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Dynamic Kicks — The Ultimate Kicking Bible Now Available as an E-Book For the first time ever, the legendary martial arts classic Dynamic Kicks  is now available in digital format for all registered Black Belt  Magazine subscribers—bringing one of the most influential training manuals in martial arts history to a new generation of fighters. For more than 30 years , Dynamic Kicks  has stood as the ultimate guide to kicking technique , earning its reputation as a best seller and a cornerstone of martial arts instruction worldwide. Often referred to as the “kicking bible,”  this iconic book helped launch a generation of elite kickers—many of whom went on to become today’s top action film stars and combat-sports legends, crediting Dynamic Kicks  as a foundational influence in their careers. About the Book Authored by renowned martial artist Chong Lee , Dynamic Kicks  presents a complete, systematic breakdown of kicking mechanics designed to build power, speed, flexibility, balance, and precision . The book illustrates Lee’s proven method for developing perfect kicking technique , applicable across all striking arts. Inside, readers will find: The fundamental mechanics  behind effective kicking 30 separate kicking variations , from basic to advanced Training principles applicable to Taekwondo, karate, kickboxing, and MMA Detailed instruction suitable for beginners through elite competitors The Champion Behind the Method Chong Lee is a celebrated Taekwondo stylist , a respected Thai kickboxing expert , and the 1974 champion of the Long Beach Grand Nationals (Forms Division) —one of the most prestigious martial arts tournaments in the world. His competitive excellence and technical mastery are the foundation of the system presented in Dynamic Kicks . Dynamic Kicks  is also the first volume in a series  of instructional works by Chong Lee, establishing a legacy of technical excellence that continues to shape strikers across multiple disciplines. Why It Still Matters Today Decades after its original release, Dynamic Kicks  remains: A gold standard  for kicking instruction A career-launching resource  for fighters and performers A timeless training manual  that bridges traditional martial arts and modern combat sports Now, with its digital release, this legendary book is more accessible than ever—ready to inspire the next generation of martial artists. You can read this online in digital fomat free simply by regsitering today for Blackbeltmag.com  , hurry before the paywall returns. Its the best seller that changed the world of kicking read by every major star of martial arts to learn the style of kicking that won the Internationals and launched the legend of Chong Lee.

Black Belt is proud to present an in-depth Filipino Weapons Training program  featuring two of the world’s most respected instructors: Ron Balicki  and Diana Lee Inosanto . This powerful instructional video series is now available on BlackBeltMag.com for all registered subscribers , alongside over 1,000 hours of elite-level martial arts training  from top masters across multiple disciplines. Rooted in the combat-tested traditions of Filipino Martial Arts (FMA) , this program delivers practical, efficient, and highly adaptable weapons training designed for real-world application, personal development, and cross-training for all striking and grappling arts. Inside the Training Program Balicki and Inosanto take viewers step-by-step through a comprehensive drill-based learning system , emphasizing timing, coordination, flow, and functional combat skill. The series covers both fundamental and advanced concepts, including: Redondo  – Fluid circular striking for speed and continuity The “X” Pattern  – Dynamic footwork and attack angles The ABC’s (Abecedario)  – The essential striking alphabet of FMA Stick Drills  – Core offensive and defensive movement patterns Hit the Hand / Pass the Hand  – Target control and counter tactics The Cross  – Intercepting and countering incoming attacks Blocking Opponent’s Strikes  – Functional defense under pressure Stripping, Leverage & Manipulation  – Disarms, joint control, and weapon removal Each drill is presented with clarity and purpose, showing not just how  to perform the movements—but why  they work in live combat conditions. The result is a system that builds reflexes, structural integrity, and tactical awareness. Why This Training Matters Filipino weapons training is widely regarded as one of the most complete combat systems in the world , influencing modern self-defense, military training, and mixed martial arts. Under the guidance of Balicki and Inosanto—both lifelong practitioners and educators certified under the legendary Inosanto lineage—this program offers students direct access to authentic methodology taught at the highest level. Unlimited Access for Black Belt Subscribers This featured program is just one part of the expansive digital training library available to registered Black Belt subscribers , which includes: Over 1,000 hours of instructional video World-class teachers across striking, grappling, weapons, and self-defense Rare archival footage and modern combat-sports instruction From traditional martial arts to cutting-edge combat systems, Black Belt’s video vault represents the largest curated digital training collection in the martial arts world .

Diana Lee Inosanto on the cover of Self-Defense for Women, a special publication of Black Belt. The feature celebrated her lifelong dedication to martial arts, self-defense education, and the empowerment of women through practical, real-world training honoring both her personal achievements and the enduring influence of the Lee martial arts legacy. Carrying forward one of the most respected names in martial arts, Diana Lee Inosanto  represents the living bridge between classical tradition and modern expression. The daughter of legendary martial artist Dan Inosanto , longtime training partner and closest student of Bruce Lee , Diana was immersed from childhood in jeet kune do, Filipino martial arts, and multiple combat systems that shaped her into a world-class practitioner and instructor in her own right. Together with her husband, Ron Balicki , she has built a powerful legacy as a teacher—training students across generations in jeet kune do concepts, kali, silat, and self-defense. Which can be seen on Black Belts video instruction section. LINK : https://www.blackbeltmag.com/videos Beyond the dojo, you can see her on screen as she captivated new audiences with her commanding performance as The Sensei  in The Mandalorian portraying Morgan Elsbeth opposite Ahsoka Tano  in the Ahsoka  series, merging real-world combat mastery with cinematic storytelling in a way few performers ever achieve. Diana Lee Inosanto on the set of Ahsoka photo credit via StarWars.com Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

In Japanese, the most common way to politely acknowledge something you’ve been told is wakarimasu : “I understand.” However, this is a word you should never use in the dojo. Chances are good that if you’re reading this, you have at least some kind of intellectual leaning. For you, karate and the other budo aren’t entirely physical. You also want to know about their history and philosophy. You want to grasp them on an intellectual plane, as well as a physical plane. There’s nothing wrong with this. It should be encouraged. I can’t see much of a future for those who have no curiosity about their art or those who don’t want to learn any more than what they might hear their teacher say in the dojo. Wait, you might say. There are plenty of professional ball players who know nothing of the lore of their sport. There are expert plumbers who couldn’t tell you anything about the history of plumbing. True, but budo is not a sport, and it’s not a technical profession. It is, at its fullest, an art. An artist who has no grasp of or appreciation for the past is not much of an artist. The Problem With Intellectualizing There is a serious problem, however, that afflicts those who are intellectually inclined, and it comes when they allow their curiosity, their desire to learn academically, to get out of balance with their commitment to physical effort. Karate, like all budo, is at its core a physical expression of mental volition. It’s realized not through intellectual effort but through action. To forget this, or to minimize it, is to sabotage any effort to master karate as an art. The matter of intellectualizing over physically internalizing is not new or unique to our age. It’s a danger long recognized. In the Asian martial disciplines, we have a legacy handed down to us from two Confucian scholars. Zhu Xi (1130–1200) described the interplay of knowledge and action. He noted that having legs doesn’t allow a person to see, nor does having eyes allow one to walk. Too, knowledge of Something is insufficient for mastering it. One of Zhu Xi’s descendants, Wang Yang-Ming (1472–1529), took this idea further. He postulated that knowing and not being able to actualize that knowing in doing is proof one does not really know at all. “To know and not to act is not yet to know,” Zhu wrote. Wang’s notion should lead to some contemplation, especially for martial artists. If I know what is right, what is moral, what is good, but I do not act on these, then I do not really understand them at all, according to Wang. If we narrow this down to the realm of the dojo, we see that having an intellectual grasp of a front kick is one thing. Being able to do that kick competently is, of course, quite another. “Mouth Warriors” vs. Sincere Students If you’ve been in budo very long, you know a few kuchi bushi, “mouth warriors,” whose lectures and opinions would have you think they're fifth-dan experts at least. These types are certainly examples of those who know but can’t do. However, there are also would-be budoka who don’t want to impress others, who aren’t interested in pontificating and sharing their opinions. They are simply people who really want to understand what they're doing. They are sincere. And so they pose questions: Why do we lift the knee so high when we kick? How important is the snap back? How can I make a high kick as powerful as a low one? The problem isn’t the questions they pose. The problem is they confuse intellectually grasping concepts with the physical ability to realize those concepts. They get things badly out of balance. The student who relies too heavily on his intellectual grasp of karate is apt to believe he’s got it. Unless he can translate that grasp into action, however, he does not. The gap between knowing and doing is apt to become wider unless he addresses this issue — or unless a teacher is there to guide him to a more balanced study. “Do You Understand?” “Do you understand?” is a question a teacher will often ask a student after having given an explanation. I can remember answering this in the affirmative once. “Yes, I understand,” I said. Wakarimasu. “OK,” my teacher said. “Do it.” I could not. My mind knew it, but my body didn't. After trying a couple of times — and failing badly — I felt as stupid as I ever had in the dojo. And that’s saying something. “You understand it up here,” my sensei told me, popping his forefinger against my forehead. “Down here …” — he poked my belly and shook his head. This is why, when discussions of learning come up, one often hears the expression karada de oboeru , “learning with the body.” When you've done something — a kata or a technique — a few times, you'll have some understanding of it. When you've put your body through it a few thousand times, you’ll have a real understanding. I don't know that I have a real understanding of anything in karate in the sense of the word my sensei was indicating. There’s still a long way to go. I have learned, however, that saying “I understand” when my teacher asks is a bad idea.

Photo credited to Chris Willson Photography / TRAVEL67.com The Renaissance Man, Arcenio James Advincula Arcenio James Advincula embarked on the martial path for a reason that was far from unique. Being small in stature and of interracial heritage, the youth was a frequent victim of bullying. After one serious encounter with a group of young thugs, his father hired two former Filipino army scouts to school him in combat judo and escrima. Most styles of escrima emphasize stick fighting, but the soldiers chose a different tactic: They trained young Advincula with tools that would send modern parents running out of the dojo. Specifically, they had the 8-year-old wielding a bayonet and a butcher’s knife. Another unique aspect of Advincula’s martial education pertained to the role of the hands in combat. Many instructors refer to the non-weapon-bearing appendage as the “alive hand” and use it mainly to parry attacks, but Advincula’s teachers called it the “sacrifice hand” in honor of its special purpose in a fight. Yes, it was used for parrying, but it was also subject to being sacrificed to forestall a cut or stab aimed at a vital organ. Martial Artist Advincula joined the U.S. Marine Corps in 1957 and a year later found himself stationed on the “island of karate,” aka Okinawa. On December 1, 1958, he first set foot inside the dojo of the legendary Tatsuo Shimabuku, thus beginning his study of isshin-ryu and kobudo. Shimabuku had created isshin-ryu by combining elements he’d learned from Chotoku Kyan and Choki Motobu, who taught shorin-ryu, with what he gleaned from his time with Chojun Miyagi, founder of goju-ryu. To that mix, Shimabuku added his own innovations and concepts, giving birth to a unique martial art. A quick study, Advincula became one of Shimabuku’s top students. Standing 5 feet 6 inches tall and weighing 150 pounds, Advincula possessed a stature that was similar to that of his isshin-ryu teacher. Kyan, Shimabuku’s most influential sensei, was also very small, but he was renowned for his speed and maneuverability — attributes he strove to pass down to Shimabuku and, by extension, to Advincula. The American also capitalized on the component of Shimabuku’s system that revolved around cultivating power through body mechanics and control, what the old Okinawan masters called chinkuchi . Part of goju-ryu, chinkuchi gives the practitioner the ability to instantly transition from complete relaxation to full-body tension. That enables the student to effect the rigidity needed to penetrate targets, as well as to absorb impacts without sustaining damage. Chinkuchi was the key to Shimabuku’s ability to drive nails into planks with the side of his hands and to Advincula’s ability to easily move people twice his size and 50 years younger with just an open-hand block. Shimabuku began referring to Advincula as Katagwa , or “Kata Man.” Shimabuku selected the nickname because of the depth of his student’s understanding of kata, his knowledge of bunkai and his ability to make the bunkai work. On the surface, a kata is just a string of choreographed movements, but when analyzed under the guidance of a master like Shimabuku, its essential techniques, concepts, strategies and principles are revealed. Many instructors teach kata, techniques and free fighting as separate entities. In contrast, Advincula learned — and subsequently started teaching — the notion that everything comes from kata. From the get-go, he was told what the key elements in the kata were and shown how they could be used in combat. Graphic Artist Advincula played a key role in designing the unique — and controversial — isshin-ryu patch. It incorporated the symbol for the art, the megami goddess, as the centerpiece. In February 1961, Shimabuku approved the design. Unfortunately, the language barrier that stood between Advincula and the patch maker caused the design to be rendered incorrectly. Advincula had sketched it with a vertical fist that featured a thumb on top, just like the isshin-ryu punch, but the patch maker placed the thumb on the side — the way other styles of Okinawan karate teach. Also incorrect was the orange border: The crest was supposed to feature a gold border to symbolize purity and the idea that karate should never be misused. Since the error and its subsequent propagation, Advincula has worked tirelessly to get the right version of the patch out to the public. He said he’s pleased that with every passing year, more martial artists are donning the crest that Shimabuku authorized. Okinawan Ambassador Throughout the years, Advincula has enjoyed an ongoing link to Okinawa. The Marines sent him there repeatedly, civilian life saw him living there on several occasions, his Okinawan wife served as the impetus for making familial visits, and cultural tours have had him guiding groups there for the past 20 years. The resultant training ops gave Advincula a chance to pursue the study of several other Okinawan arts, including shorin-ryu, goju-ryu and uechi-ryu. One style the American picked up on the island and grew to admire was hindiandi kung fu . Originating in Southern China, it’s based on the concept of yin/yang. It uses two-man drills with rapid exchanges of punches, kicks and circular blocks. These moves, along with footwork designed to close the distance quickly and techniques designed to redirect an attacker’s momentum, made hindiandi an effective fighting system in the mind of Advincula. Advincula was so taken with hindiandi that when the San Diego Chargers hired him to train their defensive linemen from 1987 to 1993, he turned to the art. “I got to experiment with them,” he said. “They are at close range and in your face, so you better have your stuff down. Ninety percent of what I taught and used with them was hindiandi.” At age 49, Advincula had his work cut out for him with the Chargers, and it’s not surprising that initially he met with opposition from the players. His response? He devised a lesson that would start with him facing the linemen in a scrimmage, after which a snap was simulated before the full contact ensued. Witnessing the intensity of what had happened to the first lineman, the second player threatened to sue Advincula if the martial artist pulled his arm out of its socket. From that point on, Kata Man had their respect. As they say in the Marines, example is the language all men understand. Military Man Essential to understanding Arcenio Advincula is knowing that he served as a Marine for 24 years of his life. His discipline, work ethic and drive to make techniques work — no matter the conditions — stem from his time in the Corps. “When I graduated from boot camp,” he said, “I was convinced I was the best fighting machine in the world and knew you had to make it work no matter what you are doing, with whatever tools you have on hand.” Those are a few of the lessons that carried Advincula through 1965, the year he first saw combat in Vietnam. Subsequent tours gave him more hands-on experience, which he put to good use when he became a drill instructor in the 1970s. Advincula went out of his way to teach the recruits skills that could save their lives in combat. The karateka retired from the Marines in 1981, having obtained the rank of master sergeant, but he continued to teach the Marines how to fight with blades, as well as how to be successful in hand-to-hand combat. Recognition for his lifelong devotion to teaching Marines came in 2001, when he was acknowledged as a founding father of the revised Marine Corps Martial Arts Program. Advincula was awarded the title of Black Belt Emeritus. Knife Visionary In 1991 renowned knife maker Jim Hammond sought out Advincula in an attempt to create the ultimate combat knife. Designed to Advincula’s specifications, it acquired a name when someone sustained a cut after touching the blade and quipped, “That knife is a real flesh eater!” The description stuck, and the Flesheater quickly became one of Hammond’s bestselling tactical knives. Three years later, James Byron Huggins had the Flesheater playing a pivotal role in his novel The Reckoning . Specifically, the blade is wielded by the book’s main character, a retired Delta Force member, and employed in multiple battles that used Advincula’s knife-fighting system as a frame of reference. For those unfamiliar with the blade-fighting system: Advincula’s knife style is simple yet effective. It primarily uses the hammer grip and emphasizes attacking the opponent’s weapon hand before delivering a technique to end the encounter. Based on the escrima that Advincula began learning as a child, as well as his further studies in the 1960s, it also includes elements of isshin-ryu, making it an eclectic mixture of combat-proven techniques. The Flesheater was picked up by Columbia River Knife & Tool, which began mass-producing it in 2012 under the more politically correct name “FE Model.” The company also offers a plastic version of the knife so enthusiasts can train realistically and safely. Since CRKT started marketing its line of blades — as the FE7, FE9 and FE9 Trainer — Advincula has been in demand to teach the tactics he created to make best use of this unique weapon. Dedicated Teacher For more than 40 years, Advincula has worked the seminar circuit in North America. In 2013 alone, at age 75, the karateka traveled tens of thousands of miles to spread isshin-ryu, kobudo, escrima and military CQC, as well as something that’s near and dear to his heart: Okinawan culture. Back in 1960, an Okinawan newspaper reporter interviewed Tatsuo Shimabuku about the popularity of his style with U.S. Marines. Shimabuku didn’t say that he hoped his students would be the best fighters in the world or that he wished his art would gain popularity in the States. He said he longed for his homeland to be better understood through the practice of karate. “If you want to understand Okinawan martial arts, then understand their culture,” Advincula said. “They have a lot to teach us. Okinawan karate is not about punching, striking and kicking for sport; it’s about learning to defend oneself if needed. It’s about courtesy and getting along with each other and sharing and living.” In 2005 Advincula was recognized for his commitment to spreading Okinawan karate and kobudo when he received an invitation to a government-sponsored event designed to bring attention to the island as the birthplace of those arts. More than 250 senior karate instructors from Okinawa and Japan attended, along with just five foreigners. Advincula, representing the United States and isshin-ryu, spoke about how Shimabuku had taught him almost 50 years earlier that karate was for peace and the transmission of culture. Advincula remains committed to propagating the art of isshin-ryu, as well as the culture from which it sprouted. The 77-year-old still works out with his students, meticulously correcting their moves while wowing them with his speed, power and fluidity and trying to convey the message that karate is about much more than fighting. “If only one [student] listens,” he said, “the effort was worth it.”

This July 2013 issue of Black Belt Magazine  spotlights Colonel Nattapong Buayam , one of the world’s foremost authorities on Muay Thai Kad Chueak  — the ancient “rope-bound fist” fighting art often mislabeled in the West as Muay Boran, though its authentic name is Muay Thai Kad Chueak . With decades devoted to preserving Thailand’s traditional combative heritage, Colonel Buayam offers rare insight into a lineage seldom seen outside Southeast Asia. A seasoned veteran of the Royal Thai Army , Colonel Buayam rose to the rank of Colonel and trained at the prestigious Chulachomklao Royal Military Academy , later completing advanced instruction at the Special Warfare Center’s airborne school. His expertise extends far beyond the battlefield: for more than twenty years, he has trained elite Thai military units in Krabi Krabong , Muay Thai , and battlefield-ready traditional weapons systems. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

What It Is Strictly speaking, san da is a Chinese martial arts amalgam composed of kickboxing, throws and wrestling-style takedowns. What It Isn’t Some writers have referred to san da as “Chinese MMA,” but that’s inaccurate because it normally doesn’t include ground fighting or submissions. Furthermore, in competition, san da fighters are permitted to clinch, but they’re not allowed to hit while doing so. Also What It Isn’t Some people have dubbed san da “Chinese muay Thai,” but that moniker doesn’t do it justice. Why? Because in general, muay Thai stylists rely on just two leg attacks: the roundhouse kick and the push kick. Although other leg strikes exist in Thai boxing, most of the emphasis — and the scoring in the ring — can be attributed to those two moves. In contrast, san da encompasses an arsenal of kicks not unlike what you’d learn in wushu. Unbeknownst to many martial artists in the West, most san da fighters in China earn their chops in wushu. Firsthand Observation When I trained at Shaolin Temple, most of the san da fighters I met had spent two years doing wushu before being allowed to take up san da. Hardcore fighters in the West might scoff at that notion, but wushu is far from a waste of time for them. The training renders the practitioners more flexible and able to kick high and fast. That means the main task that lies before them once they decide to make the leap is learning strategy and gaining ring experience. Emphasized Techniques Just like the money kick in muay Thai is the roundhouse, the money kick in san da is the side kick. But because san da has a whole gamut of kicks to its name, you’ll also see roundhouses, spinning back kicks, front kicks and even ax kicks in competition. Crescent kicks and some of the trickier taekwondo-style maneuvers can appear from time to time, depending on the background of the practitioner. Scoring With Throws The thing that really differentiates san da from muay Thai is the takedowns. San da bouts are scored on points, similar to the way Chinese wrestling is. Traditionally, throws were worth one to four points. Recently, however, the rules have changed, and now the one-point throws — moves in which the thrower goes to the mat with his opponent — no longer score. Platform Fighting In amateur san da bouts, four points are awarded for throwing an opponent off the lei tai platform on which the fighters meet. Things are different in professional matches, though, because the action unfolds in a boxing ring instead of on a platform. That means athletes are prohibited from throwing their adversaries outside the competition area and, therefore, are ineligible to be awarded four points. Rule Structure The regulations under which pro san da stylists compete can vary from fight to fight. Some matches take place under ge do rules, which means “every way.” Knee strikes, elbow strikes and even grappling may be allowed in such contests. Firsthand Experience While attending Shanghai University of Sport, I took a course titled San Da Ge Do. I found the subject matter very similar to MMA in that the coaches allowed submissions and chokes. Occasionally, professional fights operate under rules permitting these techniques, but they usually don't — which has caused some insiders to argue for the creation of a unified set of regulations. Evidence of Vagueness In China, everyone who competes in san da ge do agrees that you can't fight on the ground too long, but no one seems to know how long is "too long." The only thing they agree on is that san da ge do isn't like MMA, in which athletes can remain on the ground for as long as they stay active. In most cases, the san da ge do referee will stop the action and have the fighters stand up after about five seconds. Firsthand Fight When my Shanghai University classmates and I took our final fighting exam in the San Da Ge Do class and I was able to get my opponent to the mat and choke or submit him, the ref allowed it. If I had tried to use a ground-and-pound strategy, he would have stood us up immediately. Descendant of Chinese Wrestling Most of san da's throws are based on moves from traditional Chinese wrestling. I say that because I've trained in both arts, and often I noted that the same techniques were present. The difference is that in one system, practitioners might grip their opponent's jacket, while in the other, they might grip with an underhook or wrap an arm around his head or neck. Catching Kicks Most of the world's martial arts teach a few techniques for catching an attacker's kick and sweeping his leg to take him to the ground. San da specializes in this tactic. Yes, ordinary takedowns are used, but the majority of throws follow the catching of a kick. Firsthand Catch During my initial year at Shanghai University, an estimated 70 percent of my san da training time consisted of having a pro fighter kick me while I attempted to trap his leg and execute a throw. Time Limit Under strict san da rules, once a competitor clinches or begins a throw, he has about three seconds to complete the move. Taking longer risks a referee intervention. Who Should Study If you're a striker, san da is a beneficial system to learn because the training will enable you to polish your leg techniques — and perfect your side kick. If you're an MMA practitioner, san da can provide valuable training in the fine art of kick catching, as well as in the ability to follow up with a throw. Yes, other styles contain techniques designed to do the same thing, but in san da, the artistry rises to another level.

Joe Lewis first met Bruce Lee in 1967. “He wanted to convince me that I should use my strong side forward (when fighting),” Lewis recalls. But Lewis, who had successfully employed strategies of his own without Lee’s help, didn’t believe in changing his fighting stance at the time. By 1970, however, Lewis had become a full-time Lee protégé and was “road-testing” Lee’s jeet kune do theories in tournament competition. According to Lewis, the primary theme Lee stressed was simplicity . Although Lee maintained his own wing chun style, which was of little interest to Lewis, the former had integrated contact training and fighting strategies into his practice. The end result was often more important than the origin of the style. Lee explained to Lewis that jeet kune do was the “Way of the Intercepting Fist.”  Lee conjectured that an opponent’s attack dictated the potential counters. One simply performs a skill based on the “energy” of the attack. After all, fighting, according to Lee, was simply “a game of quick reactions.” Jeet kune do, then, was “a philosophical concept applied to fighting principles,” Lewis says. Lewis believed that Lee could do exactly what he said he could do. “Bruce could make JKD work because he had the right attitude, the physical ability, the mentality, and philosophy,” Lewis recalls. “He could put it all together.” Lee had two types of students: his special students, whom he taught privately, and those who comprised his group lessons. Lewis trained privately with Lee on Wednesdays during the late 1960s and early ’70s. According to Lewis, “We would begin each lesson with a general discussion of philosophy, and we would review fight films of Jack Dempsey or Muhammad Ali.” When studying the films, Lee and Lewis would try to incorporate two principles: “closing the gap”  and “mobility.”  The method was to view the films repeatedly in order to get the image of the perfect technique into their minds. “Lee could convince you that you could do what he was telling you you could do,” Lewis claims. While some of Lee’s original students focus on jeet kune do concepts, others maintain that a modified form of wing chun best exemplifies JKD. Lewis, however, concentrated on the Jun Fan kickboxing  aspect of jeet kune do, which was by far the most contact-oriented (and thus most realistic) training in the JKD program. The Lewis/Lee workout routines varied from learning independent motion in front of a mirror to focus-glove training. Within the first year of training with Lee, Lewis had become virtually unbeatable in tournament competition, winning 11 consecutive sparring titles. Lee was a gifted teacher, as evidenced by his ability to focus on an individual’s attributes and develop a program specifically tailored to that individual’s skills. In essence, each student received a personalized version of jeet kune do. Lee practiced a sort of empty-hand fencing or “intercepting fist” method (often referred to as “original” JKD) based on his personal attributes of speed, sensitivity and power. Dan Inosanto, arguably the most influential of the jeet kune do exponents, has promoted a method focusing on the concepts of JKD. This method has been widely taught and primarily emphasizes Filipino, Thai and Indonesian arts. Lewis, on the other hand, has focused on JKD strategies and kickboxing methods. For one to conclude that either the original form, the concepts method, or the kickboxing approach constitutes the entirety of JKD is to greatly shortchange Lee and his art. Or, as Lee might have said, it is a mistake in essence of JKD philosophy. Lewis has been successful in absorbing what is useful and creating something uniquely his own. Moreover, he has been successful in ridding himself of the JKD label. Lee envisioned jeet kune do simply as a vehicle— a boat in which to cross the river . Once you reach the other side, the boat was to be discarded. Unfortunately, many individuals have chosen to remain in the boat, refusing to discard it as they attach and limit themselves to a particular style or group. Perhaps the highest level of jeet kune do is in fact to gain freedom from JKD — to return to the nucleus, as it were. For Joe Lewis, the ascent through the JKD cycle has been complete.

Empty Your Cup—The First Door to Freedom A Zen master once poured tea into a learned man’s cup until it overflowed. “Stop! No more can go in!” the man cried. “Exactly,” said the master. “If you do not first empty your cup, how can you taste my tea?” Bruce Lee treasured this story because it revealed the first and most important key to personal liberation: emptiness. A martial artist whose mind is filled with rigid habits, opinions, and stylized preferences cannot adapt. He cannot observe clearly. He cannot express honestly. Bruce Lee wrote: “The mind must be emancipated from old habits, prejudices, and restrictive thought.” When Bruce Lee shared these ideas more than half a century ago, they were nothing short of revolutionary. He challenged traditions, broke from conformity, and questioned the very foundations of martial structure and identity. What makes his teaching extraordinary is that his message has proven timeless—as clear, fresh, and necessary today as it was then. In an age of distraction, division, and information overload, Bruce Lee’s quest for freedom is not just historical—it is contemporary and profoundly relevant. To honor him on his 85th birthday is to honor this principle: to empty our cup again and again, creating the space necessary for transformation. This is where freedom begins. This is Bruce Lee’s first gift. The Filters That Blind Us It is common for people to not see reality as it is.They see it through layers of conditioning—filters inherited from teachers, systems, culture, and personal experience. My Taiji teacher once told me: “Most people’s thoughts are someone else’s opinions.Their lives become a mimicry, and their passions a quotation.” When martial artists from different backgrounds watch the same fight, each sees something different—not because the fight changes, but because they do. Bruce Lee warned: “Every attempt to describe the fight is really an intellectual reaction…a partialized idea of the total fight.” This means the moment you cling to a preference or stylistic lens, you stop perceiving what is actually happening. You react to your idea of the fight, not the fight itself.You respond to your conditioning, not the moment. You move from memory, not from presence. The more filters you carry, the less freedom you possess. Seeing clearly is not an act of knowledge—it is an act of removal. Removing the filter. Removing the bias. Removing the self. Only then does freedom emerge. The Danger of Crystallization Bruce Lee warned that when a founder passes away, his living art often becomes fossilized. A spontaneous insight becomes a rigid formula. A personal freedom becomes a fixed curriculum. A breakthrough in expression becomes a shrine of preservation. He wrote: “The professed cure of a classical style is itself a disease.” Why? Because once a method becomes systematized, people begin serving the system instead of their own growth. They cling to patterns, drills, and structures because patterns feel safe. They seek certainty because certainty feels comforting. They defend their style because identity feels secure. But combat—like life—is unpredictable, fluid, and alive.A fixed system cannot keep up with a changing world. Bruce Lee did not intend Jeet Kune Do to become another style. He offered a way out  of style. A way out of rigidity. A way into direct experience. His gift was not a set of techniques—it was the courage to break free from crystallization. A dead pattern cannot liberate a living human being. Freedom must be rediscovered by each generation. The Illusion of More — The Trap of Accumulation We live in a culture obsessed with “more.” More techniques. More certifications. More drills. More systems. More seminars. More lineages. More information. But “more” does not create freedom. Often, it creates heavier chains. Bruce Lee wrote: “Accumulation of fixed knowledge is not the process of JKD…Knowledge in martial art simply means self-knowledge.” True progress is not measured by what you collect—but by what you can let go of. Let go of the need to impress. Let go of the need to belong. Let go of the need to be right. Let go of the fear of looking foolish. Let go of the identity you protect through your style. Liberation comes not through acquiring more techniques, but through releasing more illusions. Because beneath the accumulation lies the real obstacle: fear. Fear of uncertainty. Fear of losing respect. Fear of losing identity. Fear of not being enough. These emotional tensions create hesitation, mental noise, and conflict. They block freedom far more than any technical limitation. Bruce Lee’s gift of freedom begins with dissolving these internal knots. The Space Where Freedom Lives Freedom is not found in technique. It is found in space. The space between thoughts. The space between movements. The space between stimulus and response. When a martial artist releases emotional attachment, his awareness opens.His perception sharpens. His timing refines. His intuition awakens. Bruce Lee described this inner transformation beautifully: “Behind each physical movement of an accomplished martial artist is this wholeness of being…this all-inclusive attitude.” This “wholeness of being” is the true source of mastery. When the mind is quiet: Time seems to slow Space seems to widen Intentions become visible Rhythms become readable Openings reveal themselves Movement becomes spontaneous and effortless This is the state in which “it” hits all by itself. Not the ego. Not the technique. Not the habit. But the pure expression arising from presence. This is freedom in motion. This is the essence of Jeet Kune Do. This is the gift the Dragon left behind. The Inner Fight Every martial artist understands the outer fight.Few willingly engage in the inner one. The inner fight demands we confront the truth about ourselves: our fears our insecurities our attachments our emotional triggers our conditioned reactions our ego’s need for control our resistance to change Bruce Lee was a warrior of the inner dimension. He trained the self with the same intensity he trained the body. He asked questions others were afraid to ask. He examined his weaknesses without flinching. He challenged his biases relentlessly. He dismantled whatever within him blocked freedom. And he expected us to do the same. Because the individual who conquers himself can adapt to anything. Freedom is an inside job. Bruce Lee’s Gift of Freedom Bruce Lee is not a shadow we stand under. He is a light we stand within. He illuminated a path of self-inquiry. He challenged martial artists to break free from limitation. He invited practitioners to abandon imitation and embrace honest self-expression. His legacy is not just Jeet Kune Do. His legacy is liberation. To honor Bruce Lee on his 85th birthday is to honor his challenge: Empty your cup Question your conditioning See without filters Reject rigidity Let go of accumulation Confront your inner blocks Move from presence, not memory Express yourself—not your style Bruce Lee did not want followers. He wanted free human beings. He once wrote: “Be yourself—not what others want you to be.” This is the heart of his art. This is the heart of his message. This is the heart of his legacy. Bruce Lee’s true gift was not his punch, kick, footwork, or cinematic power.His true gift was freedom —the liberation of the mind, the awakening of self-knowledge, the courage to break patterns, and the encouragement to discover your own expression. This is the gift we carry forward. This is the light he left us. On this anniversary of his birth, may we all step—fully, courageously, honestly—into Bruce Lee’s Gift of Freedom.

In the annals of martial arts history, there exists a technique so formidable, so revered, that it became synonymous with the Blood and Guts era of Karate. Enter the ridge hand – a maneuver so potent that careers were built upon its execution alone. The genesis of the ridge hand phenomenon can be traced back to the original Blood and Guts crew, a league of legendary fighters whose names resound through time. Among them were titans like Mike Stone, Allen Steen, Pat Burleson, Fred Wren, and Jim Harrison. These were men who wielded the ridge hand with unparalleled skill, leaving a trail of awe and devastation in their wake. As the martial arts landscape evolved through the 1970s and 1980s, a new wave of fighters emerged, determined to carve their own legacies from Texas to California, Atlanta to NYC. Among them were luminaries like Steve Fisher, Al Francis, Jimmy "Gato" Tabares, and Raymond McCallum, each carrying the torch of the ridge hand tradition into a new era. For the uninitiated, the ridge hand technique is deceptively simple yet devastatingly effective. By tucking the thumb into the palm and executing a circular motion akin to a hook punch, practitioners unleash a force to be reckoned with.  Thus, the legacy of the ridge hand endures – a timeless testament to the indomitable spirit of martial arts and the enduring legacy of those who mastered its artistry in the Blood and Guts era. Today we pay tribute to this move through the lens of esteemed martial artists who share their stories of its origins, its power, and its legacy. Ridge Hand: Mike Stone The Sport of Karate has one man to acknowledge as the innovator of the ridge hand and it is Mike Stone. But if you ask Mike Stone he will credit the Ridge Hand to his teacher of Shorin Ryu Karate Herbert Peters in Chaffee Ark. In a recent interview with Stone, we got a front-row glimpse of the history of the ridge hand. Stone recalls that his instructor Peters taught the ridge hand as part of the Karate class as a way to defeat larger opponents with an unorthodox move, “sneaky” as Stone would describe it as it would come from angles unlike the linear Karate punches of its time.  Although he did not invent the move Stone was the first to initially use it with legendary success. In his early days of competition, Stone would defeat such greats as Pat Burelson using the ridge hand. It is perhaps no coincidence that the ridge would find its way to Texas shortly after Stone's victory, only to become a staple in Texas full contact Karate for over 3 decades.  Today nearly 60 years later Stone still actively teaches at his paradise dojo island in the Philippines, and yes he still practices and teaches the ridge hand, but now as a self-defense technique.   Jeff Smith  According to Jeff Smith, his inspiration to incorporate the ridge hand into his martial arts repertoire traces back to the golden era of Karate, where luminaries like Mike Stone, Fred Wren, and Jim Harrison held sway. Reflecting on those iconic figures, Smith recalls witnessing Fred Wren's unforgettable ridge hand strike that left Chuck Norris with a bloodied nose. "Watching those guys, I realized it was the most devastating move I had ever seen," remarked Smith, acknowledging the profound impact it had on his own approach to combat. Recalling a defining moment in his career, Smith recounted a remarkable knockout during the 1974 PKA World Championships. In his first match against Budimir Vejnovic of Yugoslavia, Smith delivered a precision ridge hand strike that resulted in a knockout within the first minute of the bout.  1974 Champions, where Smith ridge hand would see a world stage.  Left to right Isaiah Duenas, Bill Wallace, Jeff Smith, Joe Lewis. For Smith, the ridge hand wasn't just a defensive maneuver; it was a versatile weapon capable of both offense and defense. Its adaptability at various angles provided him with a range of attack options. "I practiced it extensively from both front and rear positions, dubbing it my 'extended hook.' The ridge hand's unique ability to cut distance and exploit the bend of the elbow made it a formidable tool in my arsenal," explained Smith. Do you still teach the ridge hand? Decades later, Smith continues to pass on the legacy of the ridge hand through his teachings. "We still include the ridge hand in our curriculum, incorporating it into combinations for our students," he affirmed, highlighting its enduring relevance in martial arts instruction. Do you still practice the ridge hand? As for personal practice, Smith remains committed to refining his skills, particularly with the ridge hand's effectiveness in mind. "I incorporate the ridge hand into my training routine, focusing on bag work to enhance its application, especially in the context of MMA where it can hyperextend the elbow," he revealed, underscoring the ongoing evolution and adaptability of this classic martial arts technique. Dan Anderson Dan Anderson, renowned for his dominance on the American Tournament circuit under the moniker "Super Dan," reminisces about his strategic use of the ridge hand in combat. "I relied on the ridge hand defensively against opponents with quicker reflexes," Anderson recalls. "I'd anticipate their backfist reverse punch combination, then execute a backward jump. As they extended, my ridge hand would land squarely on the side of their head." Anderson is in his tournament prime, wearing a signature Baseball Jersey with the Superman logo.  Reflecting on the effectiveness of the ridge hand, Anderson emphasizes its versatility in both sport karate and self-defense scenarios. "When targeting specific areas like the jawline, neck, or temple, accuracy is paramount," he explains. "The ridge hand is glove-safe, reducing the risk of injury compared to an open hand strike. However, there's still a risk of hand injury if not executed with precision." Do you still practice the ridge hand? Regarding his current training regimen, Anderson admits to no longer practicing the ridge hand. "Today, I've shifted my focus to the palm heel or modified hook on the bag," he reveals, highlighting the evolution of his techniques over time. As martial artists adapt and refine their skills, Anderson's journey underscores the importance of versatility and adaptation in the ever-evolving world of combat sports. Keith Vitali  In the dynamic world of 1980s Sport Karate, Keith Vitali emerged as a dominant force on the tournament circuit before transitioning into a successful career as a full-fledged action movie star. Reflecting on his journey, Vitali fondly recalls the impact of the ridge hand technique. "My introduction to the ridge hand came through watching Steve Fisher, who epitomized the technique in my era," Vitali reminisces. "It was a potent knockout move, executed with precision and power. The ridge hand remains a formidable defensive tool, offering a solid counter against offensive strikes." Vitali elaborates on his strategic use of the ridge hand, particularly as a defensive counter against opponents' back-fist strikes. "I would often employ the ridge hand as a defensive counter move, especially in response to an opponent's backlist," he explains. "It served as a reliable defense mechanism, allowing me to effectively neutralize offensive attacks and gain the upper hand in combat." Sport Karate’s dominating ridgehand using fighters of the 80s, left to right  Tony Bell, Mike Genova, Keith Vitali, David Deaton, Larry Kelly.  Do you still practice the ridgehand? Today I still practice the move when I work out, as it is still an effective weapon. Ishmael Robles  Hailing from Texas, full-contact legend and World Champion Ishmael Robles struck fear into the hearts of his opponents with his devastating hands and feet. When asked about his experience with the ridge hand, Robles shares a tale that epitomizes its power and effectiveness. "In my college days, I competed in bare-knuckle tournaments where the ridge hand was a staple technique," Robles recounts. "Its impact was truly devastating, delivering unparalleled power and precision." While the reverse punch was a cornerstone of his sport karate arsenal, Robles found versatility in the ridge hand, seamlessly transitioning between sport and full-contact styles. "I relied heavily on the reverse punch in sport karate, but I also incorporated the hook for variation," he explains. "The ridge hand, executed like a hook, emerged as a potent weapon in both disciplines, unleashing its most dangerous potential." Do you still teach - Yes. Do you still practice the ridge hand: Yes but I use an elbow bend strike not a straight arm move.  Mike Genova   In the South East Karate scene of the 1980s, Mike Genova and his South Carolina martial arts style reigned supreme, leaving an indelible mark on the tournament circuit alongside teammates Keith Vitali and Bobby Tucker. Reflecting on the influential figures who shaped his approach to combat, Genova recalls observing the mastery of the ridge hand technique by Robert Harris, Al Francis, and Larry Kelly. "I first took notice of Robert Harris executing the ridge hand against Eddie 'Flash' Newman at the Top Ten Nationals," Genova reminisces. "It was a seamless transition, demonstrating remarkable effectiveness in combat. Later, I drew inspiration from the success of Al Francis and Larry Kelly, who also showcased exceptional skill with the ridge hand." For Genova, the ridge hand became an integral part of his fighting strategy, often employed as a follow-up to the back fist. "I utilized the back fist as a setup, with the ridge hand swiftly following from the lead front hand," he explains. "Additionally, I found the ridge hand to be a valuable defensive tool in my arsenal." Do you still teach the ridgehand: When asked about his approach to teaching the ridge hand in his martial arts school, Genova affirms its continued inclusion in their curriculum. "We still incorporate the ridge hand into our training, focusing primarily on its application in sport karate," he confirms, highlighting its relevance within the competitive arena. Richard Plowden Richard Plowden, a distinguished inductee of the Black Belt Hall of Fame, boasts an impressive resume as both a World Champion and coach of world champions. Reflecting on his martial arts journey, Plowden recalls the pivotal influence of observing Steve Fisher's performances on the circuit. "During my time on the circuit, I had the privilege of witnessing Steve Fisher compete," Plowden reminisces. "His techniques left a lasting impression on me, particularly his mastery of a certain defensive move." Steve Fisher circa 1978 using the ridge hand technique in pursuit of victory against Ray McCallum Plowden notes that Fisher's protégé, Freddy Letuli, later adopted this move as his signature technique. "Under Steve's mentorship, Freddy honed the move to perfection," Plowden explains, highlighting the evolution of the technique within the martial arts community. Describing the move as a defensive maneuver executed with the front hand, Plowden emphasizes its effectiveness in combat situations. However, he acknowledges that the use of gloves in modern competition limits the flexibility required to execute the technique with precision. "In today's fast-paced, speed-oriented game, the circular motion of the move and its fade-away technique pose challenges for elite athletes," Plowden observes, explaining why the ridge hand has fallen out of favor among contemporary practitioners. Do you still teach the move?  Despite its decline in popularity, Plowden affirms that he continues to incorporate the ridge hand into his practice. However, he admits that he no longer teaches the technique, recognizing its diminishing relevance in modern martial arts. Do you still practice the move? "Yes, I still practice the ridge hand," Plowden confirms, underscoring the importance of maintaining proficiency in fundamental techniques even as martial arts evolve. Linda Denley   Renowned as the GOAT (Greatest of All Time) in Sport Karate, the legendary Denley was celebrated for her mastery of the ridge hand, despite her personal preference for sidekicks. Reflecting on her iconic move, Denley admits, "It wasn't my favorite, but it's what many remember me for." "My journey with the ridge hand began in my Tang Soo Do training," Denley recounts. "One unforgettable moment was during a match against Mary Owens at Roy Kurban's tournament. I delivered a lead ridge hand followed by a reverse rear, resulting in a knockout. Another memorable instance was when I hit Danielle Dixon so hard, I tore my rotator cuff." Denley's success with the ridge hand stemmed from its reliability, with a remarkable success rate. "I maintained the technique's power and focused on speed, making it incredibly effective," she explains. Adding to her legacy, Denley shares notable facts about her relationship with the ridge hand. "I taught Jimmy 'Gato' Tabares the tornado ridge hand technique," she reveals. "We even adapted it for body strikes, with consistent success." Do you still teach and practice the ridge hand:  Denley responds with a resolute nod. "Yes, I still use it," she affirms. "People underestimate its power, but it never fails to deliver." With a glint of determination in her eyes, Denley's commitment to her signature move continues to inspire awe in the martial arts world. KC Jones In the vibrant California tournament scene of the 1970s, KC Jones carved out his place among the elite, securing victories in prestigious competitions like the Internationals. Reflecting on his journey through the martial arts landscape, Jones fondly recalls the pivotal role of a particular technique—the ridge hand. "I vividly remember watching Mike Stone's fights in the 1960s," Jones reminisces. "He was a striking figure in his white gi, with afro-style hair and an unorthodox style. His intense demeanor and intimidating presence left an impression on me. It was during one of his fights that I witnessed the effectiveness of the ridge hand, although, at the time, I couldn't quite grasp its mechanics." Jones's journey to mastering the ridge hand began in the mid-1970s while training under the tutelage of Joe Lewis in Hollywood. "I started practicing the ridge hand on a punching bag," Jones recalls. "Its simplicity, speed, and deceptive nature appealed to me—it was like a martial arts hook, easily executed due to the loose structure of the hand. The ridge hand became a cornerstone of Jones's fighting arsenal, and he observed its widespread use among his peers, notably Cliff Stewart. "Cliff utilized the ridge hand extensively," Jones notes, highlighting its versatility and practicality in combat scenarios. “Evolution has transformed the martial arts landscape, but the fundamentals remain essential," Jones emphasizes. "I still practice the ridge hand regularly, believing that mastering the basics is key to advancing in the art." I still use it and practice with the handset. If you can't do the basics you can't do the advanced. Team Steve Fisher 1980 IKC Champions. Left to right Irv Hoffman, KC Jones, Mike Stone, Steve Fisher, Dwain Dakari bottom center    Al Francis  Renowned as one of the most formidable tournament fighters hailing from the heart of Texas, Al Francis emerged onto the combat sports scene during the gritty bare-knuckle era that laid the foundation for modern sport fighting. In an exclusive interview, Francis delved into the origins of his unparalleled skill set, shedding light on the pivotal role of a rare technique that became his signature move. "I first honed my craft under Sensei Mikami in New Orleans, studying Shotokan," Francis recalled. "Later, I refined it through Taekwondo. The technique proved exceptionally potent due to my small stature combined with formidable power—it packed a punch." During the 1970s, Francis found himself thrust into the bare-knuckle arena in Texas, where weight divisions were limited to lightweight and heavyweight. Weighing in at a mere 135 pounds, he relied on the sheer force of his signature move to hold his own, a tactic that would later define his fighting style. Vintage 70s Texas tournament era, left to right Ray McCallum, Phil Wilemon, Archie Cole, Al Francis "In the '80s, I faced off against Freddy Letuli, and that move—my ridge hand—literally folded him," Francis recounted. "It was a display of sheer power." Notably, Letuli would go on to adopt the ridge hand as a hallmark of his own sport karate career, a testament to its effectiveness. "As the '80s progressed, I incorporated the ridge hand into my fighting strategy even more," Francis continued. "Given my stature, I often found myself pitted against taller opponents who favored kicking techniques. I combined the ridge hand with takedowns and sweeps, making it a formidable tool in my arsenal. The element of surprise, coupled with the precision of my technique, often caught opponents off guard." Francis's legacy in the martial arts world endured for decades, his mastery of the ridge hand leaving an indelible mark on the sport and inspiring generations of fighters to come. Do you still teach it today:  Still teach it today to my students, I teach for both sport and defense.

Just in time to honor Bruce Lee on what would have been his 85th birthday, we are proud to announce a new era for Black Belt Magazine - The Next Generation . Over the past two years, we’ve been listening, learning, and evolving. One message came through loud and clear: our readers demand authenticity  in martial arts. Whether on-screen or in the dojo, the standard must be world-class to be truly “Black Belt.” That’s why we are excited to unveil our new website and introduce a dynamic, expanded digital multiverse of inspiration, knowledge, and community. To ensure everyone can experience the dedication and passion that went into this transformation, we are offering two weeks of full access absolutely free —just sign up to get started. Past members will simply need to update their passwords. We’re also extending a limited-time offer of 50% off an annual membership , making Black Belt more accessible and affordable to martial artists around the world. And to show our appreciation for our loyal subscribers, all current paid members will receive a complimentary one-year extension  to their existing subscription—no matter when you joined, even if you only have a few weeks remaining. We are deeply passionate about martial arts, and we hope you’ll continue your journey with Black Belt Magazine. Here’s what’s new: A fully upgraded website  that’s easier to read, navigate, and explore—featuring hundreds of hours of free video content. Digital e-reader editions  of the magazine, offering faster access and optimized reading on web, tablet, or mobile devices. More than 1,000 hours of instructional content  from some of the world’s greatest martial arts masters. Be sure to follow us on Facebook , Instagram , and YouTube , and subscribe to our newsletters for future updates and announcements. Sincerely, George Chung Publisher and CEO, Black Belt Magazine

Just in time to honor Bruce Lee on what would have been his 85th birthday, we are proud to announce a new era for Black Belt Magazine — The Digital Universe . Over the past two years, we’ve been listening, learning, and evolving. One message came through loud and clear: our readers demand authenticity  in martial arts. Whether on-screen or in the dojo, the standard must be world-class to be truly “Black Belt.” That’s why we are excited to unveil our new website and introduce a dynamic, expanded digital multiverse of inspiration, knowledge, and community. To ensure everyone can experience the dedication and passion that went into this transformation, we are offering two weeks of full access absolutely free —just sign up to get started. Past members will simply need to update their passwords. We’re also extending a limited-time offer of 50% off an annual membership , making Black Belt more accessible and affordable to martial artists around the world. And to show our appreciation for our loyal subscribers, all current paid members will receive a complimentary one-year extension  to their existing subscription—no matter when you joined, even if you only have a few weeks remaining. We are deeply passionate about martial arts, and we hope you’ll continue your journey with Black Belt Magazine. Here’s what’s new: A fully upgraded website  that’s easier to read, navigate, and explore—featuring hundreds of hours of free video content. Digital e-reader editions  of the magazine, offering faster access and optimized reading on web, tablet, or mobile devices. More than 1,000 hours of instructional content  from some of the world’s greatest martial arts masters. Be sure to follow us on Facebook , Instagram , and YouTube , and subscribe to our newsletters for future updates and announcements. Sincerely, George Chung Publisher and CEO, Black Belt Magazine