rl.

lal'l

I
li*1

sometimes with other terms attached to it, combinatiott of arts using the name Jeet
bttt often the curriculum being taught Kune Do, these students adopted the name
Over the Past 24 Years, coffision has does not resemble the art that Bruce was Jun Fan Jeet Kune Do to refbr to that
grov)n over the proper use of the name- studying and teaching. For this reason, a which Bruce Lee was Practicing and
Bruce Lee choseJbr his way of martial art group of Brttce's original students came teaching. In this cohtnm, from time to time,
- JEET KUNE DO There arc martial together to clarify the meaning oJ Bruce s we will Jbature the short and to-the-point
arls schools and instrttr'tors around the art. In order to distinguish Brttce s deJinitions of Jun Fan Jeet Kune Do by
world that use the name, Jeet Kune Do, martial way from anY other art or individual Nucleus ntembers.

What ls lun lan leet lftne llofl

By Bo[ Btemet and Tim lacfiett
The simple answer to the question of
what ts Jun Fan Jeet Kune Do, is that it's
the arl that Bruce Lee compiled, discov-
ered and created. JFJKD is not a chop
suey art; that is, it is not "a little bit of this
afi, and a little bit of that afi." lt is,
instead, an art consisting ofunique
technical and philosophical principles
with a core that is distinct and that can be
taught and Preserved.
While Bruce was always searching for a
better way "To use all ways and be bound
*? bV none," we must, for historical and
- : philosophical reasons, use the term Jun
Fan Jeet Kune Do only for the art that
Bruce taught. While it is true that he
would have continued to grow and
explore, we cannot know what direction
this exploration would have taken'

What lfoes lun ]an leet Kune What ls lun lan leet ltune llofl
Do Mean Io Mefl ByGhtisKent
Jun Fan Jeet Kune Do is Bruce Lee's In this way, I hopefully can arrive at what
ByPetelaco[s mafiial ar1 legacy which has been left to Bruce Lee once described as his definition
Jun Fan Jeet Kune Do is, for me' an the world. JFJKD was Bntce's personal of martial arts'. "By martial arts, I mean the
opportunity to present the basic THE unrestricted athletic expression ol an
- develooment in his constant search for
CORE of infonnation that still exists individual soul."
- truth in combat. It was his way of fighting
in the memories of those who were there and his philosophy, not only of combat,
and the many written records of Bruce but also of life itself' JFJKD is training
Lee's life work. The object is to remove and discipline toward the ultimate reality x;J;3[%lx'jll #ll*' l::, "e, K une Do

some of the misconceptions about what he of combat which is alive and constantly
was and to show the world a better ptcture ffil".li"u"* Edirors: Bob Bremer. Linda Lee
moving. It is the ability to adapt to and fit
of what is Preserved in his legacY' in with any type of opponent which means ""
There are manY PeoPle who have been
i1 ssms fsrm
not being bound to any particular style, iili'il,:1[il:::: -":#"
exposed to Jeet Kune Do system or method of martial arts. Cover Design: Concept - John Lhtle. Design -

orinother they should -be included in

- The foundations or "cores" ofJFJKD are :l"'lJ;'R" \or
our family. We wish only to preserve rs EN'LGH" - rhe
the combative principles, physical Official Newsletter of the Jun Fan Jcet Kune Do
Bruce Lee's Art and to help educate those techniques, training methods and philo- Fan ree'l
who are interested in preserving it' sophical ideas synthesizedby Bruce Lee ilH$:'.ill":'ff :.lliffJ'il:'#
When we saY Jun Fan Jeet Kune Do, we duiing his lifetime. For myself' JFJKD is
are not talking about some dinosaur! ; I ;[T i:i :'Jh i :: I ]''"'.."'""',:'jff 11",,
a process of self-development in order to indicared othcrwise) is owned exctusively by-
Bruce Lee's art is a living, viable whole' know myself not only as a martial artist Do copvright (c) reeT Arl
ITWORKS! but as a human being. '-:lfiili:".'J.::e
 IHI''KII||WIIIG IS ]I||T HI||UGH'' I]ITERUITW
IHIS M0llIH: IUll tAll ltET Kullt D0 llUGltUS MEMBIR GE0RGI lEE
Bruce lee's Bay Atea Gonneotion
On Sunday, May 17, 1959 a.fresh-/aced lB-year-old Bruce Lee craftsman, the two collaborated on the design of unique
stepped olf a freighter.front Hong Kong and onto the shores oJ martial arts training equipment that was, of course,.fbrmu-
America (San Francisco, to be exact). For the next three lated to Lee-the-younger',s exacting specifications.
months and l7 days, Lee would remain in San Francisco. The two men shared many happy time,s and lfe experiences
Apart from Guttg Fu, Bruce was particularly .fond of the together throughout the cour,se of Bruce Lee'.s life. And.for this
"Hong Kong Cha-Cha," of which he was crowned the Crown reason, we are pleased to introduce George Lee to the readers
Colonie,s Champion the year beJbre. of KNOWII,,IG IS NOT ENOUGH with the hopes that his
recollections will allow you to see the personal side oJ Bruce
It was during one of Bruce Lee'.s Cha-Cha performances at a Lee. A side seen only by his closestfriends like George Lee.
Chinese Community Center in San Francisco, that George Lee J.L.
-
first laid eyes on Bruce Lee and was completely captivated by
his grace, poise and the.fluidity of his dance movements. After Vl/hat are some of your fondest memories of Bruce?
locating hint in the hallway shortly aJier the performance, Lee- GEORGE LEE: Well, any olthe times that he came up to
the-elder was even more impressed by this young manis Oakland. The things that we'd do, the fun that we'd have, the
thorough mastet? of Gung Fu. The men became great friends jokes that we'd tell, and the places that we'd go to eat and
and allies, and when it was discovered to Bruce Lee'.s flipping a coin to see who would get stuck with the bill it
delight that George Lee wa,s a supremely gifted artist and was usually me, by the way. Those are all fond metnories.
-
.\i* , \',
Can you recall any ofthose
anecdotes?
.I*\'.", GEORGE LEE: Any of the
times that he came here on his
birthday were always fun. I
remember too, the time that he
came up here with a big fur coat
that the studio had given him
-
that really cracked us up when he
came walking into the restaurant
wearing that thing! It was a full-
length fur coatl We thought to
ourselves. "Hey. what's going on
here!" He thought he would
cracl< us up by wearing it into
the restaurant! I couldn't believe
it. I said to him, "Gee, Bruce,
you're lucky I didn't have my
shotgun with me when I first saw
you in that thing, or I might have
mistaken you for a bear and shot
youl" He just laughed. So, these
and other simiiar memories of
Bmce, Allen Joe, and I at Jimmy
Lee's house. Those were all good
times. Bruce used to do a trick
where he u ould snatch a coin
out ofyour hand. You've
probably seen people do this:
they will place a coin in your
upturned palm and ask you to
close your hand belore they are
able to grab it. Well Bruce was
so fast that he would, not only
grab, say, a dime out of your
hand but he'd put a penny
there -in its stead! And he'd do it
Old Friends: George Lee (left) and Bruce posing in front of Lee-the-younger's Chinatown so quickly that you still thought
school in Los Angeles (circa 1967). you were holding the dime!
2
KNOWTNG rS NOT ENOUGH @ SUrVrrVreR, 1997
 Ilthat other "tricks" ofprecision did What wus your original style?
Bruce Lee clo? GEORGE LEE: My style was Hung
CEORGE LEE: Well he did a trick that Kune, but it's also known as Bak Kune in
involved a puncl.r and a candle. He wouid
a)rlft*f China. After the dance class, I pulled Bruce
'J, A^.uQ- aA+uQa aside and told him that what he had
light up a candle and then he would punch
toward the candle so fast and powerfully,
). krth&)^A4 demonstrated in the hallway was so
)'.&-'4-L -&aL
you'd think he was going to smash it Cae/L ind{e,z. different that anything that I had learned.
but instead he would stop just short of it, k;,x.p'&.. "6a1a And he said, "Well, you do a lot of
and the resulting breeze coming offthe classical movements, I imagine." And I
force of his punch would extinguish the said, "Yes. we do have a lot of classical
candle! It was quite a thing to see. It was movements." Bruce said, "Well, I'm trying
things like this that always made Bruce to get away from all that." So I asked him if
great company to be around. there was any chance for me to learn this
style and he told me that he was just about
I also understand thut he was constantly to head up to Seattle to go to school he
training and striving to improve his had only come to Oakland to make a -few
1€l {z"t* .aQ bucks teaching Cha-Cha so that he could
techniques and accuracy.
GEORGE LEE: Oh yes. I remember
a:+? 4
* gr--fL afford to go up to Seattle. I asked him if
walking down the street with him in " !- there was any chance of him coming back
'*'ua"*- ..': ..
,'}
Oakland and there were all sorts of potted .? re ,,. and teaching me a few moves and Bruce
plants that were lining the edge of the tttU* l& /dr'Wa- said, "Yeah, i might come back and open a
.

sidewalk and he would kick at every one pS y+.attrL school here at some time." I said, "That's
r///,/ / terrific! I could get you a lot ofstudents!"
ofthem to see how close he could get to
the leaves without actually making
contact. And he'd do these kicks fast and So this predated Byace's arrival in
powerfully, and yet he always had supreme Seattle. It might be safe to suy that you
control and never hit a leaf. One thing were one oJ'the Jirst Americuns to ever see
about Bruce was that he oicked his friends Bruce demonstrute Gung Fu.
carefully. GEORGE LEE: I was the first at least.
along with Jimmy Lee, Bob Lee - and Allen
lil Joe.
Can you provide as with an example ol this?
GEORGE LEE: Wellhe was very ]lri,*
selective and he could read the character What things did Bruce stress in his Gung
or psychology of a man instantly. He Fu during the years that you worked out
- whether or not
could figure out right away with him?
the fellow he was speaking with was a GEORGE LEE: Bruce was big on
decent person or not. fluidity and speed * much more so than in
the style I had learned previousiy. That's
How tlid you.first come to hear of Bruce Lee? what impressed me the most. Of course, he
GEORGE LEE: Well that was the time also worked with me on Pak Sao, Lop Sao
when he came to over to teach the Hong and things like that. Eventually he made up
Kong Cha-Cira at our Chinese club, the a list that went way beyond that and
C.A. C.A. Jimmy Lee's brother, whose included the Salutation, and Trapping and
name was Bob Lee, he spotted Bruce over all that. He taught me many techniques.
in San Francisco doing a demonstration of
the Hong Kong Cha-Cha. And the way Did Bruce ever share much of his philoso-
Bruce did it was so different and impres- phy with you his philosophy of ltfe as
sive that Bob invited him over to our club
- art?
well as martial
and that's how I got to meet him. Bruce GEORGE LEE: In the beginning, he
was a terriflc dancer and his Hong Kong made an audio tape so that he wouldn't
Cha-Cha was so different and impressive have to keep repeating himself to every
from the Cha-Cha we had been leaming up student that came in. A nd every student
Bruce's personal list of Cha-Cha steps.
until that time. that came into our class and there were
only about six or seven of us he would
How was it tlifferent? How did it come ubout thut you eventa- play them the tape. And they would leam
GEORGE LEE: Weli it's hard to ally began to talk Gung Fu with Bruce? first hand ofBruce's personal philosophy
describe other than to say that ifyou saw GEORGE LEE: When he first came over, directly from the tape. As a matter of fact,
Bruce do it it was lantastic! we all met and he started teaching us the the way he would screen people who came
The regular Cha-Cha that we do here is Cha-Cha. But during the intermission time to his school was by asking them "Why do
just that regular. It has a Latin beat. But he came out into the hallway and ran you want to learn Gung Fu?" And if the
when Bruce- went through his motions, he through a few of the moves of Wing Chun. student said, "We11, I want to leam it in
did moves that we'd never seen and yet he And I said to him: "Gee, that is really order to beat up so-and-so," Bruce would
kept it all in time with the beat of the impressive! What I leamed was never like just kick them out. He screened everybody
music. I still remember a few of the steps that, nor did it possess that kind olspeed." that came in and if they didn't possess the
he taught me. and I still use it.

KNOWTNG rS NOT ENOUGH SUNNER,1997

@
 He said "Just do what comes naturally,"
which means, like he said, "A punch is
like a wave crashing into a wall. At the
very end of that wave is where the power
is, and that's where your power should
be." He really believed in that and always
using your waist or hips in your tech-
niques.

What did you like ubout the gripping

machine that you builtfor him?
GEORGE LEE: Well, at first he just
had these individual gripping devices
and he didn't like that. He said that with-
this gripping machine he was able to add
weight to it, no matter how strong he got.
And he used a lot of weight on that "The Four Musketeers'o: (from left to
A recent photo ofGeorge and the love of machine. I remember that he couldn't fit right) George Lee, Bruce Lee, James Lee
his life, wife Mary Lee. enough weight on the machine to tax his and Allen Joe.
desire to learn the art as opposed to grip, so he used to pile the weights right
just fighting - last long.
they didn't up to the limit the machine would hold GEORGE LEE: (laughs) Yeah. We were
- which was right up to the top and the "Four Musketeers."
lVhatever happened to that tape?
-then add a couple ofsandbags on-top in
GEORGE LEE: (laughs) I don't know I order to increase the weight even more. The Yin-Yang symbol and the Chinese
think Bruce kept it. I asked Greglon Lee phrase that, when trunslated into English,
[James Lee's son] about that the other day You alsobuilt many punching bags for read "Using No Way as Way, Having IYo
but he said he never saw the taoe at his him particularly those that he Limitation As Limitation" were philo-
father's place.
- on the wall.
mounted sophicul components of his martiul art that
GEORGE LEE: That's true. I remember he hud when practicing non-classical
Did Bruce ever tell you that only one one time he was really into punching Gung Fu in Oakland und retained in the
person apurt from himself was hard objects; he filled those bags up with development of Jeet Kane Do, which shows
ullowed-to teuch his art? - Bee-bee shot and metal shavings or thut his art is rooted in that Eastern
GEORGE LEE: No. something or other. And he would punch philosophic viewpoint. Do you think that
those bags forup to 1,000 punches a day. Bruce was a big believer in Yin-Yang?
Can you tell us aboat the Jun Fun Jeet And his knuckles got so ugly-looking! I GEORGE LEE: Yeah, definitely. He was
Kune Do Nucleus and the work it is couldn't even stand looking at his hands always talking about it; the soft and the
doing? during that period of time. But that was hard, the male and the female. He was
GEORGE LEE: Well I'm all for it. It's a the way Bruce was, very dedicated. Just always talking aboutthe Vn-Yang.
good thing the best thing that's ever like his washboard stomach of his. He
- Bruce. It's too bad that it
been done for said to me, "Give me six weeks, Georgel" He was a very wise man for such a young
couldn't have happened earlier, like 20 And every day, for six weeks he trained man, wasn't he?
years ago. But, still, better late than never. like mad on his abdomen and he would GEORGE LEE: You can say that again!
lift up his T-shirt and show me his He was very intelligent in that way. He was
You made so meny things for Bruce progress. By six weeks, he had a wash- very well read and an excellent artist too.
from artwork to training equipment.
- board stomach! He did so many sit-ups Whenever he was talking he would be
ll/hut are two pieces that you are particu- and leg raises. But that was Bruce; he sketching out things that would show us
lurlyfond of thst yoa mude for Bruce? couldn't boil water, but, by God, if he how a technique should be executed. He
GEORGE LEE: The tombstone and the wanted to do something, he could do it. was very knowledgeable.
gripping machine. He was very dedicated to his body and
that's why he wanted me to make all this ll/hat rank did you receive under Brace's
ll/hat did you like ubout the tombstone? stuff. In the beginning,, I was bigger than instruction?
GEORGE LEE: Well, I liked it him. And then in six weeks time, he put GEORGE LEE: I received a"Level2." I
because it perfectly captured his on solid muscle was very proud of that.
attitude towards the practitioners of through his
the classical arts. It really embodies weight training In closing, George, what does Bruce Lee
what he stressed and it really is true: workouts and he continue to represent to you personally?
"In memory of a once fluid man, was bigger than GEORGE LEE: Well he was my idol. My
crammed and distorted by the Classi- me. sifu, my master. I respect him like he was my
cal Mess." Remember, Bruce elimi- brother. When he passed away, something
nated all the classical movements from It seems like yoa, within me died too. I don't practice Gung Fu
his art; things like the 'horse' stance, Jimmy Lee, Allen much these days, notjust because ofmy age
the "you do this, and then I'll do that" Joe and Brace but also because a good deal ofmy enthusi-
type of two-man cooperative drills had a lot offun asm for it left when Bruce left. He was my
-
none of which resembled real fighting. together. good friend.

KNOWTNG rS NOT ENOUGH (D SUrvrNeR, 1ee7

 IilNH ffT$ TO $UGGE$$]Ul ililPIilG
by$teue Golden
If you have been practicing martral arts for
any length of time, you have probably used
some form of Trapping. In most ofthe
books, articles and videos I have seen,
Trapping is taught as a series of moves
where one person attacks with some kind of
Trapping technique. The other person either
gets hit or responds with a counter to the
Trap. Most of the emphasis is placed onthe
moves themselves.

Otherteachers also emphasize the positions

of the body, elbows and arms. In abasic
sense, the Trapping techniques taught this
way are correct. And as you know, they
work extremely well against your training
partner.

Now try to be honest with yourself for a minute (hey,

b>
it's just for a minute!). What happens when your d.
r,"
partner is trying to be difficult orwhenyour ! r'
'.
partner is taken by surprise? Sometimes you
lose the Trap completely, orboth of you end
up grabbing each other and maybe the
strongestwins.

Other times your partner counters the trap

when you were supposed to win. Not fair.

Some of Bruce Lee's original

ilJ'nr.l',rw trapping sketches.

Ifthis bothers you, find another In case you are not familiar with the
partnerwho always lets youwin. terminology, P ak Sao (rhymes with
Or, if you want to make trapping "lock sow") means Slapping Hand. In
work against an unwilling opponent, Jun Fan Jeet Kune Do it usually refers
then concentrate on these three keys to the Slap Block or Parry and also
to trapping: refers to a specific technique that
includes a punch.
- Sensitivity
- Timing Lop Sao means Pulling Hand, usually
- Positions. avery quick, strong pulling motion of
the opponent's arm.
Althoughthere are many otherkeys,
/n, these are very important and are

U/"".a<
ry) easily overlooked.

KNowrNG rs Nor ENouGn (D survrrvreR,'t9e7

FIG. I and FIG.2.
Photos of this technique and these positions have
been in hundreds of articles and books. But look very closely at these examples. Can you see where the opponent's Pak
Sao energy has stopped and changed to forward energy? Of course you can't. That's why it is so difficult to teach
effective Trapping without hands-on training (shameless plug for "Steve Golden's Trapping Seminar").

FIG 3.
For a better view of the hand positions after the
opponent's left Pak Sao.

If I showed you just these pictures and asked you

what the next move might be, you could come up
with i 0 or 20 possibilities for each person. But if I
asked you to tell me who would win on the next
move, youwouldhave
no way of determining the answer. Let's look at two
possibilities:

FIG.4.
In this illustration, the person who punched has
grabbed the blocking hand, and is pulling the arm
using Lop Sao and hitting with a backfist. This is
the usual answer and is a very effective technique.
Generally it is taught just as it is shown in these
pictures:

1) Youpunch.
2) Your opponent blocks.
3) You Lop Sao and Backfist (Gwa Choi).

A clean technique, direct and to the point. But it

does have some problems. In order to work there are
some requirements. Other than know ing the tech-
nique, you must have sensitivity to the opponent's
energy. Or you must have an opponent whose energy is not centered. Either of these work but there is only one
where you have control. Actually you have very little chance of running into someone with very good centered
energy, so you are in luck. But what ifyou do run into one ofthese few who is skilled in energy and centering?
KNowrNG rs Nor ENouGn (D sunneR, 1ee7
 FIG 5.
Your luck has run out. The person who blocked
has very good centered energy. So you punched.
He blocked. You grab his blockingarm in order to
Lop Sao and, much to your amazement, both of
your anns are Trapped and he is pounding a hole
through your chest.

So what went wrong? Perhaps a mistake in one,

two or all three ofthese areas: Sensitivity, timing
andpositions.

Look agarn at FIG 3. The real issue is not where

the Pak hand rs, but where it ts going. If your
opponent's Pak Sao is going across your center,
then you can continue its motion and do a Lop
Sao. If your opponent's Pak Sao is going toward
your center and you attempt a Lop Sao, then you
end up Trapping yourself. So where does sensitiv- Of course it's easier with personal instruction, but
ity enter the picture? Ifyou have punched and your don't use that as an excuse. Maybe you won't get as
opponent stops the punch, you must have the good as you could withoutpersonal instruction, but
sensitivity of feel to "know" what the correct you can get better than you are now. And then you can
response is. And, by "know," I mean that your consider some other keys to trapping: Body position,
body has to know because things are moving too stability, centered energy, hitting energy, leg positions,
fast for the thought process to enter into it. By the dissolving, center awareness, following energy, spring-
time you think ofwhat to do, the energy has ing energy, dissolving by angle, dissolving by redirect-
changed and you are dealing with a new situation. ing, etc. etc.

And in the same sense, timing is critical. You must

continue with the correct response before the
energy orpositions change. You know very well Copyright (c) 1991 Steve Golden. Note: I want to thank James
that if you stopped someone's punch, you would Chandler, Skip Lewellyn and Perry Burdon for appearing in
these photos. I would also like to thank my other students
not wait around for him to counter before continu-
whose pictures didn't quite make it into this article. Thanks
ing your counter.
also to all the instructors and students who have heloed me
understand and develop these skills.
I know how difficult it is to teach sensitivity and
energy on a one-on-one basis. And it is almost Nucleus Member Steve Golden studied Jeet Kune Do
impossible to teach it through pictures and writing under Bruce Lee's tutelage at Bruce's Los Angeles
(and I know that you've heard that before). But Chinatown School. For the past 26 years he has been
I'll tell you a little secret. Although it's almost teaching a small group of students in Oregon and Washing-
impossible to teach this way, it is not impossible ton and doing national seminars.
for you to leam this way. And here's how:

Examine the photos.

Re-read this article.
Get a partner.
Try the positions.
Try pushing lightly across body with the block.
Feel it.
Try pushing lightly toward your partner's
center.
Feel it.
Workwith each other. This is not a competi-
tion.
Now go back and repeat everything from Step
71. KNowrNG rs Nor ENoucn (D sunNeR,'ree7
 ffi rheWisdomof
"fhe
Brucelee
Dtagon &The WoodGuttet"
As Belated By Bob Bremer
To train privately with Bruce Lee was an honor received by very few men
on this planet. Every one of these individuals who was able to have the
experience of training privately with Bruce has retained unique knowledge
that was passed on directlyJrom teacher to student. Some learned
techniques of self-defense and, of course, the reasons why such a
techniquewas being taught as opposed to other techniques. And
then there were individuals such as Bob Bremer, who not only
learned martial arts techniques, but also received philo,sophical
lessons that could be applied both to life and to combat.

According to Bruce's daytime diaries, he met with Bob

Bremer for dinner on Sunday, January 24, I 97 1. How-
ever, prior to the dinne1 the two got into a discussion
about the proper mind-setfor a martial artist. Bruce
explained that the ideal mind-set was to have no mind-
set; to simply be relaxed and "acceptwhat happens
moment to moment and react to it without any precon- F.
ceptions." Bob wasn't all that clear on this lesson and ( )
so Bruce related thefollowing tale of "The Dragon v
and the

Woodcutter "
L.
-J.
Bruce said there once was an old
woodcutter who lived and worked
out in the woods and made his
living chopping wood. One
day, while he was plying his
trade, the bushes nearby began
to shake violently and sud-
dragon wheeled toward the man with fire
denly a dragon stepped out of
coming out of his mouth and fixed the wood-
them. Smoke billowed out of
cutter with his eyes. This startled the woodcut-
his nostrils
ter who froze in his tracks. The drason said
and he looked
"Ah-ha! I know what you're thinking. And if you so
terrifzing.
much as try what you're thinking, I'll breath fire on
The woodcut-
you and burn you to a cinder!" The woodcutter then
ter thought to
thought to himself, 'If he knows what I'm thinking,
himself,'If I I can'tpossibly win.' And so, with his head hung
could only kill that
low, the woodcutter went back to chopping his
dragon or capture it, I
wood and left the dragon alone. And then, several
would be the
days later, as he was chopping his wood, the head
wealthiest man
of the ax flew off and hit the dragon on the head
in the world!'
killing it instantly. The moral: If you first have
The woodcutter
to think about a task that requires action i1'5 166
then raised his
late. Combat is not about thought process. - People
ax and began
can read anticipation. React don't plan.
walking toward -
the dragon.
Suddenly the

KNowrNG rs Nor ENouGn @ suNNeR, 1997

 ffi
THE JUN FAN JEET KUNE DO NUCLEUS

CORDIALLY INYITES THE

Members of Jun Fun Jeet Kune Do
TO ATTEND THE

Second Annual Jun Fan Jeet Kune Do Seminar

Annual Meeting of Jun Fan Jeet Kune Do

and

Bruce and Brandon Lee Memorial Banquet

TO BE HELD ON

SATURDAY, JANUARY 17,lggg

AND

suNDAY, JANUARY I g, I g 98

IN TORRANCE, CALIFORNIA, USA

Priority Registration for Members Only

Limited Participation

Please reply promptly

KNowrNG rs Nor ENouGn @ surtrrvreR, 1997

f
I

t Jun Fan Jeet Kune Do Nucleus Dear Jun Fan Jeet Kune Do Member:
t
c
The Jun Fan Jeet Kune Do Nucleus is pleased to extend to you thispriority invitationto
Linda Lee Cadwell attend the Second Annaal Jun Fun Jeet Kune Do Seminur snd Bruce and Brandon Lee
Shannon Lee Keasler Memorial Bunquet on Januaryl T- 18, 1998. The 1998 Seminar will feature two da)'s of
Taky Kimura instruction divided into sections to allow more hands-on participatron. Attendance
will be iimited, therefore early registration is recommended to secure your place. Please
Allen Joe read the following for detai ls about the event. For further information please call the
George Lee offices of Jun Fan Jeet Kune Do at (208) 375-8885. Leave a detailed message on the
Bob Bremer voice maii and your call will be returned. You may fax us at (208) 375-8886.
Richard Bustillo
Jun Fan Jeet Kune Do Seminar and Memorial Banquet
Steve Golden Tomance Marriot Hotel
Herb Jackson 3635 Fashion Way, Torrance, CA 90503
(3 I 0) 3 16-3636 or 1 -800-228-9290 for reservations.
Pete Jacobs
Dan Lee Registration: 6pm-9pm Friday, Jawary 16
Jerry Poteet 8 am Saturday, January 17
TedWong
Seminar: 9am-4pm Saturday, January 17
Greglom Yimm Lee 9am-4pm Sunday, January 18
Chris Kent Banquet: Saturday, January 18
Tim Tackett 6 pm Seating
7pm Dinner and Program
John Little Annual Meeting: a pm-5 pm Sunday, J-anuary l8
Tommy Gong Fee: $165 per participant (seminar + banquet)
Andrew Kimura
Participants may bring one additional guest to the banquet for an additional $35. your
completed registration form and payment in full for the seminar,/banquet secures your
participation. Please make checks and money orders payable to Jun Fan Jeet Kune Do
and mail payment and registration form to:

96'7 E.ParI<center Blvd., Box 177

Boise, Idaho 83706

Jun Fan Jeet Kune Do is a non-profit organization. Proceeds from the event will be used
to cover expenses ofthe seminar and to support the continued activities ofthe organiza-
tion which will be discussed at the Annual Meeting. The registration deadline is
October 15, 1997 unless capacity is reached before that date when you will be notified
and sent a refund.

The Torrance Maniott is offering special accommodation rates of $82 for 1 or 2 persons
for Friday and Saturday nights, January 1 6- I 7. Please mention that you are attendins the
Jun Fan Jeet Kune Do Seminar and Banquet when making your reservation. The Miniott
will only offer the special rate until the block of rooms is filled or until December 26.
1997 whichever comes first.
-
This invitation is only being extended to 1997 Charter Members of Jun Fan Jeet Kune
Do at this time. Register early before it is opened to the public. we look forward to
seelng you at the Second Annual Seminar and Banquet January 17-lg. 1999.

KNOWTNG tS NOT ENOUGH

@ suNrvreR, 1997 10
 Gutting tdge Gondilioning
llata 0n Health a llutriil0n Gulled
Irom tne World oI $cienGe
In everyt issue of "KNOWIIVG IS lliof ENO(IGH" we shall hold true to the core philoso-
phy of Jun Fan Jeet Kune Do by examining the latest research data availablefrom the
world oJ science on thefronts of training and nutrition, in the hopes that some or all of it
may prove useful to yotr in your own personal process of self-actualization. By way o.f
general disclaimer as neither Jun Fan Jeet Kune Do nor its members or fficers person-
ally conducted these studies, we make no claim or endorsementfor any o.f their conclu-
sions and/or products and view this column as being helpful solelyfor educational ctnd
entert ainment purp o s es.
John Little
-
..IF YOU'RE HAPPY AND YOU KNOW IT'' when he told a reporter in 1973 that: "1
AWORKOUT! really dig exercise. When I'm jogging early
-HAVE in the morning, boy! it s sure refreshing."
Bruce Lee once made the comment that "Jog-
ging is not only aform of exercise to me, it is SUPPLEMENTS NOT A PANACEA
also aform of relaxation. It is my own hour -
FOR SLOPPY EATING HABITS!
evety morning when I can be alone with my own
thoughts." It seems that Bruce's perceptions According to a recent study in the American
were right on the money. According to a major Journal oJ'Clinical llrutuition, there could be
review of over 20 years worth of a pitfall awaiting those who take
scientific literature, nutritional supplements as
researcher Robert "insurance" for a ooor
Yeung, Ph.D., lii:.,,,,,,, diet' According to
discovered the {i.,, the study, which
same thing i'*1,,,, was conducted
that Bruce
Lee discov- . "::Liry::l
$: of two years
ered over 20 * in Australia,
years ago: two groups of
that exercis- Australians
ing routinely took in the same
definitely im- amount of extra
proves your mood. calcium daily, but
A recent issue of the one group got it from
Journal of P $t c ho s omati c supplements while the other group
Research revealed that more thanS5o/o of the got it from powdered-milk. Though both
studies under review showed some form level of groups got he same amount of calcium, the
improved mood after exercise. Additionally, powdered-milk takers maintained better
mood enhancement occurred in all ages, both overall nutrition than the supplement takers,
genders, and among the physically disabled as Thus the pitfall: Taking supplements often
well. Such positive reviews provide more com- causes people to assume that they can afford
pelling evidence that living an active, fit lifestyle to eat poorly because they've got supple-
is a very effective way to overcome anxiety, mental "insurance" to fall back on. Don't
stress, mild depression and fatigue. Perhaps now make the same mistake!
we can appreciate more fully what Bruce meant

11 KNowrNG rs Nor ENoucx @ suNNeR, i997

DRINK A LITTLE SALT

Sweat loss during exercise is inevitable. Thus, we have all become familiar
with the importance of drinking plenty of liquids before, during and after an
exercise session. However, what many individuals don't know is the value of
taking in salt in addition to their water, particularly during the rehydration
period following a workout. A recent study conducted in Scotland and pub-
lished rn Medicine and Science in Sports and Exercise, reached the following
conclusions: 1.) that adequate rehydration requires you to replenish more
liquid than you sweat out; and 2) unless there is an adequate supply of sodium
in this liquid, drinking it will merely result in an increased urine output. What
sodium concentration is adequate? Approximately 50 to 100 mg of sodium per
eight-ounce liquid serving will do the trick (which, incidentally, is what is
contained in most commercial sports drinks).

QUICK!WHAT'S YOURBMI?
All right, so what's a "BMI?" BMI is a mathematical formula (weight in
kilograms divided by height in meters squared) that helps to determine
whether you are at a healthy weight or are carrying too much bodyfat. Studies
have show that a BMI of 27 kglrfi or higher is associated with an increased
risk of comorbid conditions. These conditions include coronary hearl disease,
certain forms of cancer, stroke, hypertension, and non insulin-dependent
diabetes millitus. Recent statistics indicate that33o/o of adult Americans have a
BMI of 27 kglmz or higher, resulting in over 300,000 lives lost each year due
to weight-related illnesses. And there's no need for you to have an anxiety
attack over trying to figure out the metric system here's the formula for
figuring your BMI (where "W" is your weight in -pounds and "H" is your
height in inches):

BMI: (W x 705)/H
H

Ifyour score is 25 or less,

you're within your healthy
weight range. Between 25
and27, you're at increased
risk for health problems
particularly if you have a-
weight-related medical
condition, or if there is a
genetic history of such
problems. Above 30, you're
considered obese. There is,
ofcourse. an exception
worth noting, which is that
very muscular people with a
high BMI generally have
nothing to worry about,
since their extra pounds
come from lean body tissue
rather than fat.

't2
KNowrNG rs Nor ENouGx @ suNNeR,'ree7
Ihe Question ol Sleroiils
0uestion:
My question is for John Little. There has been a rumor
circulating in recent months that Bruce Lee took anabolic
steroids in order to build his incredible physique. Further,
one self-proclaimed "authoriQ" claimed that the reason that
Bruce wore the yellow jump-suit in "The Game of Death"
was because heJilmed the movie at a time when hewas off
steroids and had "lost his muscles " and therefore wanted to
remained "covered up." I have trouble believing this
because Bruce's muscles never had that "puffi" look the
way that most bodybuilders and other steroid-users have. In
short, I know that Bruce Lee was ahead of his time in terms
of martial arts, training and philosophy, but chemistry?
Given your research into his personal papers, interviews
with those who trained with him, as well as your own
background in the bodybuilding and health andfitness
industry, con you tell me if there is any evidence at all that
Bruce Lee used steroids?

lnsrel:
Thank you for your letter. Having been involved in the world
ofprofessional bodybuilding as a writer and occasional
photographer, I've been fortunate in winning the confidence
of many competitive bodybuilders and other strength athletes
who have used or are continuing to use anabolic steroids, so
I know what they do, what the side-effects can be, and their
effect upon the musculature. Fufiher, I've worked alongside
some of the top researchers in the field of anabolic steroids, Bruce on the backlot of Golden Harvest Studios during a break
You've made some astute observations regarding the "look" of in production of The Game of Death andappearing every bit as
individuals who take steroids; there is a bloat or puftiness to muscular as he ever was.
their muscles that definitely looks unnatural. Certainly it was a
look that Bruce Lee never obtained. I've interviewed virtually the evidence of steroid use? If he took a weight-gaining drug, you
every individual that Bruce Lee ever trained with and, to a man, would expect him to gain weight, wouldn't you? If he took a
not one of them has any recollection of Bruce Lee even mention- muscle-building drug, you would expect his muscles to get
ing let alone using anabolic steroids. You have to under- bigger, wouldn't you? Neither happened to Bruce Lee. Granted,
- that Bruce Lee was
stand
- about function not size. Anabolic his body became more defined, but anabolic steroids have
steroids serve one pu{pose they build -
tissue. In fact, that's nothing to do with the creation of muscular definition unless
what the term "anabolic" -
refers to, the tissue-building properties they first increase the size of the muscles and thereby -
increase the
of the drug. Since Bruce Lee lost weight from 1965 through until body's resting metabolism, thus causing the body to burn more
1973 and since his muscles didn't grow any bigger during this calories at rest and more calories bumed, (providing the indi-
period, if he was taking steroids, they certainly didn't have any vidual doesn't also increase his daily calorie intake), the leaner
effect. Further, steroids are very costly, running athletes upwards one gets. However, again, for this scenario to work, Bruce Lee
of $400 a month. Given that Bruce Lee had a family to support would have to have made his muscles bigger which never
and not much income left over after doing so (prior Io 197l), ir happened.
-
is highly unlikely that he had either the inclination or the
finances to invest in getting "bigger muscles." Again, look at the Bruce Lee's level of muscular definition is far more easily
facts: Anabolic steroids retain nitrogen in muscle tissue and accounted for by the fact that he was a very active man physically
this is done uniformly over the body not just in a few-selected with an extremely high metabolism and low bodyfat levels to
bodyparts. Further, the nitrogen causes - the muscles to retain begin with. Given that his average weight was around 132
water. The net result is a dramatic bodyweight garn (in some pounds, he ran at least a mile and a half every day, trained with
instances up to 40 pounds can be gained in a matter of weeks). weights three days a week, skipped rope, rode his exercise bike,
Bruce Lee's bodyweight, on the other hand peaked at about 140 stretched and did calisthenics and, ofcourse, an average oftwo
pounds in 1965 and then slowly decreased to 126 pounds. So, hours of martial arts training a day, it's pretty easy to see how he
over a period of eight years, Bruce lost 14 pounds. So where is became so defined or "ripped" to use the bodybuilding vemacular.

KNOWTNG tS NOT ENOUGn @ SUrvrNeR, 1997

To top it off, when he moved to Hong physique of a man
Kong, he not only had his daily training who has "lost his
routine to contend with, but also the muscles?" In
incredibly humid climate, and take after conclusion, there is
take (sometimes upwards of 30) of fight absolutely nothing
scene choreography. Ifany ofyou in Bruce Lee's
reading this article were that active, you personal papers
too would lose a considerable amount of (including training
bodyfat andbecome very defined. When log books, daytime
you are someone with an already low diaries, or medical
bodyfat level, like Bruce Lee, and you receipts all of
begin such a regimen, you develoP a
- has
which Linda
physique that is ultra defined just like kept from 1966
Bruce Lee did.
- on), the recollec-
tions ofhis closest
It's interesting that, when I was preparing friends, family and
Bruce Lee and Arnold Schwarzenegger (a
an article on Bmce Lee's bodybuilding training partners,
man who has gone on record as admitting to
methods for Muscle & Fitness magazlne, nor the scientific
using anabolic steroids) display vastly
James E. Wright, Ph.D., a gentleman who literature to suggesl
different physiques. Lee's muscles lack the
is one of the world's premiere authorities that Bruce Lee ever
"puffyo' swollen look displayed by profes- EVER used
on the effects and properties ofanabolic sional bodybuilders. Lee (bottom left, top -
-anabolic steroids.
steroids (as weil as the author of several right) on the set of The Game of Dealft. Does
best-selling technical books on the this look like the physique of a man who has
medical properties ofthese drugs) and an The only thing I can think of that may
"lost his muscles?" have confused the author (and this is
individual that even the bodybuilders
came to for answers to some of their really going the extra mile in assuming
more technical questions about the that he actually cares about the truth and
drugs, happened by my desk one to give him a benefit of the doubt that he
aftemoon and glanced down at some probably doesn't deserve), is that Bruce
photos olBruce Lee that were on the occasionally took a cortisone shot to
editing table. They were shots of Bruce deaden the pain in his lower back after he
from Enter the Dragon, the film in injured it lifting weights. Cortisone,
which his physique was at its most medically speaking, is classified as a
defined condition. "Now that man's "cortico-steroid" (an anti-infl amatory
physique is living proof of the quality of pain killer) not an "anabolic" (tissue-
body a human being can build without
- and the two are as
building) steroid,
steroids," Dr. Wright commented. When different as aspirin and heroin. Bruce Lee
I asked him how he could tell that much built his body through voluminous,
about a person's internal chemistry just dedicated, and intense training that was
from looking at a photo, Dr. Wright performed on a daily basis and proper
responded. "There's a look that attends nutritional habits. Period.
steroid use. Plus, you can't achieve that
degree of muscular definition with As a member of Jun Fan Jeet Kune Do
anabolic steroids, you have pledged to actively nurture an
as they tend to interest in the perpetuation ofthe art and
retain water philosophy of Bruce Lee. To this end we
interstitially (i.e., solicit your input to this newsletter. What
in between the would you like to know about Bruce that
muscle and the Bruce Lee are those who resent his has perhaps never been answered before?
skin) and success and popularity and are simply Wat aspect of his art would you like to
therefore blur or looking to tarnish his image. Incidentally, explore perhctps a philosophical point,
obscure muscular I know of the book you mention and of a
- technique, or a scientiJic
particular
definition. He the many falsehoods it contains. How- principle? lTho would you like to see
ever, his alleging that Bruce Lee took to interviewed who has perhaps not been in
fgesturing to Lee]
is more defined wearing the yellow jump-suit in the the spotlight? We value your participa-
than any body- movie, "The Game of Death" simPlY to tion in this work-in-progress. Please
builder I've ever cover up an anemic physique that was off write to us with your comments and
seen." steroids is palpably false. Take a look at suggestions to:
the photos that accompany this article of
The only people Bruce stripped to the waist that were Jun Fan Jeet Kune Do
I've everheard taken both on the set of "The Game oJ 967 E.ParkcenterBlvd.
spread such Death" and on the back lot of Golden Box # 177
rumors about Harvest studios. Does that look like the Boise, ID 83706

14
KNOWTNG rS NOT ENOUGH 6) SUNrvreR, 1997
 "Pto[GtIy of BIUGG lGG"
Itxcerils lrom The Bruce Lee libraryl
Throughout his lifetime, Bruce Lee was a prolific reader, thinker
and writer. He amassed a voluminous personal library that
totaled well over 2,500 books. Possessing an extremely active
mind, not only did Lee read these books, but he annotated their
margins with his own unique insights and extrapolations on their
central theses whenever an author s idea triggered his own mind
into action (which was more often the case than not).

Each issue of "KNOIItING IS NOT ENOUGH" provides you, the

member of Jun Fan Jeet Kune Do, with an opportunity to step into
Bruce Lee's Library, where you can spend some time purusing his
shelves and discovering what books held his interest, what ones
didn't, and what ones inspired him on to bursts of new creative
energy that would later manifest in the perpetual development of
Jun Fan Jeet Kune Do. We shall look at what passages he under-
lined as being important, which ones he passed over, and which
passages in,spired him to jot down analogous thoughts in the
margins of each volume. In a sense, we will be discovering truth
alongside Bruce Lee, reading these books along with him and
learning, as he did, from each, unique and precious repositoty of
knowledge, lessons that we can apply to both our study of martial
art and, more importantly, to our daily lives.
John Little
-
This Month: On Becoming A Person
Author: Carl R. Rogers
Publisher: Houghton Mifflin Company (Boston) (F s-e
It's hard to square Western psychotherapy with Eastern Martial
arts. That is, unless you happen to be Bruce Lee. In the early And that any time a teaching or "way" of doing things is pre-
1970s, Bruce purchased a book by one of the most influential scribed in inviolable terms as something fixed or set in stone, the
psychologists in American history Carl R. Rogers and immediately individual's capacity to learn and grow is severely compromised
saw a causal connection between the conclusions Rogers drew and (both spiritually and intellectually). According to Bruce Lee:
the fundamental thesis of Jun Fan Jeet Kune Do. The central theme
of Rogers' book is that human beings are inherently resourceful "My experience will help but I insist and maintain that art
and that our biggest effor as human beings is the subjugation of art that is
- true
cannot be handed out. Furthermore, art is never
our attempt to get in touch with our real selves to an imposed -
decoration or embellishment. Instead it is a constant process of
authority, whether it be in the form of a therapist, a teacher or a maturLNG (in the sense of not having arrived) . " I

family member. Rogers held that individuals are fully capable of

self-direction without needing to be fed wisdom from outside Both Bruce and Carl Rogers held that knowledge is an on-going
organizations such as the church or the academy. As Rogers states process of personal development. And Bruce found much in
on page 21 ofhis book: Rogers' book that supported from a professional, clinical
psychological point of view - sentiments that Lee himself had
"It has come to seem to me that this separateness of individuals, the long held intuitively. -
right of each individual to utilize his experience in his own way
and to discover his own meanings in it, this is one of the most Lee continued to consult this book from time to time for the
-
priceless, potentialities oflife. Each person is an island unto remainder of his life and wrote extensively in its margins. Space
himself, in a very real sense; and he can only build bridges to other requirements do not allow me to cite every example of what
islands if he is first of all willing to be himself and permitted to be Bruce underlined (of which there are over 1,000 lines of text that
himself." he felt strongly enough about to highlight), nor to include the
context or frame of reference for each annotation that he made in
This, of course, was precisely Bruce's point in creating Jun Fan the margins of the book. However, the following sample annota-
Jeet Kune Do; that the true art of "martial art" lies in the under- tions taken from the margins of Bruce's personal copy of "On
standing that: Becoming A Person" should serve as adequate examples of how
this book served to galvanize Bruce Lee's thought processes in
"Man, the creating individual, is always more important than any the further development of Jun Fan Jeet Kune Do:
established stvle or system. "

15 KNOWTNG rS NOT ENOUGn c) SUI,INeR, 1ee7

Above Rogers statement:

"I would like to make it very plain that these are learrings " Priceless ootentialities. "
which have significance for me.I do not know whether they
would hold true for you. I have no desire to present them as a
guide for anyone else. Yet I have found that when another "Don't be in a hurty to fix things.' Enrich your under-
person has been willing to tell me something of his inner standing in the process of discovery. "
directions this has been of value to me, if only in sharpening my
realization that my directions are different," Bruce has written: Near the end of Chapter One, Bruce Lee underlined the
following passages from Rogers' book:
"To present a possible direction, nothing more. "
"Let me bring this long list to a close with one final
This of course rings very similar to an earlier statement that learning which can be stated very briefly. Life, at its best, is
Bruce made on the premiere episode of the Longstreet TV aflowing, changing process in which nothing is fixed....I
series in I 97 I : find that when life is richest and most rewarding it is a
flowing process....I find I am at my best when I can let the
"I cannot teach you; only help you to explore yourself. " 2 flow of my experience carry/ me, in a direction which
appears to be forward, toward goals of which I am but
A little later on in the book Bruce has written the words: dimly aware. In thus floating with the complex stream of
my experiencing, and in trying to understand its ever-
"The Discovery" changing complexity, it should be evident that there are no
fixed points. When I am thus able to be in process, it is
in the margin of this statement by Rogers: clear that there can be no closed system ofbeliefs, no
unchanging set of principles which I hold. Life is guided by
"[My leamings]...are not fixed. They keep changing. Some a changing understanding of and interpretation of my
seem to be acquiring a stronger emphasis, others are perhaps experience. It is always in process of becoming."
less important to me than at one time, but they are all, to me,
significant." Rogers concludes the chapter by writing:

This is in perfect harmony with a short essay that Bruce wrote "I trust it is clear now why there is no philosophy or belief
in 1973, which began: or set ofprinciples which I could encourage or persuade
others to have or hold. I can only try to live by my interpre-
"Bruce Lee is a changing person because he is and always will tation of the curent meaning of my experience, and try to
be learning, discovering and expanding. Like his martial art, give others the permission and freedom to develop their
his learnings are neverfixed. They keep changing. At best own inward freedom and thus their own meaninsful
Bruce Lee presents a possible direction but nothing more. " 3 interpretation of their own experience."

Throughout the remainder of Chapter One, which deals exten- The above two passages had a profound impact upon Bruce
sively with being honest to oneself and not pretending to be Lee. For one thing, they perfectly crystallized his thought
anything other than the real you, Bruce made the following processes with regard to the drawback of formal education.
annotations: And, truth be told, they also served to underscore the
validity of his reason to close his Jeet Kune Do schools, of
"Thefutilily of maintaining afacade. Tb act in one way on the which he once told his student, Daniel Lee:
surface when actually experiencing something quite different. "
"That is why I closed all the schools of Jeet Kune Do:
Because it is too easy for a student to come in and take the
" Being ones elf leads to real relationships. " schedule as "the truth" and the agenda as "the Way. " t

Above these sentences, Bruce wrote:

"Acceptance offeeling as is. "
"The Process of Becoming"

"Listen to understand rather than to immediately judge or to This one sentence would later serve as both the title and the
evaluate. " thesis of one of Bruce's most eloquent and famous essays,
in which Bruce sat down and wrote draft upon draft of his
innermost feelings on the subject of being a'\eal" human
"Since understanding is rewarding, it is most enriching to open being.
c hanne ls for mutual c ommunic ation. "
However, one of the most significant marginal annotations
made by Bruce Lee in this book occurs 159 pages later in
"Accept the other person's feeling. " Chapter Nine, when Bruce writes the following:

"A 'good' martial artist, not a 'master;'

"The allowance of dffirences." A maturing martial artist, not a matured artist.
An actualizing artist, rather than an actualized master. "
KNOWTNG rS NOT ENOUGX
o SUnNeR, 1997 16
 'b€zd maa&'i4 a'^H4 n-ol a- "7ro*/2 "
a dnde.-b--j".i;4.
^.

; aze.aj **t + raa&*'u-{'zzzA;g

a-, eil?-y an^e4-d rz-s-dz,* {Aa^" a.+ ea"et"u444 Tu"{n

This perfectly parallels a statement that Bruce Lee made to regardless ofthe field ofendeavor they happen to be involved
Daniel Lee in June of 1911 when during a telephone conver- with must be free to find themselves and free to express
sation between the two men Daniel Lee made the comment
- they find.
the self
that because Bruce had decided not to accept every challenge
issued to him in Hong Kong he was displaying great "matu- Oq as Bruce Lee so eloquently put it:
rity." Bruce bristled at the suggestion and quickly interjected:
"The core of understanding lies in the individual mind, and
"I{ot maturlTY. There is no such thing as maturlTY. [RatherJ until that is touched everything is uncertain and superficial.
maturlNG. Where there is a matttrlTY there is a conclusion Truth cannot be perceived until we come to fully understand
and a cessation. That's when the cffin lid is closed. We may ourselves and our potentials." 7
be deteriorating physically in the long proce-ss of aging, but in
your [ability toJ discover daily, it's the same every day. " s

In other words, what you learn and discover daily is forever

fresh and new; an on-going process or personal evolution.
Later, Bruce explained this in more detail to Dan within the Notes:
context ofJun Fan Jeet Kune Do: 1.) Source: Bruce Lee's personal handwritten letter to
"John," circa 1973.
"Using No Way as Way; Having No Limitation As Limitation. 2.) Source: Bruce Lee's handwritten script change inside his
That s it, you see, because when there is a 'way,' therein lies final copy of the shooting scriptfor the premiere episode of
the limitation. And when there is a circumference, it traps. the TV series "tazSslLcet," entitled "The Way of the Inter-
And if it traps, it rottens, and if it rottens, it is lifeless." 6 cepting Fist, " 197I .
3.) Source: Bruce Lee's handwritten essay entitled "NorcsAn
In closing, this book revealed to Bruce Lee the similarities Article," circa 1973.
that existed between humanistic psychology, wherein the 4.) Source: Bruce Lee in conversation with Daniel Lee,
client was considered the center of the therapy, and what he recorded June 21, 197 I by Daniel Lee. Daniel Lee Collection.
was attempting to communicate with the personal liberation s.) rbid.
philosophy of Jun Fan Jeet Kune Do, where the individual 6.) rbid.
student was considered the center of his own martial develop- 7 .) " Liberate Yourself From Classical Karate," by Bt-uce Lee,

ment. Moreover it revealed to Bruce that all human beings published in Black Belt magazine, September, 1 971)
-
17 KNOWTNG rS NOT ENOUGn (D SUrvrr'rreR,1997
ffi
tffitK)t
I !-J'
I[e Gode of lthics olfun tan feet l(une lto ffi
i | "r4
\ |

ml@l

Recogrt,izirtg that, us mentbers of the family of Jun Fan Jeet Kune Do, we ure unitecl
in the comnton gouls of perpetuating the teuchings of thefouncler, Bruce Lee,
und promoting uni4'among instructors, practitio,re,.t u,rd gunersl members,
ull members qgree to qbide by the fottowing code-of ethics:

| ) To alnaYs respect and protect the name and image of the founder of Jun Fan
Jeer Kune Doo
Bruce Lee, and the art that he developed

2)foha^ve-mutual respect for each member and to refrain from making any negative comments
about a fellow member. If members have grievances with each other these rtto,rtO be addressed in
private or at a meeting of the Nucleus and not debated in a public forum.

3) To share philosophical insights and technical knorvledge freeh w ith each other in order to fur-
ther enhance each person's efficiencv in the art.

fullr responsible for the acti911of subordinates -- assistants, associates. instructors,

!Trbe
and l"ouy
emplovees; to enforce a code of ethics that includes the guidelines set forth in this document.If
a member has a problem with a student of another memberihey are to
bring it up with that member
for redress

5) fo har e respect for anr other discipline a member mav be involved in outside of Jun Fan Jeet
Kune Do. ln ofher tl'ords. if a member studies another martial art. their abilitv should
be highlY
regarded; however, another art should not be referred to as Jun Fan Jeet Kune Do.

Membership in Jun Fan Jeet Kune Do

Getteral rttentbersltip in Jun Fan Jeet^Kune Do is available to any and all who support
muintaining the integrity o{the art of Jun Fsn Jeet iu"" b; ;;
the goul of
;t"iti,ir:"1i";'r{;;';;:;;iii.'ai, ir,
founder, Bruce Lee, and of preserviig andperpetuuting the artforrTh;';";;f.;ii;';;;;;;;;;;";:
Responsibilities of membersh ip include:
1) to abide by the code of ethics.
2i ,; ;lli;;; ;;;;;;;r.' arrout JFJKD responsibry and accuratery.
3) to refrain from negative criticism of other arts and practitioners and instructors thereof.

A general member is not certified or recognized as an instructor or practitioner

of Jun Fan Jeet
Kune Do. A general member ma.r'not use_the JFJKD name to promote themself,
their business. or
an)'commercial products. Jun Fin Jeet Kune Do is a registered trademark;il;J;;
Kune Do_non-protit corporation. Funds received b1'Jun Fan Jeet Kune Do are
;;;'j;;;
used to further the
goaf s ol the organization. General members l'ill receive a membership
card, an official JFJKD
emblem pin, a member handbook. a quarterll nerrsletten and participation in the
Jun Fan Jeet
Kune Do,{nnual \'Ieeting for members onlr', as uell as variouJactivifies of the organization.

Those seeking_ instruction in the art of Jun Fan Jeet Kune Do should contact
the Nucleus for a
recommended teacher. Certification to instruct is not a function of Jun F;;l;;;
certification process is handled bv individual instructors and their students.
K;;;b;:;;