 I love what Mr. Spiekman has done with 5.0. I did train a 5.0. My instructor became a just Spiekman school for a few years. So we had a, I got to run through his original curriculum about once, like all the way through once. He changes a lot. He adds a lot of ground stuff in there, a lot of ground techniques, and he's changed a lot of the technique sequences up. But even though the sequences might become considerably different, the principles are still there. It's still Kempel because it's still following the same grammar. Different words or no, same words, you're just using different sentences. So it's a different approach and it's very competition and fight heavy, which I like a lot too, because it's a little bit more pressure tested than your typical school. 5.0 is interesting because I like it a lot because what just Spiekman did was, and I do believe, and there's gonna be mixed opinion, I believe where 5.0 went is where Ed Parker would have taken it. Ed Parker was always changing his system. There's always additions, always rearranging, always adapting. And I do believe 5.0 is ultimately, if he was still around today, where he would have wanted it to go, it, because it updates it. It updates a lot of the ideas. A lot of the original Kempel techniques, excuse me, were based off of step through punch. You don't see it that much these days. It might have been more common, back in the 50s, but jab crosses are a lot more common in a real fight. So just Spiekman altered a lot of techniques to be based off jab crosses. But what changes about that? Well, now, if you do a technique and Ed Parker technique that started off, okay, guys doing a step through with the right punch, okay, well, that means his right leg's gonna be forward. Well, if you're doing a technique now, that same technique based off of jab cross, well, they're not stepping forward anymore. You're in a completely different position. So what he did was he altered the technique to modify that. Sometimes it still worked, sometimes you had to change it. We have one technique, shield and mace. You know, Ed Parker, you know, you slip the punch, you do an outward block, you strike the kidney and there's a whole sequence you do on the outside of the body. Well, the Kempo 5.0 version, you're on the inside. You're still, it was in their centerline. So it's the same technique, but now it's modified to work on the inside of the body, which I think is amazing because now it's like, okay, that just opened my mind is the same thing, same ideas, but you can apply it to different situations, hot or cold side of the body. And he did a lot of adaptions like that. He grouped things together because with Kempo, you have what's called the family related techniques. You know, there are certain techniques where they are all built off the same concept. Sleeper, Thundering Hammers and Dance of Death are kind of related in one faction is that both all three techniques started through doing a block, but your rear hand is down low. Okay, well, one technique shoots a rich hand to the groin. Next technique shoots a forearm to the body. Next technique does that brachial stun. Well, guess what? It's the same technique, but it's done low, middle, high zones. So that's a family grouping. And a lot of techniques are a family group like that. With Jeff Spiekman, he did that. And what he did is he taught a lot of them together because a lot of the Parker curriculums are spread apart. You'll learn one in this belt level, then you'll learn one in this belt level later. And then you have to go back, oh, this is just like this technique. A lot of Spiekman curriculum, at least when I went through it, he grouped them together. So you would learn them in sequential order. And he has one sequence where they come in for a tackle. Okay, well, you're able to catch them before they get their arms around you. Well, then the next technique is, well, whether they get a little bit closer, they get a partial grip. The next technique is, well, whether they actually get you into the clinch. The next technique is, okay, now they've gotten you to the ground and you're gonna do this one sweep. And now they've gotten you to the ground, you're gonna do another sweep. So he kept building on that. So I liked that a lot. I thought that was a very logical evolution for the art. All the same principles, it's still Kempo, but it's now applied in different sequences, modified for more modern fighting. And there's a heavy emphasis on the ground fighting. So when you do Kempo 50 fighting, it's not usually a point. It is continuous, fairly hard contact. Sometimes it's hard, full contact sparring and it goes to the ground. Like the fighters stop and do it when one submits. And there are tournaments that will be point-based, but the points basically are just either tallyed up as you go along. So it won't be like point stop. It'll be, okay, well, this person scored 40 points, this person scored 30 points, however that works. But no, I think Kempo 50 is a wonderful system. And it's funny because I've got a really good friend. He's one of our viewers too. He is training in California right now at a 50 school. I trained in 50, 13 years ago, 14 years ago. And it's so different now. Like we will talk about techniques and what he's learning now is completely different from what I learned. And he jokes, it's sometimes they call it 5.1. But just speaking and doing the same thing, he's always adapting, he's always updating it. And I think that is the natural path of Kempo. Kempo should not be static. A lot of arts shouldn't be static. And Ed Parker even said to his son one day, he goes, if 10 years from now, people are training Kempo the same way, they've not done my art justice. It's always about growth and adaptation.