The Reckoning—Constance Ann Smith vs. Kia Michelle Stevens, back in the day when Mondo was mortal [Fight Like A Girl, Episode #102]
Kia Michelle Stevens, better known by her ring names Amazing Kong, Awesome Kong, and Kharma, is an American professional wrestler. As well as an undefeated Golden Gloves champion in the women’s super-heavy weight and unlimited weight divisions. She is also known for her time in Total Nonstop Action Wrestling and WWE. She is a eight time Women’s Champion, having won the WWWA World Championship, NWA World Women’s Championship, AWA Superstars of Wrestling World Women’s Championship, a two-time TNA Knockout Champion, ChickFight Championship, Shimmer Championship, and Bombshell Ladies Of Wrestling (B.L.O.W.) Championship. ChickFight, Shimmer, and B.L.O.W. are the premier women’s promotions in pro-wrestling.
While Stevens is a genetic mesomorph, and she is very easy to work with, her cocky backstage personality is what really turns some people off about her—not to mention a well-deserved reputation of being a “loose cannon” and suffering mental breakdowns also in backstage settings. But that’s a work, of course. Like so much in pro-wrestling. In point of fact, a convincing argument could be made that everything about pro-wrestling is a work—even when it’s a shoot.
Cocky, loose cannon, head case, when she’s in-character, and she’s always in-character when she’s on the clock. The “real” Kia is one of the nicest, softest spoken people you could ever want to meet—truly a gentle giant when not riled or in a fight or both.
Her success is not limited to singles wrestling, as she frequently teamed with Aja Kong to form the tag team Double Kong who held tag team championships in four different promotions, along with winning the TNA Knockouts Tag Team Championship with Hamada. She was also ranked first in the inaugural list of Pro Wrestling Illustrated’s Top 50 Females. She’s the only amateur prize fighter on Ring Magazine’s list of the Top Female Boxers of All Times.
She began her professional wrestling career after appearing on a reality television show. She primarily wrestled in Japan for the first five years of her career, holding numerous championships there. After which, she began wrestling in her native United States again, appearing on the independent circuit before appearing on national television with TNA Wrestling where she was a driving force in the foundation of their Knockout division.
Albeit a pro-wrestler who by definition makes her living doing that “fake” media shit, Kia looks like what she is—a badass fighter who knows how to throw down for real.
At 6-foot-2-inches tall and well over three hundred pounds, she is an imposing figure of a woman, for a human female. And she’s solid, no flab, whatsoever. She’s a Giant’s mortal eye candy—some Giant’s Food and girl toy.
Case in point, Kia is the Mundane love interest of the Giant, Sara Hex. Kia was at ringside as she watched her lover’s hopes, dreams, and aspirations go up in a puff of smoke on national TV. Sara’s pugilistic career is finished. The loss, Kia could have lived with. But, it’s how Sara lost that she cannot forgive.
At five-foot-nine-inches tall and one-hundred-thirty-eight pounds, Connie is a big girl, by human standards, but she’s no match for Kia in size let alone in girth. A flesh-n-blood Barbie Doll, she could easily pass for a Las Vegas showgirl—shades of the bailiff Miss Sonia Montejano on Judge Joe Brown [TV court show].
On looks alone … In a street fight, Kia should easily flatten Connie. Then again, looks can be deceiving. In real life, things are not always what they seem.
Of course, Connie is hardly in deep waters. This isn’t the first time that she has fought a much bigger person and made them quit—beaten and broken—all the while making an example out of them.
While doing it, she shows superior speed, strength, guile, courage, and conditioning. She can fight inside and outside, and she’s got a vicious streak, which is an advantage in boxing. It’s not just a sweet science. It’s also a mean science.
Manny Pacman, Hanna Kuntz, and Connie Smith exit the arena via an alley door. Away from the crowds and the confusion of the fight’s aftermath. Connie’s hands are still taped and she’s still wearing her boxing shoes. Tellingly, the rest of her boxing gear is in her Ellington Portland convertible leather backpack rucksack knapsack handbag purse.
They got wind of a buzz, and came prepared. The girlfriend [Sara’s] won’t let it go. And, Sara is doing her best to fuel the flames. Not to mention the sore losers [a lot of people lost huge tonight] who want their pound of flesh.
There are rules for this sort of thing which negate Connie’s Mob ties. Rules of engagement between mortal and immortal species which make revenge not only possible and practical, but survivable as well on the part of the mortals involved. Rules which Kia intends to exploit in the interest of her lover.
Connie is the fly in the ointment, of course. The spanner in the gears, so to speak. Why? Because Connie is a club-fighter. And, she’s not the kind that you want to meet in the proverbial [or literal, in this case] dark alley.
In the ring … A club-fighter is, at best, a journey prize fighter—who presents nondescript opposition. Someone who will never be a contender. Someone who is not good enough to be a gate-keeper. In other words, someone who’s diametrically opposed to a pound-for-pound talent in their prime. Losing badly to a club-fighter is usually the kiss of death for any boxer who’s viewed as a contender.
Gate-keeper? A gate-keeper is a fighter who tests whether a fighter is good enough to step up to the elite level and fight. Beating a gate-keeper usually gets you ranked [in the top ten]. Losing to one is a career limiter for a boxer who has aspirations to be an elite fighter. But, as aforementioned, Connie is not classed as a gate-keeper. She’s just a club-fighter.
Club-fighters allow promoters to feel out new, promising prospects. How well you do against a club-fighter in your first pro fight tells a promoter just how promising you really are. In other words, are you worth the investment of my time and money? Club-fighters also allow promoters to “pad” the records of that seemingly endless stream of talented up-n-comers—that never-ending parade of contenders and prospects who vie for being “the champ” of weight division whatever.
Whether that fighter is a current champion [who by definition is the destination] or a former champion [who’s on the comeback trail] or a ranked contender [oftentimes a contender’s handlers “protect” him by matching him pretty much against journeyman and 2nd tier fodder], padding a fighter’s record is a perfectly legit, accepted, and expected practice in boxing. Fight fixing, of course, is not.
But, this discussion involves so-called “in ring” skills. The muscle memory [the reflexes] of a prizefighter is attuned to the goings on in the [boxing] ring where there are rules. Violating them [those rules] is called street or more commonly dirty boxing. Yes, prizefighters do dirty box. But, it’s not reflexive. It’s an intentional act—regardless of their later disclaimers after/during the boxing match. In other words, they have to think about it. A shoot fighter does not.
The boxer outside the ring? Freestylist. Street fighter. NHB [no holds barred] fighter. Shoot fighter. Shoot. That fighter has many names. All of them point to the same practitioner: The boxer. No longer the pugilist: the boxer divorced from those rules which make him a prizefighter.
Boxing outside the ring? Freestyle. Street fighting. NHB [no holds barred] fighting. Shoot fighting. Shoot. That fighting has many names. All of them point to the same practice: Boxing. No longer pugilism: boxing divorced from those rules which make it prizefighting.
Boxing outside the ring involves a boxing mentality. But, it’s a very different mentality from the one inside of the ring. Inside of the ring your goal is to impose your will on the other fighter. Outside the ring your goal is to hurt, maim, and preferably kill the other fighter.
Boxing is the most effective form of fist fighting, for humans. The closest thing that mortals have to The Grey [of Goons]. It allows you to take on multiple opponents with maximum lethality. This is bad in that a lot of stuff in shoot is illegal in in-ring boxing, and insanely street effective.
For example, “dirty punches”. The Louisville slugger is indispensable, as are hammer fists. The straight back fist is a hugely effective technique. It’s extremely quick and whip like; faster than a straight jab, and if you do it with a good foot shuffle, you can lay your opponents out flat with it.
Another example is the uppercut elbow, which is a total show stopper—knocking out teeth and breaking jaws—bam!!! As well as other “up elbows”, all of which are very boxing-like.
There’s those elbow defenses. Because … Man, you’d be “embarrassed” if you tried one of those clinches, throwing elbows, and you got your elbow broke by an arm bar.
Then there are those knees [vicious, rib snapping, jaw breaking, eye socket busting, knee strikes] which allow quick transitions from striking moves to locks or a ground game. Knees that are a prelude to transitional positions which are obvious lead ins to arm bars, guillotine chokes, or just plain take downs. Knees that maximize the effectiveness of your takedowns and subsequent ground-and-pound.
Knees that are eye socket busting, jaw breaking? Try a Floyd Mayweather style bob-n-weave where you slide low and laterally as an opponent tries to box you in, in a street fight. You’re likely to get a knee planted in your eye socket or connecting with your jaw while you’re getting kidney punched and/or rabbit punched. Ouch!
The aforementioned clinch. Positioning in the clinch, fighters can set up their own clinch takedowns and beat those used against them. The unique striking tools, protection strategies, and takedowns the clinch requires are for both offense and defense, moving smoothly between each fighting element to maximize advantage. A clinch situation is an inevitability, and thus it can’t be stressed enough that fighters must always maintain the presence of mind and always be able to muster the complete skills essential in turning the clinch to their advantage.
This leads us into the nebulous subject of takedowns. Which encompasses: throws, trips, drops, and slams. There are a wide range of takedown techniques readily accessible for someone [i.e. the prizefighter, kick boxer, and karate grounded guy] who is used to stand up fights and wants to take his opponent to the mat.
Wrestlers and soft martial arts guys [i.e. judo and jujitsu], may pick up a technique here and there, but for the most part any instruction on [boxing] takedowns really misses this group. In other words, it would be a waste of time for them.
You see … Unlike prizefighters [boxers who spar exclusively], soft martial arts guys often welcome an opponent’s push, pull, or grab as an opportunity. They hold onto an attacking hand/limb while they yield to the momentum of the attacker and then redirect his attack to their advantage. It feels like your hand has hit glue on a swinging door.
The philosophy for a lot of the set ups for boxing takedown techniques is based on a sparring or jabbing model. The opponent’s balance is disturbed by a sudden jab like push, pull, or grab of some kind which is then abandoned so you can follow up with usually a double leg takedown—though many other takedowns are considered and employed in this discipline.
These set ups calling for a jabbing attack can end up being used to off balance the attacker. Of course, if you limit yourself to inexperienced opponents or prizefighter type opponents, this shouldn’t be a problem. The problem with this model is that it won’t work with “sticky” opponents. This is why boxing employs another [takedown] model for “sticky” opponents.
Strategy is key in takedowns. You must adapt. Choosing a stance, vertical versus bent over, wide base versus normal base, to deal with varied opponents. Most soft martial arts guys are going to be more vertical than lean-in boxers and wrestlers. In the same vein, different takedowns will work for wide based stances than normal shoulder width apart stances—square versus staggered foot stances. Tailoring the takedowns to different opponents is just as important as selecting your own stance.
Part-n-parcel with learning to do takedowns is learning how to fall safely. Because, it’s also inevitable that you’re going to be taken down sometime during the fight. Tit for tat.
There are those excellent things [besides the clinch] that are taken directly from in-ring boxing. A perennial shoot favorite [second only to the clinch] is head butting. The kind of head butt taught by a real fighter; not clowns [those bullying jocks] from high school. Clown head butts are done with the forehead. Fighters use the top of the skull. This is extremely effective. It’s the type of thing that comes natural in a boxing situation. Doing it on purpose is against the rules in prizefighting, of course.
Throwing solid blows, bareknuckle … Excellent stuff.
Of course, the Mob, those in The Business, has a special name for pugilists who practice their art outside the ring in their service. Their term of endearment is shylock [leg breaker]! It’s the shylock who ventures into the ring, that persuasion of club-fighter, which you have to watch out for. Their skill level as prizefighters is never really that good—never higher than club-fighter, and they’re hamstrung by the rules in the ring. At least half of what they’re capable of doing they aren’t supposed to do. So whenever they execute a technique, they first have to assess its illegality. That pause of decision is their undoing. A hesitation that prizefighters exploit.
Connie is that freakish exception to all of this. She can fight as well in the ring as she can outside of it. For her, there is no indecision, whatsoever. Her limitations are self-imposed per Fats. Fats, the Mobster who owns her, needs her to be a can [a club-fighter] in the ring. Ergo, she is a can [a club-fighter] in the ring.
As a reward for her loyal service, tonight, Kuntz, a Goon in Fats’ crew, has worked over the girl. That explains why Connie is black and blue; she didn’t get that way from her prizefight with Sara Hex. She looks like she’s been brutally raped by a horny, 1000-pound gorilla—black eyes, busted lip, cuts, bruises, and abrasion all over her body, in particular her face which is swollen and puffy. A busted up face that makes her looks like a cavewoman, a Neanderthal, a chronically battered wife/girlfriend/significant other—in other words, Goonish. Coarse, brutish features in place of her beauty-queen caliber continents, thanks to the repeated “educated” application of bare knuckles to her hard, pretty face. Hers is disfiguring acromegaly by fist. A text book sadomasochist [a sader], Connie derives sexual pleasure from her expert beating and its [cosmetically] destructive aftermath at the hands [literally fists] of her beloved mentor Hanna. Hanna is Fats’ ace shylock and Connie is Hanna’s most-talented protégé. Yes, the sader Connie is more than just a Mob tool, more than just a Sonny Liston style Mob fighter, Connie is also a shylock.
The thing is, Connie only looks debilitated by Hanna’s assault and battery. Looks can be deceiving. You see, the a-n-b [assault and battery] had another purpose. It’s additionally meant to make Connie look even more like easy pickings—I’m done, stick a fork in me. Connie is the bait and the trap. This is why she familiarized herself with her surroundings.
They round a corner and there is the reception committee waiting. No TV cameras. No commentators. No seated spectators in a 15,000-seat venue with all of the seats filled. No HBO or Showtime spectacle. Just a grim alley and standing room only.
“Stand aside, Goon. This is between Food,” Kia growls at the massive Rock Troll, Frau Kuntz. Stevens is flanked by Sara and Sara’s trainer Freddie Roach. There is a small crowd behind them—boxing fans looking for the “real” thing and people who smell blood in the air.
Connie extends her arms straight out from her body. Shades of Vampira in Plan Nine from Outer Space. Manny cuts off the girl’s hand wraps and removes her rucksack. Connie removes her own shoes. She undoes her cornrows. Her hair hangs down freely over her face. She looks like Cousin IT from the Addams Family TV show. Connie has yet to say anything. She turns her head toward Hanna, as if to say “What do you want me to do?”
Hanna wrings her hands. Then, Hanna and Manny step back—way back—up against a wall. Connie kicks her discarded shoes into the side of a dumpster and just stands there. Dressed in a T-shirt, some faded blue jeans, a Nike LIVESTRONG sports bra and matching thong. The Nike LIVESTRONG Pro Women’s Sports Bra and thong offer maximum support/protection with a compression fit and racerback bikini design. Dri-FIT fabric wicks sweat away to keep you cool and comfortable when your workout or your fight heats up. On her T-shirt is says, “Fight Like A Girl”.
Kia is dressed in her pro-wrestling gear. She walks slowly over to Connie. The small crowd of onlookers spreads out. Conventional wisdom—Hulk smash!!! Conventional wisdom is wrong.
Connie incants something under her breath. Her hair concealing her face, so that no one can read her lips. The girl’s long, golden tresses give way to a short, butch hairstyle known commonly as a moe—a hairdo favored by the likes of Hanna Kuntz. Hanna being quite the dyke—quite the bulldyke, in fact.
As a side effect of the follicular spell, Connie’s face heals. The puffiness and swelling subsides—the black and blue goes bye-bye as well—no more cavewoman. She’s pretty [by mainstream, non-Goon standards], again. A simple parlor trick that’s more makeup than medicinal. Connie’s face only looks like it’s been healed. This fragile, cosmetic lie will get undone when Kia’s fists start slamming into her face—in fact, the very first time a fist touches her face, her face will revert—her battered face—the truth—will return.
With Connie’s face no longer concealed, she and Kia can make eye contact. Neither fighter shows fear of the other in their eyes.
A butch’s unflattering, masculine hairdo, the “moe”; as in Moe Arc Find, Moe of the Three Stoogies, the famous lesbian flapper and comedian who put this hairdo “on the map” by sporting her hair bobbed in this fashion. The first movie she wore a moe in was “Animal Crackers”; before then, she’d worn her hair in the “page boy” ‘do favored by the flappers of her day.
There is no sexual connotation whatsoever in Connie sporting a moe. Unlike Hanna, she’s straight and she’s a virgin. Connie has never had vaginal, oral, or anal intercourse. But, none of those things are the preferred of a sader anyways. Murder, mayhem, and torture are sex to their degenerate lot. So … although technically Connie is a virgin, she has had sex countless times—sex the way that a sadomasochist would define it.
Connie unzips her tightfitting jeans, yanking and tugging them off. All the while she never breaks eye contact with Kia. Finally extricating herself from her jeans, she steps out of her pants and kicks them to the side, out of the way.
Fighting bareknuckle, Connie assumes an orthodox stance, sort of. Something about it is off. That’s because it’s Grey. Humans invented boxing. Goons invented The Grey. It’s Connie’s version of The Grey—adapted by her for a human female—but it’s Grey, nonetheless.
Since Connie is fighting bareknuckle and shoot … Fist rolling? Yeah, you know … making a fist. To that you say … Basic stuff. Been there. Done that. Well, let’s make sure that we’re all on the same page.
Modern 16-ounce gloves and hand wraps changed the science of making a fist. Bag gloves and NHB gloves are close in size and weight to the “mufflers” from the early days of the gloved era [in boxing] when fist-rolling was practiced as it was in the bare-knuckled days.
In Eastern martial arts, you hear “strike with the first two knuckles of the fist”—index and middle finger knuckles. This supposedly has a two-fold benefit: aligns your bones of your fist with those of your forearm resulting in a more structurally-sound striking weapon, and, you can sight between these two knuckles like a gun sight to better aim punches. Total bullshit that’s a sure-fire prescription for sprained wrists from repeated [ungloved, unwrapped] punching against hard, live opponents.
Connie fist-rolls like the old-timers did when they were punching their bare fists hard though more than 70 pounds. Incidentally, it’s also how Goons do it when they fight Grey. She rolls her fist by first closing from the outside fingers in [little finger followed by the ring finger, middle finger, and then the index finger]. Lastly, she folds her thumb over her middle joints of her index and middle fingers, resulting in a fist-rolled into a solid block.
The striking surface? Connie will strike with the outside three knuckles [the middle, ring, and little fingers], not the first two. Moreover, she’ll strike with the entire three-knuckle area, not with just the top knuckles—this puts her in proper skeletal alignment. All of her strikes will line up naturally with her forearm’s radius and ulnar bones and will prevent rolling and spraining of the wrists.
Skeptical? Ask any shoot, Goon, or Mob leg breaker, and they will confirm without hesitation, that this is the way to go when you’re sans modern gloves and hand wraps.
From Missouri, “the show-me state”? Don’t want to take their word for it? Then, try a simple experiment, for yourself. Compare the two alignments by rolling a fist and placing each version against a wall—push through with all your weight—you’ll instantly see which version provides more stability. Feel that wobble in the Eastern version? You don’t want that.
What about gun-sighting? Gun-sighting has nothing to do with how the body works. You don’t need to sight down your hands to reach forward and pick up a pencil. Kinesthetic perception takes care of that. Precision punching is gained through drilling, not sighting down an imaginary barrel. Such notions hamstring a novice learning shoot, Grey, strong-arming, etc.
Kia is a southpaw. Mindful of Kia’s flicking right jab and power left hand, Connie, who’s fighting from an orthodox stance, comes in with a lead right hand of her own followed up by a left hook to the body. Connie works the bigger girl’s body, and moves to her left [Kai’s right] away from Kai’s power [which as aforementioned is a southpaw’s left hand]. Kia pursues her—ruthless aggression.
Connie worries Kia with a flicking left jab of her own, as Kia closes in for the kill. A jab that turns stiff as Kia pushes her up against the wall behind her. Always aware of her surrounding in a fight Connie is prepared for her impact with the wall. She knew that it was behind her. No surprises, there.
Kia creates space by taking a step back, and proceeds to throw a barrage of punches with her gloved soupbones. Straight punches. Upper cuts. Right hooks. Upper-cut/hook hybrids. Stiff right jabs. And looping left hands—if she were in orthodox stance, you would call them left hooks. By the way, she wears 6XL gloves, a size bigger than the UFC’s Shane Carwin!
As if Connie were Floyd Mayweather Jr. working the ropes, she uses head movement, footwork, catching punches, and blocking punches, as well as a trapping punches [a Grey/shoot technique, that would sort of look like holding to a prizefighter], to prevent all but a couple of Kia’s punches from finding their mark. Thanks to Connie’s sterling defense, the two hits are reduced to glancing blows, which do little damage if any.
Connie slides out—again displaying her penchant for lateral movement to counter an opponent with pull counters—again, shades of one of her [boxing] idols Floyd Mayweather Jr.—Mr. Money—“Pretty Boy”. But, in doing so, she defies conventional wisdom and does the unexpected. She moves past Kia’s power—her right, Kia’s left. Showing complete contempt for Kia’s bone crushing left hand. On the way out, Kia attempts a clinch. No dice. Additionally, during the clinch attempt, Kia attempts a trip. Also, no dice.
For a woman as big as she is, Kia is quick. Connie, though, is quicker. Plus there are those intangibles. Those being mental toughness, a very twisted response to pain, and, of course, PEDs.
Mentally, as a fighter, Connie cannot be broken. How can a mortal who spars with Goons, like Connie does, be broken mentally in a fight by another human being, any human being, no matter how massive and strong and aggressive they are? Of course, the answer is, that person can’t be.
In hand-to-hand combat, no creature on record has ever beaten a Goon. “I’m Goon! Beat me if you can [and you won’t be able to]! Survive if I let you!”
Then there is the fact that Connie is a sader. Her reaction to pain and its consequence suffering is quite different than that of a sexually-normal person. Pain and suffering turn her on sexually. Additionally … In a fight, they fuel her. Like “The Incredible Hulk”, a fictional superhero who appears in comic books published by Marvel Comics —the madder he gets, the stronger he gets. Agony is her adrenaline rush.
Lastly, there is the specter of PEDs, performance enchaining drugs—with stimms being the premier example of this insidious category of pharmacology. Chemistry that makes the most jaded boxing pundit blush. Too long on stimms, and you’re toast—total metabolic shutdown—you crash! This is why prizefighters are required to use metered-doses [of stimms] in a boxing match.
In prizefighting, PEDs are controlled substances that are legal only when mortals fight immortals, and are known pharmaceuticals approved by the Boxing Commission.
In NHB, they are often custom blends—potent concoctions that are “take at your own risk”. If you don’t want have a stroke, fry your brain, or worse, you have someone you trust who knows what they’re doing cook your stuff. If you have the stones and the brains, you cook your own stuff.
Their choice in PEDs punctuates the fundamental difference that really matters between the two girls. Beauty is only skin deep. But ugly is to the bone. Kia’s choice is a total badass—the beauty. Connie’s choice is just plain nasty, unapologetically so—the ugly.
Connie cooks her own stuff—one of those “custom” blends—her own take on voodoo. And, it’s not even remotely legal in prizefighting or any sanctioned combat sport for that matter. Kia is also on something, but it’s one of the alphabet soup recipes that are on the Boxing Commission’s approved list—it’s PETA [the gold standard for PEDs in prizefighting]. Of course, both are stimms—voodoo is a generic and PETA is a name brand. Two girls, two big girls, juicing—wow!!!
Connie moves back to the center. False movements and feints. Throwaway punches [aka setup punches]—punches that are thrown so that in defending against them, you set yourself up for the punch that I want to tag you with. Counterpunching—counter lefts and rights—hooks, overhands, and looping [punches]. Slipping [punches], pulling, ducking [punches], bobbing and weaving, etc: upper body mobility acquired by intelligent footwork. An encyclopedia of footwork: step and drag, pivot, shift step, etc.
The parries, feints, slips, footwork, counters, balance, hooks, jabs, footwork and positioning, coordinating the arms and legs … ad infinitum. Connie proving herself illusive for the relentless Kia. A moment that proves to be fleeting.
Kia finally closes the distance again and, having timed Connie’s jab as well as Connie’s right, she throws a beautiful overhand left that from Connie’s perspective comes out of nowhere. An overhand [or overcut or drop] is a semi-circular and vertical punch that’s usually thrown with the rear hand. It is usually thrown when the opponent is bobbing or slipping.
Kia’s huge fist slams into Connie’s jaw, two of her teeth get knocked out, and she experiences a flash knockout. Even iron bends. And, for a couple of seconds—an eternity in a fight—Connie is ripe for the picking. Kia pounces on her, literally. The two go down in a heap. Kia on top raining down a torrent of fists. GNP [ground and pound] with very mean intentions—lethal intent. Tito Ortiz, not to mention Mark Coleman, would be green with envy.
A brutal ground game, early ground and pound from Coleman involved a lot of head butts and almost no attempts to pass guard. But as other wrestlers and jiu-jitsu players began to incorporate passing, strikes to set up passes [passing wasn’t a part of the second or even third iteration of GNP; in fact, early practitioners of GNP like Tito Ortiz adopted a similar style of ground and pound from Coleman that involved a more frenetic attack but also incorporated very little passing] and other openings, GNP slowly became something new even as rules in MMA changed to enforce stand-ups and more action. With additional fine tuning on how to launch varied strikes, ground and pound evolved over time into what is now a formidable, controlling, ultimately punishing, and unique feature to MMA fighting that exists nowhere else in combat sports.
This GNP, of course, is not being employed in the match of a combat sport. This is combat—a fight to the death where there are no rules. More to the point, this is GNP in the context of no-holds-barred boxing. Boxing, not as a sport. Boxing as hand-to-hand combat.
For four more seconds—another eternity—Kia continues to hit a semi-conscious Connie with everything she’s got. She has her way with the girl. And, that in lays the problem.
Kia is unable to finish off a Connie Smith who is prone, on her back, arms and legs askew, and completely helpless. You can hear a dull, sickening thud each and every time one of Kia’s gloved fists slam into Connie. That telltale sound is a giveaway that Kia’s 4-oz. MMA gloves are loaded, probably with lead, making each the equivalent of a sap or a blackjack. In other words … When she hits you, subjectively it feels like you’re being slammed with a cinder block. Connie’s head, torso, limbs, and face are battered, viciously. But, to no avail.
Five seconds into Kia’s vicious beating of Connie, the window of opportunity closes for her. Victory slips away completely. Kia made the mistake of making the fight personal. For Connie it was never personal. It was just business.
Kia’s fists have turned Connie’s face into raw hamburger. She’s been beaten beyond recognition. The majority of Kai’s punches are to Connie’s face. Why so many blows to the face? Simple. Kia, as aforementioned, made the fight personal.
If their fortunes had been reversed, and it’s Connie who had dealt Kia the KO. Connie would have finished off Kia with a blow to her throat, crushing Kia’s trachea, as soon as she hit the ground.
Another second passes. Now, it’s six seconds into the beatdown. Call it muscle memory. Call it training. Call it what you may. Instinctually … Having only partially regained her senses, Connie begins flailing about defensively with her arms and legs. Her torso thrashes about, convulsively—another defense mechanism. That’s when it occurs to Kia to crush Connie’s windpipe. Seven seconds into the GNP … Nine seconds, in total, since the brutal knockout … Too late.
Kia mounts Connie for the coup de gras. But Connie will have none of it. The girl, having fully regained her senses, delivers some vicious knees and up-elbows that would make a BJJ practitioner green with envy, and she slips out the backdoor. A girl who briefly turns the table on Kia by mounting Kia’s back and, using her T-shirt as if it were a gi, tries to simultaneously choke and smother Kia—shades of Royce Gracie, the dirtiest player in the game. Her knees are used as leverage against the spine and left kidney of her much bigger, stronger opponent. They also create that much needed space between her and her opponent, preventing Kia from merely reaching around, grabbing her fingers, and breaking them to break her choke hold—a “common sense” street tactic for breaking choke holds.
The big black woman rips away at Connie’s shirt in desperation and rage. As the cotton fabric shreds, Connie lets go of her fleeting advantage and moves away from Kia. Her blood-stained T-shirt is in ruins, of course. As Connie makes her strategic retreat, Kia, who is still on the ground, pivots around and tries to trip her with a deftly-executed, two-legged [leg] sweep known as a mermaid [also called a dolphin when a man executes it].
As aforementioned, this plus-size girl [Kia] can really move—huge, quick, and powerful. And, as previously stated, as quick as Kia is, Connie is even quicker.
Without having to look down where she’s back-stepping, Connie reflexively avoids Kia’s massive tree-trunk legs.
Connie spits out more of her teeth, and a glob of coagulating blood. Kia stands up slowly. There is distance between the two fighters.
“You’re not such a pretty white bitch, now, are you?” Kia taunts.
“I’ve been beaten up worse by better than you, shine,” Connie tit-for-tats. Kia can see in her eyes that Connie is telling the truth. “Besides, a week in the tank, maybe two at the most, and I’ll be as pretty as ever and as good as new—not a mark on me—except for the ones that I deem worthy additions to my very extensive collection. You, on the other hand, will be one very dead nigga who’s swimming with the fishes, because I will have killed you in this fight.”
Author’s note: Goons often keep battle scars as trophies. They’re considered sexy on males and females. A Goon aesthetic that Connie has obviously picked up and taken as her very own.
“You talk too much. I’m gonna shut your kisser for good.”
That’s when Connie shows Kia just how much she can really talk. Connie begins to foam at the mouth. Blood, mixed with saliva, paints her front. Her busted lips mouth some words. The words are in Goonish, and no human should be able to speak them!
Coincidentally, it begins to rain. First a little. Then a lot. Doesn’t matter. This is a fight to the death. Who cares about getting drenched? One of them is going to die, tonight. Shades of Frank Donald Goodish vs. James Harris vs. Lawrence Robert “Larry” Shreve—or better yet—shades of Bruiser Brody vs. the likes of Kamala the Ugandan Giant, Abdullah the Butcher, and Jerry Blackwell in the set of death matches from Guild Wars 2 the MMORPG [massively multiplayer online role-playing game] developed by ArenaNet.
Her rabid moment passes. A switch hitter—Connie circles, switching to southpaw before she comes in. Changing levels with a combination that would make HOF boxing trainer and renowned fight commentator Theodore A. “Teddy” Atlas, Jr. proud—she delivers a right hook to the head and a looping left to the body.
Kia catches the right hand on her glove. Her elbow just misses blocking the dig to her body. She does roll with the punch to lessen the effect of the body shot. Kia notices that Connie’s timing has changed. Worse—she’s not used to fighting another southpaw. Worst—Connie fights equally well as a southpaw and as an orthodox.
As Connie slides out of the pocket, she attempts a knee trap. While Kia is busy avoiding the knee, Connie tries to split Kia’s guard with a lead uppercut. Kia’s head movement counters the uppercut.
The knee is a hinge joint, and when you try to force the knee of your opponent to bend in an unnatural direction [using one of your own knees as the counter lever], it’s called trapping. Pushing the other person’s knee sideways or backward can result in torn ligaments [knee ligament injuries: PCL, LCL, MCL, and ACL injury] or even dislocation of the kneecap.
Kia waits till Connie is on the outside then she doubles up on a stiff jab in an attempt to close the distance followed up by a left cross to shut the door. None of the punches make contact, meeting air and rain instead of Connie’s head.
Boxing 101: the shorter fighter with the shorter reach should stay busy working the inside, while the taller fighter with the longer reach should stay busy on the outside.
Kia is the taller fighter. But, it’s Connie who’s better on the outside. Kia has a measured reach advantage, but not an actual one. In boxing, a fighter’s reach is like a wingspan with arms outstretched to each side measuring fingertip to fingertip—giving an obvious advantage to fighters like Kia who have the broader shoulders. But, in a fight, a boxer’s actual reach is that of his arm extended measuring from armpit to the end of his hand clinched in a fist.
Reach is probably the greatest asset of a boxer. Jab all day and all night. Then again, less reach is not necessarily a disadvantage, because some fighters use more power with less reach—such is the case with Kia.
On the inside, with both fighters adhering more or less to the tenants of straight boxing, advantage none: Kia can’t match Connie’s speed—Connie can’t match Kia’s power—Kia’s girth makes her a 300-lb. human heavy bag for absorbing a lot of punishment in close quarters—Connie is the busier fighter with the more accurate punches. CompuBox agrees.
Once she’s out of range, Connie drops both hands to waist level. Low hands—bait for an obvious trap that Kia is much too smart to fall for. Connie’s bait-n-switch style/stance is a replica of Roy Jones Jr.’s style [hands down, fast lateral leg movements, elusive, etc]; she imitates Roy Jones Jr. perfectly—that includes his fantastic hand speed and reflexes.
There’s also that persistent caveat, when Connie is in range of being hit, whether she’s working an opponent on the inside or from the outside: Connie’s solid defense and precise counter punching make her a nightmare for most fighters—especially, straight boxers.
So, it should come as no surprise that, when given the choice to “really” fight, the other bait-n-switch that she loves to employ, especially when she’s working on the inside, is the roll/Philly Shell [i.e. the Shell Defense, Shoulder Roll, and Pull Counter].
The Philly Shell defense, also known as the Hitman or Crab style defense, is a style of defense used by boxers to capitalize on counter opportunities. This style of defense was first popularized by Thomas “The Hitman” Hearns, who specialized in this defensive style and had a unique “flicker” jab. Current notable practitioners of this style include Floyd “Pretty Boy” Mayweather and James “Lights Out” Toney.
The Philly Shell defense is an unorthodox defense requiring deft movements and quick reflexes, as the main distinguishing aspect of the defense lies in its use of the shoulder roll. The defense is also recognized by its unique placement of the boxer’s hands, rather than keeping both hands up near the head, his or her lead hand is placed horizontal across the torso, and the back elbow resting on top of the lead fist, forming an “L” shape.
To an untrained eye, this defense may seem to leave a large number of holes, most notably the front of the head. This however is merely a false appearance, as a practitioner of the Philly Shell can merely roll off punches toward the head and slip in body hook counter or an uppercut to the solar plexus. For example, if there are two right-handed fighters, if fighter A throws a right cross toward fighter B, fighter B in the Philly Shell simply keeps his chin tucked to his shoulder and rolls it toward his left. This leaves his back hand ready to counter fighter A’s exposed right side.
In the case of a jab, fighter B wants his back hand to parry the jab while leaning forward or twisting square to his opponent to allow for a quicker counter opportunity. A hook is easily blocked in this style because the back hand is always up protecting the head. Body shots are likewise protected by the lead hand.
Perhaps the easiest punch to slip through the Philly Shell defense is the uppercut, it forces the practitioner to move his back hand away from his head and down toward the punch to parry or block it, thus exposing the head for a chance hook or haymaker.
As described by the twisting and movement of the defense, the Philly Shell requires a boxer to have move quickness and upper body agility to get to the angles to counter and to roll and block combinations that the opponent throws.
Connie circles. Battered, bruised, broken bones, and Connie doesn’t move like she’s just been pummeled by someone who outweighs her by well over 160-pounds.
Talk about battered wife’s syndrome. It’s as if Connie’s married to a redneck bruiser who gets nasty drunk seven days a week and routinely beats her with his belt wrapped around his fist, belt buckle showing—ouch!!!
Beat someone, anyone, enough times on a regular basis like that. And they just become numb to the beatings. Ask any POW, and they’ll readily confirm that.
There are also the intangibles to consider. Not being sexually normal, a sader like Connie feeds off of them [the beatings]. Plus, she’s on stimms. A sader on stimms, so a lot is possible.
The girl Connie mumbles some more words in Goon. This time her hair lengthens, returning to its original length. Her Cousin It look has returned with a vengeance. The message she’s sending Kia with the change in hair style is simple: Don’t worry about gaining some advantage by grabbing my long hair, this fight is not going to the ground again—it will remain standing-up for the duration. A bold statement, indeed.
But, the savvy Kia also sees Connie’s hair as more bait for a trap, albeit a subtle one, but a trap, nonetheless. In spite of how it looks, Kia knows [in her gut] that Connie can see her just fine. Her vision is not being obscured by the longer hair, Kia thinks.
And, even if I were to grab hold of it for some advantage. While that one or two hands were occupied, for even that split second, she’d turn it to her advantage, even if that meant letting me yank a hunk of her hair out.
It stops raining. Connie’s hair goes back to being short and butch. Her hands come back up. She comes back into Kia’s range. The two girls trade punches. Mondo switches between southpaw and orthodox. Additionally, the girl now constantly adjusts her rhythm, so that Kia will not be able to get her timing down again.
More boxing 101 … Negate the superior speed of the quicker fighter by pressuring them. In a prizefight you do this … By walking them down and cutting off the ring. But, this isn’t a ring [literally or figuratively], and Connie refuses to be cornered. Additionally, Kia can no longer time the girl’s punches—timing punches being another way for a slower fighter to negate the hand speed of the quicker fighter. There’s also working the jab. Then there’s …
Kia was hoping there would be the expected aftermath for Connie’s adrenaline dump, but there is none. Metabolically, Connie doesn’t crash and burn, she just keeps on going. Plus … The girl is a gym rat. She never seems to tire in a fight. Her cardio is off the charts [for a human].
Connie initiates a clinch after a couple of straight right hands. The infighting is dirty, very dirty. Low blows, head butts, knees, shoulders, and elbows, intermixed with the usual punches when your intent is to rough someone up real bad on the inside. Connie fights out of the clinch and returns to the outside having gotten the better of Kia in the exchange via a judicious use of dirty boxing.
Boxing dirty, Connie is as good an infighter as you will ever see, even if that isn’t her primary style.
Kia is better at straight boxing than her girlfriend and more or less on par with Connie when the fight is more or less being fought as a prizefight. But, Connie is clearly better at the dirty stuff than Sara or Kia. She also has a better ground game than Kia, as previously demonstrated. Connie is a complete boxer, not just a prizefighter, and she shows real technical boxing skill whether she’s boxing straight or shoot. As such, when Kia tries to return the favor by bobbing and weaving on her, Connie punishes the bigger girl with an array of “simple” countermeasures [“easy” offensive assaults], none of which are remotely legal in the ring.
Kia moves out of range to recoup and regroup. A smaller, weaker woman has just handed Kia her ass. Most of what Connie just used against her, Kia has never heard of let alone seen. They are legbreaker tricks of the trade. The things a shylock would use when they come to collect from a prizefighter who is “reluctant” to pay up.
Connie’s earlier bob and weave, frustrated Kia. Because Kia was straight boxing, and against a straight boxer, the bob and weave is quite effective. It’s ill-advised to say the least against a shoot—posing too many offensive opportunities for such an opponent.
“Always protect yourself in the ring” applies even more so in the street. While keeping an eye on the out of range Kia, Connie dares a glance at Kuntz. Kuntz extends both hands outward from her body; both have been pronated for the duration of the fight. The left is palm up. The right is palm down. The meaning is Mob, and it’s simple—“finish her slowly”.
This is business of The Business. A debt is owed, and it must be paid, else Fats will appear weak, as if she’s Food. Connie is her collector, and is obligated to make Fats look good [read: strong] in this matter.
Debt? When Kia challenged Connie, she incurred a debt. Payment being in blood. Hers or Connie’s.
Assured without a doubt that Kia is not her street equal—guessing wrong was not an option, Connie’s circling gives way to out-n-out stalking. No more straight boxing of any kind mixed in with street, for Connie—pure street from now on.
Connie will break Kia, and then she will finish off Kia. And, Sara will be made to watch, unable to do anything to help Kia. Unspoken, it’s understood that Kuntz will stuff any attempts at outside interference by Sara on Kia’s behalf.
In boxing, footwork can be used for defense or offense. Connie uses her footwork for both as she stalks Kia.
In response to being stalked, Kia exercises her best option. Not being as well-schooled in shoot as Connie, she continues boxing straight with shoot mixed in. Additionally, Kia relies even more on being the bigger girl who’s the stronger puncher.
Indeed, Kia’s plan to get by more based on her girth and better power versus Connie’s superior shoot skills works out badly for her. In comparison to Connie boxing shoot, Kia is reduced to plodding around flat-footed and looking mediocre as heck.
Boxing shoot, chute boxing, means working those “weird” angles rarely seen employed by a fighter outside the context of The Grey or shoot. Connie becomes a lightning quick, long-armed fighter that is almost impossible to hit, who proceeds to school Kia something fierce. The fight, which has been so unpredictable, entertaining, and competitive up to this point, ceases to even be a fight. It becomes a dull, predictable mismatch winding down slowly to an obvious outcome—“The world belongs to Klitschko, and we all just live in it”. Per Kuntz’s signed “instructions”, Connie is drawing this out as much as humanly possible—using her amazing speed and chute boxing skill to slowly break her opponent down.
Case in point … The heavyweight division could really use some of the younger heavyweights like David Price, Tyson Fury, and Deontay Wilder to step up and challenge IBF/WBA/WBO heavyweight champion Wladimir Klitachko (58-3, 51 KOs) to finally provide a quality opponent for him that has a chance to beat him. Sadly, the mismatches will continue for the 36-year-old Wladimir, as he’s reportedly going to be fighting #4 WBC Mariusz Wach (27-0, 15 KO’s) in November. The 6’7″ 247 pound Wach has the size and the right hand power to stop Wladimir in theory, but in reality this is just another terrible mismatch for Wladimir. Wach doesn’t have hand speed, doesn’t have a jab, doesn’t have a left hand, and doesn’t have any defense. He’s like a slightly better version of Tye Fields and it’s going to be sickeningly for Wladimir to crush the 32-year-old Wach. Wladimir can pick how he wants to beat him because he’s got the jab and the power to either outbox Wach with ease or blast him out with a big right hand. Such is the case, tonight—Connie versus Kia. In essence, Connie is the better “big man”, and that can’t be argued with.
But … You could argue with the stated opinion on Klitschko. Because, what finally makes a great fighter start losing … is old age [about 15 years in the ring], and becoming old, jaded, and tired of it all – the pain, the effort, your body just finally doesn’t want to take it or do it anymore. Of course, it’s an assessment that will never apply to Connie.
Connie will never lose her love of fighting. And her first love will always be boxing. She throws kicks when she cross-trains, but she never does so in a real fight—the same goes for her wrestling. Her ground game is phenomenal and her submissions are sick, but she prefers stand-up. Try to change her with some elaborate “Joe Rogan” style oratory on the merits of MMA, and it’s supremacy over boxing, and add in the mantra that “boxing is dead”, and she will laugh in your face.
MMA is a farce, to her. In sharp contrast, she finds her beloved boxing [whether it’s fought as a combat sport or being fought as combat] to be scientific and complex. She recognizes that the guys in MMA are in incredible physical condition. But, as she will point out, they get into incredible condition and then they try to learn how to fight. Boxing, of course, is just the opposite. You must learn the science of boxing first [the parries, feints, slips, footwork, counters, balance, hooks, jabs, footwork, and positioning, and coordinating the arms and legs … ad infinitum], and along with the hours and hours of practice on technique, that gives you mastery, you as a result develop the physical conditioning to capitalize and deliver the wisdom. MMA guys do stuff that’s utterly stupid and amateurish. For example, leading with their faces—no idea of even the very basics of coordinating footwork, leverage, and punching. It’s all just throwing wild kicks and punches, and hoping that the other idiot will run into something with his face. The MMA guys close their eyes and throw haymakers. MMA is to boxing what pornography is to the visual arts. It’s all just essentially a Pier 9 brawl – not an intelligent and trained science. MMA is like lifting weights for a year or two and then running out and bashing your head into a wall. Boxing is a type of ballet-in-violence. Such is her opinion.
Furthermore, she doesn’t think that you can mix all of the different fighting styles like you would the ingredients of a soup, and expect to come up with something remotely coherent. Ju-Jitsu has one fundamental focus, Karate another. Muay Thai has its own focus, as does Judo. You can’t just throw them all together and think that they’re going to work out in the end. That’s eclectic and full of diversity – but it just doesn’t work. How do you throw a powerful left hook, when you’re thinking about a sweep kick? A left hook requires that you shift your weight to your leading foot and shift and swivel your weight on that foot while twisting your waist, and paralleling your elbow and wrist. But to kick, you have to put your weight on your trailing foot, and plant your weight. You can’t do them both at the same time. They totally work against one another. To the advocates of MMA, she likes to say, “Thanks, but no thanks. I’ll stick with my boxing. See you tomorrow, buddy.”
And … Don’t ever tell her that she’s in denial, and that how she fights [outside the ring] is MMA, not boxing. Because, if you do, she will respond that when she shoots, she’s not doing MMA, she’s boxing [first, last, and always]—Grey undertones and overtones aside. She will add, in her rebuttal, that for you to feel elsewise is to acknowledge that you don’t know shit about boxing. And, she’d be right. What she does [in hand-to-hand combat] is boxing, not MMA.