Dempsey: Chapter 6: KAYO KID

Here is chapters 6 and 7.

Now from here on out things will get alittle more technical. That is, the book now moves into explaining and diagraming various techniques and strategies of Boxing.

"To protect yourself with your fist you MUST become aknockout puncher. And you may do that within three months, if you're a normal chap - anywhere between 12 and 30 (note: these are ages, meaning any normal person between the ages of 12 and 30). By "normal" I mean healthy and sound niether ailing or crippled.

"You should be able to knock out a fellow of approximately your own weight, with either fist, if you follow my instrcution exactly and practice them diligently. And in six months to a year, you may be able to knock out fellows alot bigger and heavier than you are. You've got the weight and the machinery. In fact you're the Kayo Kid."

"And just as soon as savvy the knockout punch, I'll take you along through other departments of fighting. When you finish these instructions, you'll know exactly how to be a well-rounded scrapper. You'll be able to use your fist so destructively and practically that, with experience, you'll be able to move into amateur and even professional competition if you so desire. should you go into competition you'll have a big advantage in all-round fighting knowledge over most boys who came up during the past quarter century.


"Remember this: you don't have to be an athlete to learn how to use your fist. And it doesn't matter whether you're tall or short, fat or skinny, timid or brave. Regardless of your size, shape, or courage, you have already the weapons with which to protect yourself. I repeat: All you have to do is "learn" to use them correctly.

"It's true that nearly every guy can fight alittle bit naturally, without having anyone show him the right way. It's true also that the average boy or man might sit down at a piano and be able to pick out some sort of tune with one finger; or he might use the "hunt and peck" system on a typewriter until he had wriiten a couple of lines; or he might jump into a pool and swim a bit with the dog-paddle or with his version of the breast stroke. but he never could become a good pianist without being taught to play correctly. He never could become fast, accurate typist without being drill in the touch system. And he never could he become a speed swimmer without being shown the crawl stroke."



"It's no more natural for a beginner to step out and fight correctly than for a novice to step out and skate correctly or dive correctly or dance the tango or do the slalom on skis. Even Babe ruth and Joe Lousis, despite their prowess in other fields, were beginnners when they took up golf; and each had to learn to swing a golf club correctly in order to assure accuracy and distance in his drive.

"It's strange but true that certain FUNDAMENTAL MOVEMENT SEEM UNNATURAL to the beginner in nearly every activity "requiring close coordination between body and mind. Fist-fighting is no exception. Some of the fundamentals moves seem awkwardly unnatural when first tried. That's particularly true of the movements in explosive long range straight punching, the basic weapon in fist-fighting or boxing.

"In fighting, as many other activities, it is "natural" for beginners to do the wrong thing. It's natural for him to swing rather than punch straight. It is natural for him to hit with the wrong knuckles of his fist. It's natural for him to use leg-tangling footwork, etc. Let's examine again that you will feel very awkward when you first try themoves in long-ranging punching. I stress that awkwardness for two reason: 1) so that you figure you're a hopeless palooka. and 2)so that you won't pay no attention to wisecracks of friends or sideline experts who watch your early flounderings. Remember: He who laughs last hits hardest.

End of Chapter 6.


Chapter 7: WHAT IS A PUNCH?

"NATURE has given you, a normal beginner, the three requisites for a knockout punch. They are:




For practical purpose, I divide a punch into two parts: a) setting the weight in motion and b) relaying the moving weight to a desired point on an opponent with a stepped-up impact or explosion.

All full fledge punches must have that (a) and (b) combination. It is only what might be called "partial" punches that the body-weight does not play a stellar role. Partial punches are those delivered with only the weight of arms and fist - short backhands to the head, chops to the kidney or to the back of the neck, or mere cuffs to the head when in a tight clinch.

Since we're concerned primarily with the stunning, full-fledged knockout punch, let's move on to it. Let's examine the first fundamental. How do we set the body-weight in motion?



"There are FOUR ways of setting the body weight in motion for punching:

1. Falling Foward.

2. Sprining forward.

3. Whirling the shoulders by means of the powerful back muscle, assisted by shifting weight from one leg to the other.

4. Surging upwards, as in delivering uppercuts.

Every punch combines at least two of those motion-methods.

Best of all the punches is the "stepping straight jolt" delivered with either fist from the "falling step." It has fall, spring, and whirl. That stepping jolt must not be confused with the "ordinary straight punch" that is delivered at medium range without moving the feet, and depends almost entirely on the shoulder whirl. The stepping jolt is a much more explosive blow.



"Hooks and uppercut are short-range blows that can be just as explosive as stepping jolts. However, the hooks and uppercuts are less desireable for fist-fighting, in which one tries to keep at long range as much as possible in order to avoid clinching and wrestling.

"How does a fighter set his weight in motion by a fall? The falling procedure is simple. Remember the baby and the truck driver? (note Dempsey is refering to a diagram of a baby free falling about to land directly on top of a standing man. The baby fell straight down from the fourth floor window. It was yanked straight toward the earth by gravity. It encountered nothing to change the direction of its moving body-weight until it struck the truckman's head. However, the direction of a falling object can be changed. Let's take an example of a boy sitting on a sled and sliding down a snowny hill (note: this is also illustrated in the book). In a sense the boy and his sled are falinng objects, like the baby. But the slope of the hill prevents them from falling straight down.



"Their fall is deflected to the angle of the hill. The direction of their "weight-in-motion" is on a slant. And when they reach the level plain at the bottom of the hill, they will continue to slide for a while. Howeve, the direction of their slide on the plain - the direction of their "weight-in-motion" - will be "STRAIGHT OUT", at a right angle to the straight-down pull of gravity.

"Those examples of the falling baby and the sledding boy illustrate two basic principles of the stepping jolt:

(1) Gravity can give motion to weight by causing a fall.

(2) The direction of that "weight-in-motion" can be deflected away from the perpendicular - on a slant, or straight forward.

"But, you ask, 'what's the connection between all that falling stuff and the straight jolt?"

"I'll answer that question by letting you take your first step as a puncher, and I do mean s-t-e-p.

End of chapter 7.

Next time: Chapter 8 THE FALLING STEP



i take it you don't have access to a scanner since you are typing this up.

it would be nice to get some pix up too, but not sure of copyright issues.

thank you again for taking the time to type this all up.