maybe, but the chances are way in the high nineties that you're not. So you need to become proficient with your hands and feet and your knees and your elbows. And then from the five O perspective, you also need to become very efficient on how you do those things on your back, on the ground with somebody trying to pound your face into the ground sitting on top of you. So that is no short order. You know, to become proficient in those things is an enormous amount of work. It takes decades. Now, when you get up there, then you start doing stick techniques and then you start doing knife techniques and you start doing gun defenses. And that's for the more advanced part of it. But all of the stick work that I did in Perfect Weapon, all of that were direct Kempo techniques right out of Form 7. Now, I'm going to ask this question because I know I'm going to get this question from my viewers. Are there any plans to implement any more Goju influences in the Kempo or will there ever be a Goju Ryu 5.0 or anything along those lines? I don't think so, but please keep in mind in everything we do, there is that very clear, heavy evidence of the execution of Goju Ryu-like movements which augment the power of the Kempo karate techniques. This is about power and speed is a part of your power. So when I then became a student of Ed Parker, this is what I mean when I say it was like coming home because Goju Ryu is all about power. All about the power of this thing. You know, knuckle push-ups on concrete, breaking boards and bricks with your fist and all that. What about that single dot focus? Well, what if you took that much analysis and focus of the single movement and applied it to this incredible sequence of movements that we call Kempo techniques? What would be the outcome? The outcome would have to be that your Kempo techniques would become more powerful because you're basing them on stance and timing and rhythm and then addressing the targeting. So I'm going to the subcutaneous targets in a person's body, the kidney and the liver and the spleen and the nerve centers. You saw I'm going internal, subcutaneous. How can I increase the effectiveness of that? So when I express energy in a movement to punch a hand sword or a heel palm, I don't care what it is. How can I express the same energy in the same amount of time but yet have a bigger impact on the targeting? And the answer is yes, it is, but it's a sophisticated which is just simplicity compounded. That's all sophistication is. It is more complex. It is more challenging. But when you get to that place where you're moving like that, it's so rewarding. So coming from someone like yourself that started in such a more regimented traditional system and switched over to something more contemporary like Kempo, you've got that good flavor of mixing two different arts together and cross-training is becoming more and more popular. Do you have any advice for any people who are trying to look to cross-training? Like what attributes should they look for to try to mix arts together and any advice to make their own blend or hybrid? Yes, absolutely. We were speaking about this a minute ago. People get buried into their own little bubble that they live in life. They don't open their mind. They don't open themselves. They don't exchange information. They only want to defend their position. But there is so much that can be gained. Cross-training, I encourage all of my students to cross-training Jiu Jitsu and many, many of them do. And as I mentioned, now there were guys who left Kempo to go to Jiu Jitsu have now come back to us because we are the hybrid of that. We have that skill set. And because those people are so good at what they did and they came back, they brought their skill set, which influenced me, which in turn influenced the Kempo 5.0, now 5.0.2. Even today, in modern-day Kung Fu, which is where this all began, in the Chinese masters, their concern about you was to read your energies. And there were five different energies that they pulled from. They would analyze where are you? Do you have too much energy from food? Do you get too much from aggression? What is the universe giving you? So they figure out who you are and where you are out of balance with your energy. And then their job is, how can I help bring you back into balance? And so that's the martial art. It's not about who you can beat up and the trophies that you get and the belts that you get and the recognition you get because you can hurt somebody. How about living in a world where you can get recognized for who you help, not who you hurt? Wouldn't that be great? And have it be built around a beautiful, amazing martial art where all these people all around the world think the same way you do, which is, how can I make the world a better place? How can I help? How can I contribute my life's energies into something that I believe in? This is worth your life's energies and putting your intellect and your energy and your communication and your physical abilities. Put it in this. This is where I get, I put in a two, I get a six back. I mean, it's an extraordinary opportunity and I love all of my black belts and my 5.0 family around the world. They know it. They know I love them. I know they love me and it's a good way to go through life. So I'd just like to thank you so much for your time today, Mr. Speakman. This was a very valuable experience. You've given us so much information and I think putting this out there for everyone just to kind of, it's worth stopping and sitting and actually looking at what we're doing and looking at the material, the arts that we started and the arts that we go into. It's worth always remembering your past and going into the future and just keeping it all together and like you said, just merging ideas and going forward with it. So I just want to really appreciate your time with us today and just thank you so much for bringing all this to light. You're welcome. I am indebted to you, sir, because you have a very strong following and this is a wonderful opportunity for me to get these thoughts out and it's only happening because you invited it. So I'm extremely grateful for this opportunity. Well, the honor was all mine, sir. All right. Take care of yourself. Thank you too, sir. We'd like to extend a great big thank you to Master Speakman for his time and for sharing his experience in two arts that are fundamentally different from each other. I think it's important that we listen to stories like this where we can appreciate the similarities two systems can have in common as well as respect to differences. Now, if you're looking for more information on either American Kemple Karate or Gojiru Karate, we have a deep dive video on each system with those links down below in the video description. And if you didn't see last week's video on Kemple 5.0, I highly recommend that one as well. Thank you so much for watching.