vol 1 no 1 feb 2005

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Dedicated to Western Martial Arts and the warriors who study them

SAMPLE ISSUE - VOL.

Inside:Extreme Self Protection...........pg 1

Irish StickFighting...........pg 3Women Warriors...........pg 6

Personal Perspective...........pg 8

Mendoza Pugilism...........pg 10

Humor & Wiskey...........pg 13

Homemade Armour...........pg 15

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Welcome to the very first issue of Live Steel Magazine™. Our goal is to be able to give you the

reader a chance to purchase a Western Martial Arts magazine dedicated solely to the arts. There

will be no information about Ren Faires, or history about shoes, or details about medieval

gardening. This is purely a fighter’s magazine. The time periods covered are from BC to the

present. If it is Western Martial Arts, we will cover it, plain and simple. Hundreds of different

styles from all over Europe and America. Do you make armor? Do you have a story about

training? Do you want to promote your school? Let us know....if it has to do with WesternMartial Arts, we will get it out there.

Live Steel Magazine™ will be published quarterly in multiple formats - Paper, PDF, and as an

E-zine.. All advertising must be submitted, proof approved and payed for no later than one

month prior to printing. Live Steel Magazine™ is not responsible for any innacuracies or

deletions that are in supplied ads.

This month’s contributing writers:

Mark Hatmaker • Wic Kanagie • Scott Oisol • Jessie Brock • Ken Pfrenger • Joe McLaughlin

Contact:

Live Steel Fight Academy

1200 East High Street, Suite 312, Pottstown, PA 19464

610-705-8705

[email protected]

www.theoldcelt.com/fightschoolmain.html

The Medieval Horse Guild is a group of horsemen and horsewomen who occasional-

ly cast off the trappings of modern life and cloak themselves in the pageantry of the

Medieval Period. As a group they engage in a variety of activities ranging from the

study of the techniques of horsemanship in the Middle Ages to participating in

parades and battle recreations. Members are encouraged to make their own medieval

costumes and armor as well as tack for their mounts that is appropriate to the period

being portrayed.For more info go to:www.horseguild.com

or email:

[email protected]

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What is Extreme Self-Protection

(ESP)? ESP is an amalgam of

Western disciplines: Western

Boxing, Western Wrestling, and

Western Empiricism.

ESP promotes the idea that the

martial arts of the east are not the

only repositories of knowledge

available on the planet. Western

civilization has its own rich history

of unarmed combat disciplines that

in many ways are superior to the

dogma of the Eastern traditions.

ESP does not deny that there is

much of value in these other disci-

plines, it merely suggests that the

rich tapestry of Western combat

arts has much to offer. Perhaps less

so in the aesthetic sense but this is

more than made up for by its prag-

matic expression.

What Western Arts comprise the

ESP system? Pugilism forms the

foundation of our striking system.Pugilism is the pre-Marquis de

Queensbury form of boxing in

which elbows, head-butts, goug-

ing, hip throws and other such

NHB tools were still legal. We've

taken these tools from the legends

of boxing's beginnings combined

them with positional and entry

concepts utilized in Western fenc-

ing, added a touch of the illegal

punches found in Boombattle, andfire them with the advances made

in the Sweet Science over the past

100 years. This combination of the

early Pugilist's brutality, the

Fencer's finesse, and the Boxer's

conditioning and overwhelming

scientific attack make for a solid

striking base well suited to the

ring, the octagon, or the streets.

Mark Hatmaker is the founder

and head instructor of ESP. For

more information got to:

www.extremeselfprotection.com

HARD WIRING AND

PALM STRIKES

by Mark Hatmaker 2004

Ask martial artists/self-defense

coaches to make a choice between

which body weapon is preferred in

the street confrontation, the fist or

the palm heel, the majority will

answer, the palm heel. I, too, have

a knee jerk intellectual reflex to

answer that the palm heel is the

preferred street tool of the two and

yet closer examination reveals that

the palm may not be the wisest

tool. I know that this answer is

anathema to most. People point to

the fragile human hand with thedelicate skeletal construct of its 26

bones. One can also point to the

anecdotal information of Mike

Tyson, (at the peak of his career) a

professional boxer who throws

punches for a living, breaking his

hand upon impacting Mitch

Green’s skull in a street confronta-

tion in Brooklyn as proof that the

fist is not the way to go. These

arguments are all compelling, butstay with me for a few paragraphs

while I present the other side of the

issue.

Martial artists (particularly west-

ern combat practitioners) are

aware of the truth of the maxim

“How you train is how you will

fight.” In other words, if you train

to shoot for takedowns, chanc

are that is the bias through whic

you will view confrontation. (

bias which I, myself, hold.) Th

maxim also “teaches” us that if w

train with the closed fist the closefist is what we will resort to in

self-defense situation. To be ab

to use the palm heel intelligentl

one must train it assiduously wi

the majority of the striking trainin

forgoing the fist so that in times

stress this tool may present itse

But I put it to you that this focus

training of the palm heel may st

not be enough to bring the pal

heel out in confrontation.

Another maxim of profound wi

dom is “Let your training be

reflection of the battlefield cond

tions.” In other words, if the rea

ty of the fight is one of clinche

scuffling, then you had be

emphasize that contingency

your training. Allow me to add

this maxim with one of my owdevising (not that I can take cred

for reflexive reactions) your trai

ing should be informed by yo

evolved neurophysiologic rea

tions. In other words, if stre

triggers a particular ingraine

response, it is wise to shape/cra

that natural response rather th

wagering that you can subvert m

lions of years of evolved reactio

with a mere several hours of traiing tools that do not refle

the realities of the sympathet

nervous systems fight-or-flig

responses.

How does the above academ

gobbledygook translate into a ca

against the conventional wisdo

of palm heels? Let’s look to huma

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stress reactions for a few clues and

then to primatology. Healthy

human infants are tested for a

fight-or-flight response known as

the Moro Reflex. The Moro Reflex

is triggered when the infant feelsthat it is falling. Once this trigger

is applied, the infant will throw

his/her arms out wide with palms

outstretched and then the hands

will close into fists as if clutching

at something. They, in fact, are

clutching at something. This same

reaction is seen in young primates

and it is an evolved response that

allows the infant primate to clutch

at his/her mother’s fur to prevent a

fall. This reflex in humans is a

holdover behavior echoing a phys-

ical strategy that once saved our

young ancestors’ lives.

This link may seem tenuous, and

I can see that argument myself,

but allow us to take an animal

ethologist’s look at primates in

battle. Many primatologists (theesteemed Frans de Waal, included)

have documented that our primate

relatives in physical confrontation

close the fist to strike or close the

fist to clutch at an object to strike

with. The open palm is only seen

in the occasional open handed

swing at a rival. Now, I am not

suggesting that because a chim-

panzee without directed training is

unable to throw an educated palmheel strike that we are unable to do

so, but I do proffer this information

as food for thought as we look at

the next bit of data.

If one examines their own per-

sonal experiences in confronta-

tions and/or relies on security

tapes of street confrontation or

uses impartial bouncer/security

personnel accounts, the human

animal, in stress situations, clinch-

es the fist and falls back/regresses

to the “swing” more often than not,

even if trained to do otherwise. We

may be able to keep our trainedresponses true to our training in the

sportive atmosphere (not always

even here, as MMA competition

often shows that there is a

Darwinian culling aspect to stylis-

tic preferences) but the street/self-

defense environment is altogether

different.

In the street confrontation we

have not chosen the time or place

of the confrontation. We have not

chosen the opponent. The stakes of

life and limb are without a doubt

much higher than in our sport

matches. We have a myriad of vari-

ables working not for us, but

against us. (I offer this argument

not to discourage active intelligent

training , on the contrary, I offer it

to make sure that we direct ourtraining in an intelligent manner to

mimic ingrained reflexes).

After much thought and

research, I am of the opinion (as if

one could not already see) that the

palm heel is an excellent tool in a

controlled match or in a street con-

frontation in which one is able to

fire first or at least with some

deliberation before launching.Clinching the fists is a very likely

occurrence, and since that may

indeed happen we should learn to

roll the fist properly (I won’t get

into that here as I have already

labored the point repeatedly in

books and videos). We should also

look to the palm as being effective

(perhaps more effective) as a

swing/slap than as a straight pal

heel weapon. Anyone who has ev

worked a true palm heel worko

knows that beyond straight shot

the wrist is torqued or folded to a

uncomfortable degree wheattempting hooks and/or uppercu

with the palm. When used in

“swinging slap” manner as o

sees in Pancrase, the wrist is tak

out of jeopardy (as is the fist) an

one is left with a surprising

effective tool that closely mimi

evolved response.

In conclusion, our trainin

should dovetail with our fight-o

flight responses. We should bui

intelligent structures on top

evolved instinct and strive not

subvert that which may not be su

verted no matter our efforts. In th

controlled arena of sportive com

bat the above discussion is useles

In the arena of the streets, it seem

that our fists and roundhou

blows (open-handed or closefists) are the striking legacy of o

species. Rather than deny the

facts, we should embrace the info

mation and build upon that know

edge base to provide us with

strategy for constructing our be

defense against the street predato

of this world.

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Dating its origins exactly, of course, is speculation, but what iscertain is that the use of the stick as

a weapon seems to have been con-sidered -- by the Irish themselves -- a quintessentially Irish character-istic.

To buy John Hurley's book, click on the cover imageThe origins of the Irish martial artof Irish stick-fighting, colorfullyand accurately portrayed in MartinScorsese's Oscar-nominated film

"The Gangs of New York," goesback millennia.

Dating its origins exactly, of course, is speculation, but what iscertain is that the use of the stick asa weapon seems to have been con-sidered -- by the Irish themselves -- a quintessentially Irish character-istic. This Irish fondness for thestick as a weapon also belies a

cherished cultural preference,rather than a historical necessity,which dates from Ireland's ancientpast.

The Gaelic game of hurling, forexample, was itself a form of mar-tial arts training before it wastamed (only somewhat!) and stan-dardized into a national sport by

the Gaelic Athletic Association.Like the "melee" of the Normanknight, hurling matches were orig-inally meant, in part, to both imbueyoung warriors with a feeling for

combat, and to aid them in theiragility with sword and axeweaponry.

"Gangs" Film Shows Rites of Violence. Martin Scorsese's film"The Gangs of New York" has

received both commercial successand critical acclaim, along with 10Oscar nominations. Yet some Irish-American commentators andscholars have criticized it for itsmanipulations of history.

With regards to certain details(such as the New York City DraftRiots), it is true that Scorsese took artistic license with places, dates,

and events. But without question,the overall content of the moviedepicted with remarkable accuracythe sufferings of the Irish immi-grants of the 19th century. The filmwas unabashedly pro-Irish.

Particularly well-portrayed in thefilm are some of the traditions of Irish faction fighting and how

these traditions were transplanteinto 19th century America. BoHerbert Asbury (author of the "ThGangs of New York" book thinspired the film) and Mart

Scorsese were likely unaware these traditions, yet their historicexistence was documented by Iriauthor William Carleton in h"Traits And Stories of The IriPeasantry" and other workCarleton lived from 1794 to 186and grew up near Clogher County Tyrone. Through his wrings, we can examine these tradtions and see how accurately the

were depicted in the film.

Many accurate details made into the film. For example, Irifactions always carried a symbof their gang into battle on a pikIn Carleton's childhood, his factisymbol was a potato stuck on pike, and this is depicted in thfilm with the Dead Rabbits carring their rabbit on a kind of spea

One of Carleton's faction fightewielding his "shillelagh."Brendan Gleeson's character armed with one kind of the Iriclub known as a Sail Eille "Shillelagh" -- a "thonged cudgelAs Carleton and other Irish writeof his generation show in their stries, Irish faction fighters also usa variety of weapons besides sh

lelaghs -- everything from scythesickles, and flails to swords, braknuckles, hobnailed boots, anguns. This variation is displayed "Gangs of New York."

I do wish Scorsese had includmore authentic styles of Irish matial arts -- especially the varioforms of Irish stick-fighting. B

BATAIREACHT:

THE ART OF

IRISH STICK-FIGHTING

by John W. Hurley

Special to The Wild Geese Today

Part 1:

The ‘Faction-Fighting’ Irish

Irish faction fighters use their

“shillelaghs” on each other

in an illustration from

Carleton’s book.

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he very clearly delineates thebloody nature of the strugglesfought between the Catholic Irishand Protestant Americans in the19th century. And that, after all,

seems to have been his ultimateintention. -- JWH Fatalities oftenoccurred in hurling matches, justas in the melee, and even at muchlater dates, such as the 19thcentury, some of the largeststick-fighting battles on record --involving whole villages - startedout as a kind of hurling matchknown as a "Scuabin". The variousarts of Irish stick-fighting reached

their zenith in the first half of the19th century, when Irish gangswere beginning to dominate NewYork's streets. These sorts of out-breaks, along with the generallychaotic nature of stick-fightingmatches, aided in the demise of popular stick-fighting in Ireland.

Stick-fighting matches usuallyoccurred at fairs and on Pattern (or

"Patron") Days, and involved twoopposing gangs or "factions."These matches became known as"Faction Fights," and eventuallyIrish stick-fighting became strong-ly associated with them.

At first encouraged by Englishauthorities as a way of keeping theIrish divided, faction fighting waseventually outlawed as fatalities at

matches increased and the size andpolitical power of the factionsgrew. They encouraged lawless-ness within the already largelylawless "underground" culture of the Gaelic Irish and aided in theempowerment of the network of Irish secret societies that came todominate the life of the country-side.

In time, An Gorta Mor (The IrishFamine), the influence of theCatholic Church, and the rise of Fenianism (militant Irish republi-canism) put an end to large-scale

Faction Fighting, as more andmore of the agrarian faction groupsunited and were absorbed into theFenian organization in the latterhalf of the 19th century.

Eventually, Irish FactionFighting was outlawed. The last of the classic Faction Fights is oftensaid to have taken place in 1887.But real stick-fighting faction

feuds are known to have contin-ued, even into the 20th century, inparts of Cork, Kerry, andTipperary. Today there is an unfor-tunate reemergence of a kind of faction fighting in the almost dailybattles in the streets of Ulster.

Perhaps more remarkably, theIrish art of stick-fighting(Bataireacht in Irish) continues to

this day in a style passed throughgenerations of a branch of theDoyle family of Newfoundland,Canada. Called Uisce Beatha BataRince, the style is now beingtaught publicly for the first timeby Glen Doyle, a well-knownCanadian Kung Fu stylist, throughhis Cead Bua stick fighting club inToronto.

Part 2: The Origins of Faction Fighting

Faction Fighting's origins, likethose of most martial arts, areobscured by myth. One theoryhas it that shillelagh fightingoriginated as a means of trainingfor European-style swordplay.Under the early Penal Laws,

Roman Catholics were prohibitefrom owning swords and othweapons; as a result Irishmecould only train for sword fightinwith sticks. And they would nee

this training, as thousands of theprepared for service abroad, espcially in the Irish Brigade, a semautonomous unit of the Frenarmy, originally under the authoty of the Jacobite King James Trained by their recruiters, theIrish soldiers (the famous "WiGeese") would at least have sommartial arts training before theentry into the Continent's armies

While certain styles of Iristick-fighting are indeed meant training for swordplay (the BaPionsa style, for example), theare problems with this theory. Fexample, Ireland has one of toldest unbroken warrior traditioin Western Europe, and it thseems unlikely that the Irish wouhave imported foreign fencin

styles in the 17th century.

Yet this theory seems to suggethat. This seems unlikely givboth the ancient history of sticfighting in Ireland and the tradtions of aboriginal Irish orders knighthood, such as the Knights The Red Branch of Ulster. Theorders predate the Norman ordeof chivalry by over 1,000 year

perhaps more, and many of tmen fighting in the Irish Brigadwere, in fact, hereditary Irish wariors descendant from this Gaelwarrior tradition. It seems unlikly, therefore, that such an ancieand conservative society, ondominated by a warrior aristocrcy, would import and practiContinental fencing styles

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exclusion to all pre-existing, nativeIrish traditions. And certainly, if thousands of Irish soldiers a yearcould be smuggled in and out of Ireland, then obtaining illegal

weaponry such as swords wouldhave presented even fewer difficul-ties.

The Irish god Dagda had a mag-ical wooden "shillelagh" whosestrike could either kill or restore tolife, depending on the end of thestick used. Some contemporarywriters attributed the origins of Faction Fighting to disputes over

"Mayballs." These were hurlingballs (or "sliotars") awarded to vil-lage youth groups by a village"Queen of The May" during IrishMay Day (Beltaine) ceremonies.In some cases, competing youthgroups may have fought for theprestige or honor of being awardedthe Mayballs as recognition of their control or domination of aregion.

The combined practices of fight-ing at times of specific seasonalchange (like May 1st), with wood-en sticks, over symbols of fertilityand fecundity (Mayballs), are allaspects of a once coherent, archaicIrish, cultural folk system. And itwas from within this complexnative Irish cultural matrix - partpagan folk belief, part sport, part

politics and part paramilitarism --that I feel the Irish art of stick-fighting was originally born.

For generations, Irishmen havebeen raised on stories of warriorsusing sticks, swords, axes, andspears as their primary weapons,and there are numerous examplesin Irish mythology and history, of the use of the stick as a weapon,

which reflect the ancient origins of Irish stick-fighting.

Faction Fighting was an ancientIrish tradition of the old Gaelic

Tuaths, which survived into themodern age. It was a system of group dueling used to settle dis-putes over territory, family, eco-nomic, political and or religiousrights.

In Irish mythology, hurling asstick fighting is used as swordtraining for young warriors, suchas in the tale of the Boyhood

Deeds of CuChullian. The daybefore The First Battle of Moytura,the Fir Bolg "Rua The Bloody"and his allies "the Twenty OneSons of Mil", challenge the youthof the Tuatha De Dannan to a fatalhurling match on the field of MaghNia -- in a way not unlike that of a19th century Irish Faction Fight.

Irish faction fighters use their

"shillelaghs" on each other in anillustration from Carleton's book.The Irish god Dagda had a magicalwooden "shillelagh" whose strikecould either kill or restore to life,depending on the end of the stick used. The qualifications of awould-be warrior of the F'anna,included a test where the warriorstood in a pit and had to fend off cast spears using a shield and a

stick. It is hard to imagine that sto-ries such as these -- which were theancient Irish equivalent of film andtelevision today -- had no effect onthe traditions and mindset of Irishwarriors.

An example of this impact canbe found in the novel "West InDonegal" (written by Seamus

MacGrianna), the charactTarlach Og O'Donnell imaginesfaction fight he is witnessing askind of heroic re-enactment of thbattle of Corr Sleive, which w

fought between the O'Donnell cland the English. And there is somevidence which suggest that thFenians took their name from nationalist faction called thFianna.

There are a number of aspects Ireland's rich cultural heritage thhave unfortunately been forgottor ignored, left on the periphery

Irish popular culture. Centuries deliberate and repressive warfarfamine, and forced migration haleft many Irish people, even Ireland, alienated from some their own most fascinating anempowering cultural traditionOne of these seemingly forgotttraditions is the Irish art Bataireacht or Stick-Fighting.

John W. Hurley is the author “Irish Gangs And Stick-FightinIn The Works Of WilliaCarleton”, and the soon to bpublished “Shillelagh: The Stoof The Irish Stick” He is researher and practitioner Irish stick-fighting. For moinformation on the history Irishstick-fighting,visit:

www.JohnWHurley.com.

The Irish god Dagda had a maical wooden "shillelagh" whostrike could either kill or restoto life, depending on the end of tstick used.

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Women in Ancient Ireland

by Jessie Mae Brock

Over the course of history there

has been much debate over theequality of women and our rightsas human beings. History showsthat many cultures hold womenbelow men. Even in our ownculture there is still inequalitybetween men and women. Manywomen have had to fight desper-ately to overcome the stereo-typeplaced on us by our ancestors.However, not all cultures have

always been this way. Ancient Irishhistory and legend portray womenmuch differently than most cul-tures. This can be seen in manyways, from literature, to historyand from mythology to religion.Ancient Irish society held womenas equals, and many times theywere considered deities in mythol-ogy and religion. However, this allchanged with the introduction of

Christianity to lreland.

In ancient Ireland, men andwomen had their places, and it wasaccepted. For the most part womenstayed at home; however, a womancould steer away from the home-maker path if she so chose. Thosewho chose the home life had noless importance in the family. Notonly did a house-wife do the cook-

ing, cleaning, making, and mend-ing, it was also the responsibilityof the wife to teach her childrenthe way of war and how to f~ght. Itwas no less respectable or honor-able to be a house-wife than it wasfor a woman to be a queen or war-rior.

There were many recorded

accounts of heroic women warriorsand honorable queens. One suchwoman was Boudicca; she livedduring the 1st century AD. Shegoverned lands that were located

in what is now East Anglia.She received this land whenPrasutagus, her husband, died. Heleft half the lands to Boudicca andher daughters. The other half wentto the Emperor Nero so that theRomans would no longer take landby force. Yet still the Romans stolethe remaining lands, beat QueenBoudicca, and raped her daugh-ters. Because of this, Boudicca was

infuriated. She gathered peopleand weapons and within a shorttime they fought the Romans --and defeated them. Boudicca’sarmy burned and pillaged Romanlands from Colchester to London.“The fury of a Celtic people, ledby an enraged queen, outmatchedeven the well-trained, organizedRoman military.” (Dew Internet)

Men and women received thesame education and, for the mostpart, had equal rights to land andproperty and were held as equalsin the eyes of the law. “The Brehonlaws of ancient Ireland are quitespecific regarding the relationshipbetween husband and wife, dictat-ing ‘to his wife belongs the rightto be consulted on every subject’.The law goes on to safeguard the

rights of the wife, stating quiteclearly that the husband did notown his wife. ‘It is only a contractthat is between them.’ is how thelaw describes marriage.” (TreasaInternet)

Men and women had equal rightsin all property and the consent of both parties was needed to dispose

of the property. Women also hathe right to persue legal action needed. The rights of women Irish society included:

• Inherit property from familiand spouses

• Retain the wealth that sbrought into the marriage

• Take part in the military anpolitical activities of the clan

• Divorce her husband under cetain circumstances

• Engage in polygamy for almo

any reason

• Seek recourse for rape or assau

• Face the same punishment asman for the crime of homicide

(Kirkley lnternet)

In ancient Pagan mythology anlegend, the female representbirth, death, creation, and fertili

Ancient Irish myths and religiobeliefs suggest a matrifocusesociety, which is a society focuson women. Women were highhonored, female symbolisformed the most sacred images the religious cosmos, and the reltionship with motherhood was thcentral elements of the socifabric...the society was hetogether by common allegiance

the customs of the tribe looseorganized around thc traditions the goddess”

(Condren 28).

There are many tales of thmother goddess in many differecultures. Here’s just one of thlegends. Called Brighde by th

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Irish, themother goddess was saidto have created the oceans andrivers that flow all over the world.“As one legend goes, Brighide wasthe daughter of Dagda and Danu,

and when she was born, there wasa tower of fire over her head thatreached to the sky. This is one rea-son why Brighid’s element is fire”(O’Neil Internet). Brighid, themother goddess, was worshiped asa creator life, thought not solelythe creator as they believed in god.Brighid was known to be responsi-ble for such things as a goodharvest, birth, creativity, and pros-

perity.

The goddess was often attributedin threes, the maiden, the motherand the crone. The three parts rep-resents youth, aging, and death.This is directly related to the sea-sons as well; spring, autumn, andwinter. This is just one of the waysthat the female aspect is recog-nized in nature. This is also where

the term “Mother Earth” comesfrom. “She was seen in everythingaround the people - in the air, theearth, and the water. She was morethan just a deity to them. She wasthe woman that the Celtic peopledepended on the most.” (KirkleyInternet)

“What appears to have disman-tled this society was the warrior

culture of Christianity and itsspread into Ireland.” (KirkleyInternet) In 1171 Henry theSecond invaded Ireland. It wasthought among the northernEuropeans at that time, that theIrish were barbarians, un-civilizedand irreligious. “Morals in Irelandhad become corrupt, and religionalmost extinct and his purpose was

to bring the barbarous nation with-in the fold of the faith and underchurch discipline.” (Web FeaturesInternational Internet) This is onereason why the English felt the

need to invade Ireland with theircultures and religion, Christianity.However, the invaders did notcompletely over rule the Irish cul-ture and beliefs, which would havebeen impossible. Instead, to gainsome Irish approval, they adoptedsome of their beliefs, such as thatof the Mother goddess.

When the English invaded,

Ireland came under the reign of Henry VIII, and the entire way of English life. “All the laws (were)against Irish civilization, againstmarriage, fosterage and gossip,against the use of native literatureand its language, against everyphase and aspect of National lifewas re-enacted.” (Web FeaturesInternational Internet) So of course, the role and rights of

women changed to the views of England as well.

Women could no longer fightbravely next to their men, theywere forced to be purely the care-takers. Not only did the Englishtake from Ireland its culture andheritage, but during its invasion,Irelands sons and daughters weresubject to torture and sometimes

death.

One such torture the Irish had toaccept was directly connected tothe disrespect of women. PrimaNocti was the right given to eachfirst night of any land, to bed anyIrish woman on the night of herwedding.

Today women are legally antechnically considered equaamong the men in our worlUnfortunately, considering the hitory of women, our rights and wh

we have had to do to get here, thehas been a vast improvemenHowever our fight is never oveand if women could live in succonditions as they did in ancieIreland and still be strong, if nstronger, then women today hano excuse not to.

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Personal Perspective

by Dan (Wic) Kanagie

I would like to start this article by

saying Hello and welcome to this

first issue of Live Steel Magazine.I hope we both will learn and grow

together in the rich history and cul-

ture of the Western Martial Arts.

Next I would like to tell you

about this article. This will be a

recurring artide focused on the

basic elements and philosophies of

the fighting found in WMA.

Although we will discuss some

technique, it will only be those

basic techniques that will help

develop a new fighter or keep an

experienced fighter going strong.

While advanced techniques are fun

and expand our arsenal and oppor-

tunities, it is the basics that hone

our skills and in a very true sense,

keep us alive. Statistically speak-

ing, you win more fights with the

basics then with any advancedtechnique. And those fighters who

constantly practice the basics on a

daily basis, are those who win on a

regular basis.

Now, with all that said, I would

like to start with, arguably, the

most basic element of fighting:

control. Control covers a wide

area, so I will break it down into

three elements; (I ) self-control:Being in control of your body,

mind, and spirit. ([ am not refer-

ring to any form of spirituality, but

am referring to courage) (2)

Weapon-control: Being in control

of whatever weapon you are fight-

ing with. If it be a sword, utilizing

weight, balance edge vs. flat, and

quillons to achieve the desired

result. (3) control of the fight /

opponent: Making your opponent

do or act in the manner you want

for the desired outcome.

For now I will discuss the first

and most important element, self-control. This is, in my belief, the

most important thing to learn in

martial arts. Think about it, if you

can't control yourself, how do you

expect to control anything else.

Self-control, as I said earlier, is

broken down into being control of

you body, mind, and spirit. You

must be in full control over all

your muscles, your breathing, and

strength. By practicing a certain

move through repetitions you build

muscle memory. And by using it in

a chain drill of moves and coun-

ters, you learn the best application

and time to use in that move. Be

aware of and control you breath-

ing. Proper breathing has two

effects, stowing and exertion of

power. When you breath in youtake in oxygen which converts into

energy. when you exhale forceful-

ly with a strike you exert more

power making the strike more

damaging. Use muscle-specific

exercises for targeting the specific

muscle group that you use the

most. If you are training sword and

shield, you want to work the mus-

cles in your shield arm, more so

then if you were training rapier anddagger. A shield weights consider-

ably more then a dagger. And the

last thing you want to happen is

your shield arm getting tired. On

the flip side, is the ability to con-

trol how you hit when sparring.

While I do believe that you

should train in a realistic manner,

not every sparring session is abo

that. Especially when beginnin

you must learn to do things slow

without power. It is by slow repe

tions that your body will learn an

remember the techniques. ThEnglish Master of Defens

George Silver, in his book "Bri

Instructions" talks about the fo

grounds. These are the first fo

components of the fight he cho

to write abut, in their order

importance. They are Judgmen

Distance, Time, Place. The fir

and most important in Judgmen

By this Silver means: "To kno

when your opponent can reach yo

or not, and when you can rea

him or not. To know, by this guar

what attacks he can do and wh

and how he can attack." . Also h

says "when you first come into th

field, take notice of everythin

Take notice of the evenness of th

ground, get into guard before yo

opponent comes within distanc

stand so the sun is in his face, analways remember your governors

Most of what he tells you to d

first is mental. Mental self-contr

is very important. Being aware

several things at once and havin

to be able to correctly guess wh

your opponent will do, can be ve

diff~cult at first. But like wi

most things, with practice you w

get better. Another aspect is instinctively act to somethin

rather then react. When you reac

your sub-conscience takes ove

and puts you into a protectiv

mode, sometimes a sort of paral

sis. Your body, a lot so times, cur

in to protect itself . But if yo

instinctively act, you calmly b

quickly assess the danger and pe

8

8/3/2019 Vol 1 No 1 Feb 2005


form a counter. By sharpening

both mind and body, through

practice and exercise, you will

instinctively know what to do.

Courage is not the absence of fear.

But the presence of fear, yet thewillingness to continue. Fear can

either drive us, or destroy us. I

firmly believe in practicing in a

realistic fashion, so when the real

fight occurs, I'm fully prepared.

Yes, sometimes injury does hap-

pen. But have you ever heard about

a black belt going to a bar, get into

a fight and get the crap kicked out

of him? That's because he didn't

train in a realistic fashion. The first

punch that landed on him would

have put him in a panic mode. He

froze and couldn't remember what

to do. Now, if you train realistical-

ly but safely, minor injuries occur,

yes. But you now know how to

fight through the pain. While it

may hurt, you wont panic and

freeze. By controlling the fear, you

remain in control of your mind andbody.

Fear can do a number of other

things to the body, that can aid in

you loosing a fight. Your heart rate

increases, which means you are

pumping more oxygen-rich blood

through yoursel£ This uses up your

supply of oxygen, and oxygen is

energy. Also you start to hyper-

ventilate. By hyper-ventilating,you are taking short quick breaths.

When you breath in this manner,

you are not supplying enough

energy producing oxygen into your

system. You will get fatigued and

tired that much faster. So by prac-

ticing slow repetitions in a realistic

way, you will learn the proper self-

control needed. All of the best

fighters always know what is going

on, not just around them, but with-

in them also. By loosing control of

just one part of yourself in a fight,

can literally mean the difference

between a win or a lose.

Philadephia, PA

[email protected]

LIVE STEEL FIGHTACADEMY

Western Martial Arts Training

TRAINING INCLUDES:LONGSWORD, SHORTSWORD,

SHIELD, BUCKLER, RAPIER, STAFF,

DAGGER, GRAPPLING, FOOTWORK, TIMING, KICKING, AND MUCH

MORE....

Main School - Pottstown, PA610-705-8705

[email protected]

www.theoldcelt.com/fightschoolmain.html4 GREAT LOCATIONS FOR TRAINING

Ephrata, PA

[email protected]

Salisbury, MD

[email protected]

8/3/2019 Vol 1 No 1 Feb 2005


The Pugilism of Daniel Mendoza

by Ken Pfrenger

If Jack Broughton is often credit-

ed as being the father of modern

boxing then it is only fair that thegreat Daniel Mendoza be consid-

ered the father of scientific boxing.

Daniel was not a large man, only 5'

7" tall and weighing in at a mere

160 lbs, yet in his prime he domi-

nated the world of pugilism which

at that time knew no rules concern-

ing weight classes or matchmak-

ing. Lets take a look at the man

behind the legend......

Daniel Mendoza was born in

1763 in Whitechapel , London. Yes

that is the same Whitechapel that

would later become famous or

infamous due to the Jack the

Ripper murders over a century

later. Without a doubt this rough

area of London helped shape the

young Daniel in his formative

years. Although he was aLondoner through and through he

was of Portugese descent as well

as Jewish which made him unpop-

ular with some members of the

fancy [The fancy is the name given

to the followers of boxing at this

time. The word later became fan

which most people tend to think of

as coming from fanatic]. He also

had a habit of hanging with whom

some would consider the wrongcrowd including the many gypsys

that lived in the area.

According to his memoirs his

first fight in the public eye was in

the street in front of his employers

shop against an un-named porter in

1870 when Daniel was only 16

years of age. He wrote that after

three quarters of an hour that his

opponent declared that he could no

longer stand with the young

Mendoza. A young Richard

Humphries was his second in this

first fight. Mr Humphries was a

constant throughout Mendoza's

career, sometimes good and some-

times bad. Just one week later

Mendoza found himself squaredoff against an opponent yet

again...this time for money.

Humphries was in his corner giv-

ing instruction in this one as well.

Daniel had many other great

fights including three memorable

battles against his one time mentor,

Richard Humphries in which he

lost the first encounter but pre-

vailed in the next two meetings.Upon the retirement of Big Ben

Brain in 1794 Mendoza claimed

the championship and solidified

this claim by beating Bill

Warr(Ward in some accounts).

One of his more famous encoun-

ters was against a Squire

Fitzgerald during a pugilistic tour

stop in Ireland. Squire Fitzgera

had made some remarks about th

skill and ethnicity of Daniel whi

he soon regretted much to the sa

isfaction of the local Irish who g

to watch a member of gentsoundly thrashed by a lowly je

from Whitechapel. It has been sa

that upon seeing this the loc

fighters started to adopt a mo

Mendoza like attitude(stance) an

technique.

Mendoza lost his title

Gentleman John Jackson wh

seems to have been poorly name

at least as far as his ring conduct

concerned. Jackson was 6' an

weighed over 200 lbs. and demo

strated a mean streak even thoug

he was relatively new to the sc

ence of boxing. Mendoza unlik

the earlier fighters who had ke

their hair shorn close to the head

shaved off completely, kept h

hair long, infact he was know f

his flowing locks. Jackson tooadvantage of this and wrapped h

hand in Mendozas hair holdin

and punching him repeatedly for

10 minute victory over the fall

hero of the lower classes.

Oddly Jackson retired right aft

this fight to open a gym of his ow

Mendoza retired as well but cam

back to the ring in 1806 for finaci

reasons beating Harry Lee at thage of 41. Some 16 years later

the age of 57 he returned on

again and was soundly thrashed b

an innkeeper 5 years his juni

named Tom Owen. Clearly th

idea of a comeback in boxing we

after your prime was not a Geor

Foreman original! After this defe

he settled down for the rest of h

10

8/3/2019 Vol 1 No 1 Feb 2005


years as the landlord of the

"Admiral Nelson" in Whitechapel.

He died on Sept. 3, 1836 at the ripe

old age of 73. So what was it that

made Mendoza such a force in the

world of pugilism?Surely he had physical

attributes that were

superior in many

respects to those

around him but would

these attributes such as

impeccable timing and

measure be enough

against the bruisers of

the day? Without a

doubt they helped but

I am more inclined to

think that his method

of boxing had a great to do with it

as well. Fortunately for us Daniel

Mendoza wrote his method down

before the turn of the 19th century.

His method was also recorded by a

number of other authors as well,

not to mention his own writings

plagerised repeatedly before theyears of copyright infringement.

So where did he learn to box?

Clearly there is a case to be made

for an amount of mentoring by

RIchard Humphries who later

became his greatest opponent

yet in Mendozas second fight

when the spectators yelled

out advice to the young Daniel it

was Humphries who calledback...."There is no need of it, the

lad knows more than all of us."

Surely there must have been some

early instruction in the basics or at

least an understanding of the basic

premise behind the science just as

every young boy here in the USA

knows the basics of football or

baseball even if he has received no

coaching. So while he may have

had some training from Humphries

and others I do believe most of his

ability and style were natural. This

makes it a bit hard for us to emu-

late how he fought sincethe style was natural for

him it does not mean

that it will be natural for

us. I have been research-

ing the Mendoza method

for several years now

and have taught it to sev-

eral people...some don't

do well with it but others

find that it clicks right

away and go from no

boxing skill to speak of

to being downright hard

to land a clean punch on all from

the skills recorded by Mendoza

and his chroniclers.

So lets take a look at

Mendozas style starting with his

attitude or stance. Like many of

the early recordedattitudes Mendozas

was an inclining

rather than a reclining

stance....meaning he

leaned forward rather

than back or bolt

upright that we see

in some of the later

classic styles of

pugilism that were

recorded in manuals.The reasoning behind

the inclining stance

is well explained by Captain

Godfrey writing in 1740....to

paraphrase...When a man wants to

move something, he leans into it

not away from it. Therefore if we

are to punch with force in a for-

ward direction we must assume

this attitude. So in assuming th

attitude of Mendoza we must le

well forward. Our hands must b

kept high, not high in a fixed po

tion but held infront of the face

as to block the line directly froour opponents fist to our face.

our opponent is tall then our gua

must be higher, if short, the opp

site. Our arms three quarters of th

way extended with the back of o

knuckles pointing at our opponen

palms pointing to the sky at a 4

degree angle. Keep the hands f

enough apart so that you can s

between them yet close enoug

together to keep any offending fi

from seeking it's target betwe

them. You will find in this incli

ing attitude that your upper body

over your knees and you midse

tion is well back and that you hea

is slightly tucked between yo

shoulders.

So why assume this attitud

A good questiowhich I will t

to answer....o

inclining stan

lends forwa

strength to o

stance and le

us lean backwa

to a comfortab

just

straight postio

in order to get oof the way

punches. No ne

to bend over backward to avoid

blow, just stand upright. O

midsection is well back forcin

our opponent to have to lean f

forward and under our threatenin

arms in order to successfully land

blow there. Our extended han

8/3/2019 Vol 1 No 1 Feb 2005


are halfway to the target and ready

to attack at a moments notice. Our

extended arms also close most

lines of attack for the head, leaving

us in a very fine defensive posi-

tion.

Like most of the boxers before

the Marquees of Queensbury

[MoQ] rules, Mendoza used a ver-

tical fist when throwing punches

[Vertical vs horizontal is a debate

for another article]. So while his

offensive technique may have

resembled his fellow pugilist his

aggressive defensive action are

what he was to become known for.

He used a block that very much

resembles the bong sao block from

wing chun kung fu which throws

the elbow skyward deflecting a

blow to the inside. He would often

follow this deflection with a

wicked backhanded blow to the

eyes or bridge of the nose. This

blow was known as the chopper.

Other fighters had used this but

none to the degree of effectiveness

that Mendoza was known to have

done. The aforementioned guard is

now known as Mendoza's guard,

named after it's most famous pro-ponent.

While he describes various ways

to defend against the

different punches

most include throw-

ing the head and body

back while barring

the mark [the pit of

the stomach] with one

of your arms and

blocking the punch

with the opposite, he

writes that the best

way to deal with a

blow is to simply not

be there when it is

to arrive. Actively moving to avoid

a blow is a very important and

often overlooked aspect of

Mendozas style. It only makessense seeing that he was alot

smaller than most of the fighters he

faced.

Another important point in his

style and indeed in all of the early

styles of pugilism is to not cross

parry....meaning...if I throw a

straight punch to your face with

my left hand, you parry or block

with your right hand. If you wereto parry with your left hand you

leave yourself open for a clean

shot with my right or possibly even

a throw to the floor which was a

legal pugilistic technique up until

the MoQ rules.

Clearly we cannot go into full

detail in this article but hopefully

this has sparked your intere

enough to do a little research o

your own concerning the topi

You will soon come to discov

that yes, Daniel Mendoza shou

be considered the Father Scientific boxing and deserves a

of the accolades that have bee

given to him all of these years.

12

8/3/2019 Vol 1 No 1 Feb 2005


Humor & Whiskey

by Joe McLaughlin

How do I know there is a God?

Humor and Whisky. Oh, there are

other good things in life to be sure,but the title of the column is

‘Humor & Whisky’, so that’s what

I’m going to talk about. An astute

reader might ask “well, if this is a

humor & whisky column, why are

you talking about God?” Well,

smarta ... err, astute reader, it’s

because God is pretty darn funny.

Which God you might ask? I’m

not about to advocate any one God

over another one, group of,

Goddess, Tree Spirit , Greater

Force, Blessed 4:20 Greenery or

anything like that. Feel free to sub-

stitute the Object of Worship of

Your Faith of Choice wherever

I say God. I wouldn’t want to catch

a stray lightning bolt, be tossed to

the lions, have pixies let the air out

of my tires or a bunch of women

that really need to shave picket myhouse, so you’ll never catch me

advocating one Object of Worship

over another.

Getting back to the point, God is

a pretty funny fellow. Why do I say

so ? Because he always makes sure

a good punch line gets executed in

my life. If I run to practice strait

from work and don’t change my

clothes, nothing will ever happenuntil someone points it out, and

says “dude, you want to change?”

That’s when my pants will split.

You ever notice that you *never*

split your pants in the privacy of

your own home? It’s always in

front of a crowd. The quality of

pants is directly proportional to

how likely they are to split. Will

my 10 year old pants with the hole

in the knee and the frayed cuffs

split ? Of course not. I could fight

all day in those, no worries. How

about my 2 month old Slates ?

Hmm, 10 rolls or 2 minutes with ashinai, and everyone gets to see if

Joe is a boxer or briefs man.

If I am practicing a move with

someone, and they have learned it

really well, as soon as the head

instructor walks over and I have

my student demonstrate, that’s

when either a) the student does

something completly different than

we practiced, often involving a

hasty block to prevent bodilly

harm. Sometimes it’s the head

instructor that needs to toss the

block. b) the student does it per-

fectly, timing it exactly so that I am

either in mid blink or still telling

the head instructor what we’ve

been doing, the end result being

that I get a new lump or bruise.

Sometimes, I really want to whis-per “what the f@#% was that?!”,

but I don’t waste my breath,

because I know what the answer

will be. “I dunno man, my

hand just moved” or “hey, you’re

the one showing me, you explain

it” or maybe even “God told me to,

you got a problem, take it up with

her!”

You know how people tend toknock on wood if they just said

something and they don’t want it

jinxed? We don’t do that because it

works, we do that because God

wants a reminder to screw with us

every now and then. It hears that

knock, does the cosmic rewind on

your conversation to see what it

missed, and then gently nudges the

universe to point maximum cha

at the knocker. Is that a note

doubt I detect? Get in a crowd

people, and comment that “he

nobody has gotten hit in the bal

lately” and knock on some wooGod, thus alerted, sends down o

nutcracker special, and within t

next half hour, some poor guy w

be trying to walk it off while h

kidneys and his testes are having

disagreement on fluid dynamic

courtesy of a shot by a hicko

waster. And yes, guys gettin

wacked in the nuts is almo

always funny, unless it happens

you, in which case it is nev

funny. Never ever. Not even if

clown beans you with a footba

square on the stones.

Now then, enough with theolog

and divine ball breaking, let’s tal

whisky. As this is the first issu

here is my background. I am stric

ly an amateur. I enjoy whisky (an

whiskey), and have spent about years trying different ones that

run across. I put a lot more thoug

into whisky than the casual drink

might, but I am nowhere near

refined as the ones who can te

you exactly what whisky is in

glass just by licking the outside

it. I also strongly recomend tho

little “airplane” sized bottles if yo

don’t have access to a friend wi

something I review. They’re reltivly inexpensive and give a tru

taste. All that out of the way...

This month I’m focusing on Th

Macallan 12 years old. The curre

bottle I am drinking was a gift,

I do not know the exact price. I’v

seen it as low as $28 and as high

$53 per bottle.

8/3/2019 Vol 1 No 1 Feb 2005


8/3/2019 Vol 1 No 1 Feb 2005


Making a shield boss:

An introduction to armoring.

by Scott Oisol

This will be an on-going series

in each issue.

Armoring is a craft that can be

very rewarding but also time con-

suming and frustrating. You must

be patient and only go as fast as

your skills allow. People too often

give up on something to quickly

when they try to do more than they

can handle. For armoring, you

must first develop simple skills

such as hammer control, dishing,

and planishing before you can

attempt more difficult projects.

This is why I have decided to

demonstrate how to make a shield

boss. It is a very simple project

and usually most peoples’ first. In

order to make a shield boss you are

forced to practice the basic skills

of hammer control, dishing, and

planishing.

Before you start

any armoring at all,

you must first have

all of the needed

tools and supplies.

I try to use a mini-

mal of tools and

make or compen-

sate for the ones I

don’t have. The only two powertools I suggest you use: are a drill

and something to cut sheet metal, I

use a jigsaw. You will need a ham-

mer for dishing and planishing. I

use a three pound cross peen ham-

mer with a rounded head for dish-

ing, and a small ball peen hammer

with a polished head for planish-

ing. For starters, a heavy ball peen

hammer can be substituted as a

dishing hammer. You will also

need a wooden or rubber hammer

for making slight bends and dishes

that don’t require a marring ham-

mer. To planish, you will also need

something to planish over, like a

railroad spike or a small dumbbell,

and a vice to hold it. Files and

sandpaper will also be needed to

finish the pieces. Next, you’ll need

to make a bowl in order to dish in.

The bowl can be made by bowling

out the top of a tree stump, or cut-

ting off the bottom of an air tank,

approximately 6” in diameter, and

mounting it to something. I useand recommend

bowling out a tree

stump because it

is easiest. This

can be done a

number of ways:

drilling, hacking

or shaving with a

hatchet, burning,

or any way that

works for you. I have used arounded hatchet and a drill for

mine. For a dishing bowl, the bowl

should be about 6” in diameter and

2” deep. Other miscellaneous tools

needed are: a marker, ruler, cutting

oil, compass or circular objects for

tracing, metal cutting blades for

metal cutting power tool, safety

glasses, clamps, work gloves, and

drill bits. If you want to make

shield boss that will be used f

sparr in

you w

need

least 1g a u g

m i l

steel.

like u

14-gauge mild steel. And, for tho

of you who don’t know, the low

the steel gauge, the thicker t

steel. I purchase my steel in bu

from Koons Steel but you can bu

smaller portions from Home Dep

or Lowes.

Once these tools and suppli

have been acquired you are read

to make a shield boss. Using

compass or an 8” diameter circul

object, trace a circle 8” in diamet

on your steel. Next cut out th

steel circle with your cuttin

power

tool orh a c k -

saw if

y o u

n e e d

t h e

exercise. I clamp steel to a wor

bench to keep it steady when cu

ting. Pouring a little light oil on th

steel where you are cutting m

help cut go smoother. Don’t forg

safety glasses. I had to take seveal steel splinters to the eye before

8/3/2019 Vol 1 No 1 Feb 2005


learned this. If you do get a steel

splinter in your eye, swab it out

with a Q-tip and don’t rub it!

When the circle is cut out, bevel

t h e

edges

w i t h

a file

a n d

sand-

paper

so to

eliminate any jagged edges. Next

trace a 6” circle with a marker in

the middle of the steel circle. You

will be dishing this area. Wear aglove on the hand that will be

holding the steel for this part.

Placing the steel over the bowl,

begin dishing the

boss by hammering

along the inside

edge of the 6” circle

with your dishing

hammer. As you

hammer the edges

of the steel willbegin to fold and wrinkle. Using a

wooden or rubber mallet, hammer

the wrinkles out of the edge of the

steel as they appear. Continuing to

dish inside the 6”

circle, slowly work-

ing your way

towards the middle.

Once this is done,slightly hammer any

areas that need it

until the dished boss

is roughly spherical and symmetri-

cal.

Now the boss is ready to be plan-

ished. Planishing is the pounding

of the steel between two hard steel

surfaces, in my case the railroad

spike and

the hammer,

in order to

hammer flat

the dents

caused by

d i s h i n g

while also

work hardening the steel. First I

recommend polishing the hammer-

head and the object you will beplanishing the steel on. Any spher-

ical, raised device can be used to

planish on. I use railroad spikes

and dumbbells. Now

place the device in the

vice and hammer over

the entire boss with

hammer to flatten out

the dents. Be sure that

when you are hammer-

ing, the planishingdevice head is directly beneath

wherever you hit with the hammer.

You will notice that any uneven

areas in the steel will be corrected

this way and the boss will become

much smoother.

Once the boss has been plan-

ished to its desired smoothness, I

recommend going back and ham

mering flat the edges of th

steel boss on a flat surfa

with the wooden mall

again. This is to ensure th

boss will sit perfectly flwhen placed on a shiel

Now, depending on ho

many rivets or nuts yo

want to use to hold the boss on

your shield, mark where you wa

to drill your holes on rim of th

boss. You will need at least tw

holes and they must be at exa

opposite ends of the boss. This

because the shield handle wbe riveted through these hole

I usually drill four holes and u

bolts to hold the boss to the shiel

Now drill your holes and don

worry about buying any speci

metal cutting drill bits, all drill bi

are hardened so they will g

16

8/3/2019 Vol 1 No 1 Feb 2005


through the mild steel. Once the

holes are dilled, file any jagged

edges and make sure that your

bolts or rivets fit through them.

When you are done this you have

successfully constructed a shield

boss. Now you have the option of sanding and polishing the steel. I

usually don’t because my steel is

hot rolled and has a nice dark coat-

ing already on it. And unless you

are making a decorative shield,

don’t worry about how pretty your

shield looks in battle, but spatter

some dirt and blood on there and

make your opponents tremble!

8/3/2019 Vol 1 No 1 Feb 2005


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Custom Kilts with your choice of:pleating of various styles and widths,

pockets, buckle, belt, buttons, ties, velcro(any closure you choose)

Any fabric from traditional wool to lighterpoly/cotton blends

Celtic embroidery designs as well asmonograms

Prices vary depending on optionsContact me to discusspersonalizing your kilt.

Jessie Mae Brock Hand Crafted Jewelry and Custom KiltsPhiladelphia PA, 19128

[email protected]

HandCraftedKilts

8/3/2019 Vol 1 No 1 Feb 2005


Philadephia, PA

215-508-2097

LIVE STEEL FIGHT ACADEMY

Western Martial Arts Training

TRAINING INCLUDES:LONGSWORD, SHORTSWORD,

SHIELD, BUCKLER, RAPIER, STAFF,

DAGGER, GRAPPLING, FOOTWORK,

TIMING, KICKING, AND MUCH

MORE....

Main School - Pottstown, PA610-705-8705

[email protected]

www.theoldcelt.com/fightschoolmain.html4 GREAT LOCATIONS FOR TRAINING

Ephrata, PA

717-721-1936Salisbury, MD

410-546-9483

vol 1 no 1 feb 2005

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