How a Gazelle Eats a Lion

Connor McGregor, who over the last few years, has parlayed a good left hand and a gift with the microphone, into a stint as the biggest star in Mixed Martial Arts, delivered this epic rant last week concerning his upcoming opponent Nate Diaz, who he fought Saturday night.

“ You are like a gazelle,” said the Irish Champion. “With your little gazelle friends, bunching up together hoping to be safe.” McGregor was referring to Diaz’s dreaded crew of training partners which includes Nate’s older brother Nick, Jake Shields and Gilbert Melendez

“But I’m a lion,” said McGregor as Diaz sulked “ and I’m going to eat you alive.”

Warming up McGregor continued “I stalked you and now I’ve got you, and Saturday night I’m going to eat your carcass in front of your little gazelle friends and all they’ll be able to say is ‘ We’ll never cross this river again.’

Mr. Diaz, who had more experience than McGregor and was the bigger of the two commented pointedly, “ You don’t believe that.”

When it came down to it last Saturday night, McGregor did do his best to devour Mr. Diaz, for a while.   He came out guns blazing. In the first round he nearly decapitated Diaz several times with his vaunted striking ability and by the end of the initial round Diaz was bleeding heavily from several cuts around his eyes.

In the second, however, the fight took a most Un Leonine turn for McGregor. He tired quickly and found himself exhausted against a bigger fighter famous for getting stronger and stronger the longer a fight goes.

In the deep water against a world-class opponent for the first time in his career McGregor panicked. He shot in for a sloppy takedown, which Diaz, a highly skilled grappler easily negated. After a meek bit of resistance McGregor rolled to his back giving up and easy chokehold and submitting almost immediately.

The sporting world was shocked at the upset but, in retrospect, a knowledgeable fan should have seen it coming. In 2013 book Fightnomics, a book, which breaks, down MMA into hard data and analyses the sport dispassionately, (its been as the MMA version of MonyeBall), these prophetic statistics are addressed:

The relationship between pre fight hype and odds. P 227
The importance of setting the pace in a fight. P 106
That Nate Diaz has been on the end of the among most slams in UFC history p.125
That Nate Diaz has among the most submission victories. P133
How even though two fighters can weigh the same one can be the larger man. P 138
The comparative lack of success of shooting takedowns. P119
The disastrous effect of fatigue. P 74
That the most dangerous round in which to be submitted is round 2. P 136
Also in the book is that the rear naked choke, the technique to which Mr. McGregor succumbed, is the submission technique with the highest success percentage in MMA. Not in the book, but also of note, is this: the Brazilians who perfected the rear naked choke as a pat of Brazilian Jiu Jitsu, nickname the maneuver the Mate Leone, which means in Portuguese, “Lion Killer.”

Observations and Aphorisms

“ Come now, and let us rea­son together, sayest the Lord. ”

Isa­iah 1:18

1

I am the voice of The Uni­ver­sal Man. I am the pur­pose of the Earth. I am the macro­cosm. I am a bul­wark against the long entropic slide. I am the mean­ing of a red dot. I am Majesty in a flesh col­ored speck. I am the thought that you are hav­ing right now.

2

Observe your sit­u­a­tion. How is it bounded? Where does it begin and end? Is it at the phys­i­cal lim­its of your abil­ity to sense the world around you? Does this include only those things you can sense which are reg­is­tered by your con­scious mind or does it also include the sen­sa­tions avail­able to your uncon­scious as well?

What about your impres­sions of those sen­sa­tions and the impres­sions of the impres­sions, both con­scious and uncon­scious? How would you define what is hap­pen­ing to you at this very instant?

3

You sense that time moves only for­ward, steadily from point to point; never stop­ping or going back­ward. But this is not so. In fact, the past, present and future, per­haps, all pos­si­ble pasts, presents and futures exist simul­ta­ne­ously and are around you now.

And yet, you are only aware of the present, which, because by the time you are aware of an event it is already in the past, is so infin­i­tes­i­mal and fleet­ing as to be nonex­is­tent. So real­ity, as you expe­ri­ence it, is made up of your rec­ol­lec­tions of the past and expec­ta­tions about the future. Per­cep­tion, then, is a con­ver­sa­tion between mem­ory and imagination.

4

You use the com­po­nents of the phys­i­cal uni­verse to pro­duce effects in the mind.

How does this hap­pen? How do col­ors and lines pro­duce a rec­og­niz­able image? How do sounds become music, or let­ters become words and from words, strung together, the mean­ing of a line and so on. Like an artist with his tools, your every– day real­ity is com­posed of count­less and end­lessly divis­i­ble ele­ments, which would all be arbi­trary, if not for the way they assem­bled inside your head.

5

The­olo­gians in the Mid­dle Ages thought that Angels com­mu­ni­cated with each other by the trans­fer­ence of pure thought. A man, lack­ing this Divine abil­ity, must use the com­po­nents of the phys­i­cal uni­verse to con­vey what is in his mind to oth­ers. He uses the mate­r­ial to illus­trate the imma­te­r­ial. There­fore, he can never really show any­thing to any­one else, only suggest.

6

When a human being, who per­ceives and com­mu­ni­cates incom­pletely, is on the receiv­ing end of Divine Com­mu­ni­ca­tion, it is known as rev­e­la­tion. Whether you call it rev­e­la­tion or inspi­ra­tion, it involves the lim­ited human con­scious­ness, bounded as it is by mem­ory and expec­ta­tion, encoun­ter­ing, how­ever fleet­ingly, the Divine Con­scious­ness, which is unbounded, com­plete and per­fect. Rev­e­la­tion, the Muse, Inspi­ra­tion, the Power of the Holy Spirit are all dif­fer­ent names for the same phenomenon.

7

Your intu­ition draws you towards an inborn com­pre­hen­sion of the com­plex­ity of exis­tence. You sense that things relate to each other even if you do not under­stand exactly how. Your mind repels, how­ever, from the com­pli­cated. When you see only pieces instead of pat­terns con­fu­sion par­a­lyzes your spirit and you flee into the arms of sym­bols. You give your life and every­thing in it to that which shields you from the Mon­ster Chaos.

8

Dogma assists the lim­ited mind to func­tion within the over­whelm­ing com­pli­ca­tion of exis­tence. To free your­self from the neces­sity of dogma always try to encounter the forms and com­po­nents of exis­tence in the purest state you can.

If you do this then one day you will real­ize that truth is a per­cep­tion and not a cre­ation, a dis­cov­ery not a process. Then you will lay all dogma aside. This is the mean­ing of “I am the Light and The Way.”

9

Do not fear com­pli­ca­tion but like the Marine who is trained to run towards enemy fire, wade into it coura­geously and engage it. Break it into lit­tle pieces and anni­hi­late it. Your tools are rea­son, mem­ory and your intu­itive abil­ity to per­ceive pat­terns in seem­ing randomness.

10

Beauty is the sug­ges­tion of a sym­me­try you dis­tantly remem­ber, a recog­ni­tion not a judge­ment. Art is simplification.

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