My name is Stephan Kesting. I'm a Brazilian Jiu-jitsu black belt and a submission wrestling instructor. I operate some very popular grappling websites, including Grapplearts.com and BeginningBJJ.com. With these sites I help thousands of people just like you quickly improve their grappling skills. You might also know me from my instructional grappling DVDs, or the 20+ articles I've published in magazines like Black Belt, TapOut, Ultimate MMA and Grappling. I've got an entire line of instructional DVDs, but my flagship instructional product is The Grappling Concepts Course. This is my very best, most complete, most detailed information on grappling. Plus I'll throw in five DVDs as a special bonus, including the Advanced Techniques and Tactics Series, which aren't available any other way.
This is the world’s first instructional video set designed to give you an edge over bigger, stronger opponents in no gi grappling.
“Spider Guard Masterclass with Elliott Bayev and Stephan Kesting gives you the keys to the kingdom. It’s an impressive breakdown of this complex guard position and the areas surrounding it. It’s got something for every position and scenario you might encounter. This is a valuable resource for both students and instructors.”
If Micus’s saga were an ongoing raga, then 1983’s Listen to the Rain would be one of its most inward-looking prayers. All four meditations that make up the album, while externally distinct, are internally connected through Micus’s use of guitar. The Spanish variety plays a particularly active role throughout, with the sole exception of “Dancing with the Morning,” for which he pairs the ubiquitous steel-stringed with the suling, a bamboo flute often heard in gamelan ensembles of southeast Asia. Knowledgeable listeners will recognize both the rarity of the backpacker’s trusty companion in the Micus canon and its elemental necessity in this setting. The ascetic sheen of its metal strings paints a world of shine to which a human presence adds less manufactured colors. The suling’s unclipped wings, by extension, are exhaled into the sky above, circling and darting through the surrounding melodies until they take shape under cover of their own imagination.
Before migrating across the ECM continent, Stephan Micus outfitted some of his most formative expeditions in the territories of the JAPO sub-label. On these albums one hears Micus at his most elemental, turning every gesture into inter-spatial awareness. The album’s duration of 36 minutes only serves to deepen its intimacy as a space in which the listener might catch a cushion of meditation in a world of splinters. Micus’s practice has always been to render the stem before the flower, and in the album’s title track a table harp provides that very illustrative function. Its dulcimer-like heart beats a rhythm at once ancient and fresh, curling as the scriptural page, its edges darkened from constant contact with the hands. Those same hands cradle a method of speech so musical that its melody is discernible only in the freedom of solitude.
An ethereal, primordial Experience. Implosions is a state of consciousness that wraps you in the arms of swirling air, transports you to ethnic lands, where spices catch your pallet. Where stories are swapped and legends of old are discovered again. Stephan Micus takes you down the river Ganges as he plays from the sitar, you are in a languished state of being. His ethnic chants suffocate you until you are spirit removed from flesh. The mist begins to fall and as the fog rolls in you are swept into the remotest parts of the world, where things thought to have been lost or abandoned have been uncovered. Caravans from the east are swept into a mirage in the horizon, while strange red stone pillars stab at the sky. Then you come across the foothills of machu picchu, incensed by its abandonment you climb to the summit there an elder of a race long since vanished gives you knowledge of the new world. You stumble back into reality, Unable to return.