The documentary I Am Bruce Lee asserts that he’s the father of mixed martial arts. Some agree with that claim. Others don’t. The irony is that Bruce Lee might not have wanted the title. As much as he enjoyed his fame, he was a devout iconoclast. To name anybody the father of anything could be the first step in calling a person or style infallible—a notion Lee could never get behind. Regardless, the claim made in the documentary sparked debate across the martial arts community, with heavy names weighing in on both sides of the issue. SOME DEFINITIONS All good debates begin by defining terms—otherwise, you might wind up arguing for hours with people you agree with. For the purposes of this conversation, the term “mixed martial arts” refers specifically to competitive MMA as practiced in the UFC’s octagon. That’s not to say this is the only valid definition of the term, but it’s certainly the definition they meant in the documentary. One look at the clips played during the infamous segment, one listen to the comments in the voice-over and one glance at the roster of interviewees will make that clear. “Father” is the other key term in this debate. To define it, we need to look at the traits that make MMA what it is—and see how many we can trace back to Lee’s training and philosophy. MIXING TECHNIQUES “Bruce was mixing stuff when that was a sin,” says jeet kune do authority Ron Balicki, referring to the competition between traditional martial arts during Lee’s life. Teachers of a given style considered all aspects of their art superior to every aspect of all other arts. To adopt an idea from a rival style was pure heresy. Lee, of course, ignored that dogma. He chose to adopt whatever he admired from wherever he could find it. UFC President Dana White reflects on the similarities between Lee’s approach and modern MMA: “You take the good things from every different discipline. You use what works for you, and you throw the rest away. That’s what MMA is all about. There is no style but the one that works and gets the job done.” What he describes is identical to the JKD maxim of “take what is useful and discard the rest.” In drawing from multiple styles, Lee’s art is clearly a precursor of MMA. But was it the first? Lee developed the concepts he’d ultimately name “jeet kune do” in the mid-1960s, decades before the UFC and MMA as we understand it came into being. This was the same period during which Ed Parker drew from different systems to develop kenpo and a few years after Gene LeBell fought Milo Savage in the world’s first televised multi-discipline fight. Adriano Emperado, Joe Holck, Peter Young Yil Choo, Frank Ordonez and George Chang hammered kajukenbo together from eight different arts nearly 20 years earlier. Although one can legitimately argue that Lee fathered MMA, he’s not the only—or the strongest—candidate. ELIMINATING CANON Lee made it clear that his JKD was not his students’ JKD, that blind obedience to any given canon was disastrous for the development of a fighter. This philosophy also lies at the heart of MMA training. Jon Jones fights a different game than does B.J. Penn, and neither fights like Renzo Gracie. An MMA fighter takes the parts of different styles that best suit his physiology, background and temperament—then adds elements that are likely to work against his next opponent. In this aspect of MMA’s ancestry, Lee stands out. While other artists worked with multiple arts, none was so vocal about abandoning the restrictions of style in favor of effectiveness and personal development. Even other pioneers of mixing techniques chose to blend those techniques into new styles, each of which came with its own restrictive canon. COMBATIVE FOCUS Lee loved to watch boxing but would mock sport fighting and similar noncombative displays of martial prowess. He’d say you can’t learn to swim while walking on land and you can’t learn to fight by doing anything other than fighting. MMA is pretty close to actual combat, but it’s still a game with rules. Some techniques are banned, and some that don’t work in combat are emphasized because the structure of competition makes them advantageous. There’s a ref to keep things from getting out of hand, and your opponent’s buddies will never jump in if it looks like you’re winning. Were Lee alive today, it’s likely he’d have loved watching MMA matches as much as he did boxing. He’d have especially enjoyed the boost MMA has given to the martial arts in general. He might have been chagrined at being called the father of a new genre of sport fighting—but then no father approves of every aspect of his child. EFFECT ON THE CULTURE As his film career soared, Lee’s persona boosted the popularity of the martial arts around the world. American kids stopped playing John Wayne and bought a pair of nunchaku. Fighting arts from karate to kung fu to judo became mainstream. That’s why Balicki calls Lee the “Jimi Hendrix of martial arts.” Hendrix didn’t invent the guitar, but you can still find his poster on dormroom walls across the country—often right next to a poster of Bruce Lee. White calls Lee “the guy who changed martial arts forever.” Half the men and women fighting in MMA are doing so because of Lee—even if they don’t know it. Some younger fighters might think they got into it because of Jet Li or Cung Le, but both those stars fight because of Bruce Lee. Without his influence, it’s entirely possible the world wouldn’t have embraced the UFC when it premiered in the United States in 1993. MMA as we know it might never have had a chance to evolve. THE VERDICT JKD instructor and author Tim Tackett points to the opening scene of Enter the Dragon as conclusive evidence of Lee’s influence on MMA. Lee begins a standup sparring match before transitioning to the ground, where he wins by submission. Years before an octagon was anything but a traffic sign, Lee imagined, choreographed and filmed the progression of a typical MMA bout. On the other hand … Emperado and his colleagues were busy mixing martial arts nearly two decades before Lee started, in many ways clearing the ground Lee would later cultivate. LeBell was switching between wrestling and judo at the same time. Meanwhile in Brazil, the Gracies were doing their thing to popularize their family’s way of fighting in challenge matches against practitioners of other arts, and their contribution may be larger in terms of actual awareness and audience. Bruce Lee isn’t the only potential proud papa where MMA is concerned. In the end, the question is similar to Lee’s martial creation. Jeet kune do uses fast punches, but not as fast as those of a professional boxer. It uses precise, fluid footwork, but it’s like that of a champion fencer. It’s not a specialist’s style; rather, it’s a combination of the best of what many disciplines have to offer, rolled into a package that’s effective, profound and enduring. So it is with Bruce Lee as the father of MMA. Other martial artists might have better claim to any one aspect of what the title means, but when you look for someone with a genuine claim to all those attributes, only Lee fits the bill.

Every great martial arts community has its pioneers—individuals whose dedication, vision, and leadership forever change the landscape. In Australia, few names command as much respect as Hanshi Constantino "Tino" Ceberano, OAM. We celebrate not only a legendary martial artist, but also a man whose influence helped establish traditional karate throughout Australia. It's only fitting that Hanshi Ceberano graced the cover of Blitz Martial Arts Magazine, a publication that inspired generations of Australian martial artists and documented the country's rich martial arts history. Born on September 24, 1941, on the Hawaiian island of Kauai to Filipino immigrant parents, Ceberano's martial arts journey began with boxing and judo before he discovered karate. What captivated him wasn't simply learning how to fight—it was karate's philosophy. "I was immediately attracted to karate's discipline, its intricate breathing methods, and the principles of mutual respect." Those principles would guide him for the next six decades. After earning his black belt in Gōju Kai Karate while serving in the United States Marine Corps, Ceberano's life changed forever when legendary Gōju Kai founder Gōgen Yamaguchi, known worldwide as "The Cat," personally asked him to relocate to Australia. In 1966, Hanshi Ceberano arrived in Melbourne with a mission: to establish Gōju Kai Karate across Australia. At the time, karate was still in its infancy in Australia. Through tireless teaching, demonstrations, and instructor development, Ceberano helped lay the foundation for what would become one of the country's most respected traditional karate communities. His dojo at Monash University became a hub for serious practitioners, and countless instructors trace their lineage back to his guidance. Yet Hanshi Ceberano never saw martial arts as simply learning punches and kicks. His philosophy centered on character, humility, and lifelong learning. Whether teaching beginners or senior black belts, his emphasis remained the same: technical excellence must always be matched by respect, integrity, and discipline. Following the passing of Gōgen Yamaguchi in 1989, Ceberano was entrusted by senior Gōju Kai officials to establish his own organization, the International Gōju Karatedo (IGK), allowing him to preserve the traditions of Okinawan Goju-ryu while continuing to evolve as an instructor and mentor. Over the decades, Hanshi Ceberano has achieved the rank of 9th Dan, served on the Australasian Sokeship Council, appeared in film, and, in 2019, was awarded the Medal of the Order of Australia (OAM) in recognition of his outstanding service to martial arts and the Australian community. For thousands of students, however, his greatest achievement isn't found in his titles or accolades. It's found in the lives he has influenced. As we celebrate this classic Blitz Martial Arts Magazine cover, we also celebrate a man whose quiet leadership, unwavering standards, and lifelong commitment helped shape Australian martial arts for generations.From Hawaii to Melbourne...From Gōju to Guro...From student to Hanshi... Hanshi Tino Ceberano's legacy continues to inspire martial artists around the world.Did you ever train with Hanshi Ceberano or attend one of his seminars? Share your memories below as we celebrate one of Australia's true martial arts pioneers.#ThrowbackSunday #BlitzMagazine #BlackBeltMagazine #TinoCeberano #GojuKai #Karate #AustralianMartialArts #MartialArtsHistory #Hanshi #GojuRyu #MartialArtsLegend

As martial artists increasingly look for something more authentic than points, forms and trophies, Karate Combat may be leading traditional karate back toward one of its oldest promises: proving that the techniques actually work. Photo courtesy of Karate Combat For generations, karate practitioners have debated a deceptively simple question: Would it work in a real fight? It is a question that has followed the martial arts almost from the moment karate moved from the dojo into organized competition. Point fighting demonstrated speed, timing and precision. Kata preserved technique, discipline and tradition. Kickboxing brought karate practitioners into the ring. Mixed martial arts later created perhaps the ultimate laboratory for testing fighting systems against one another. But somewhere along the way, a gap developed. Millions continued practicing traditional karate, while much of the combat-sports audience migrated toward boxing, kickboxing and MMA. Photo courtesy of Karate Combat Karate Combat is attempting to close that gap. Launched in 2018, Karate Combat was conceived as a professional full-contact platform where elite karate practitioners could actually fight while maintaining a recognizable connection to karate. The organization describes itself today as the world's premier full-contact striking league, featuring elite black belts, national champions and Olympic-level competitors. That distinction is important. Karate Combat isn't simply MMA with karate pants. And it isn't traditional point karate with harder punches. It occupies a fascinating space somewhere between the two. THE PIT CHANGES EVERYTHING The first thing viewers notice is the fighting environment. Photo courtesy of Karate Combat There is no traditional boxing ring and no MMA cage. Instead, competitors enter The Pit, Karate Combat's distinctive fighting surface surrounded by angled walls. Visually, it feels almost like something taken from a martial arts movie or video game. Functionally, however, it changes the fight. There are no ropes to lean against and no cage to stall against in the conventional MMA sense. Fighters can use the geometry of the Pit while attacking, defending and maneuvering. More importantly, the rules encourage action. Photo courtesy of Karate Combat Karate Combat uses four-ounce gloves and a 10-point-must scoring system, while emphasizing effective fighting, aggression, striking and control. Its current rules permit a broad arsenal of karate-based striking, including punches, hand strikes and kicks to the head and body, along with kicks to the thighs and calves. Takedowns also have a place within the system. The result is something immediately recognizable as karate — but karate under pressure. Distance matters. Timing matters. Footwork matters. A reverse punch that might score a point in traditional competition now has to stop a fighter who is trying to knock you out. A spinning kick isn't impressive because of its difficulty. It is impressive because it lands. That difference goes to the heart of what Karate Combat represents. Photo courtesy of Karate Combat FROM IPPON TO KNOCKOUT Traditional karate competition developed around the concept that a properly executed technique could represent a decisive blow. In point competition, the referee stops the action and awards the technique. Karate Combat asks a different question: What happens if we don't stop? That changes everything. The karate fighter who has spent years developing explosive entry, distance and speed now has to deal with combinations, sustained pressure, leg kicks, takedowns and an opponent who keeps coming after the first exchange. That requires adaptation. But adaptation does not necessarily mean abandoning karate. It may actually reveal which parts of karate remain most effective when the safety net of point fighting disappears. And that is one reason Karate Combat matters far beyond the promotion itself. THE RETURN OF “BLOOD-AND-GUTS” KARATE Longtime readers of Black Belt will recognize that none of this is entirely new. There was a period in American martial arts when the phrase “blood-and-guts karate” carried real meaning. The phrase wasn't necessarily about recklessness or injuring training partners. It represented an attitude. Training was hard. Sparring was hard. Black belts were expected to be able to fight. The early tournament era produced competitors who frequently crossed stylistic lines, while the emergence of professional full-contact karate and kickboxing in the 1970s gave fighters another arena in which to test whether their techniques could survive sustained contact. Those generations helped create the DNA of modern combat sports. Before MMA became a global industry, karate fighters, kickboxers and other martial artists were already asking: What happens when we remove some of the restrictions? Karate Combat is asking that question again — only for a new generation. THE MMA GENERATION CHANGED THE MARTIAL ARTS The rise of the UFC permanently changed how martial artists think about fighting. Today's students have grown up watching fighters punch, kick, wrestle and grapple under pressure. They have access to thousands of hours of fight footage. They can analyze techniques instantly on YouTube, Instagram and TikTok. That has created a more skeptical martial arts consumer. It is increasingly difficult to tell a 20-year-old martial artist that a technique is devastating simply because tradition says it is. They want to see it. They want to test it. And increasingly, they want to feel it for themselves. That doesn't mean traditional martial arts are disappearing. It may mean the opposite. Traditional martial arts may be entering another evolutionary period in which practitioners want to preserve the philosophy, culture and technical identity of their systems while simultaneously demanding greater combat realism. Karate Combat fits directly into that movement. NOT MMA — AND THAT MAY BE THE POINT Karate does not need to become MMA to prove its relevance. That may be Karate Combat's greatest opportunity. Mixed martial arts answers the question: Who is the best fighter under MMA rules? Karate Combat can answer a different question: What does karate look like when karate fighters are allowed to truly fight? Those are not the same thing. A karate practitioner entering MMA must devote enormous amounts of time to wrestling, submissions, cage work and ground fighting. Eventually, the fighter may still possess a karate base, but stylistically he or she becomes an MMA fighter. Karate Combat offers another pathway. The objective isn't to determine whether karate can defeat every other martial art. The objective is to discover how far karate itself can evolve while remaining karate. That is a much more interesting experiment. A PROFESSIONAL DESTINATION FOR KARATE FIGHTERS There is another reason the development of Karate Combat deserves attention. For decades, elite karate competitors faced a difficult professional reality. A competitor could win national championships, international championships and even become one of the best karate athletes in the world — yet have relatively few opportunities to earn a living specifically as a karate fighter. Some transitioned into kickboxing. Others moved into MMA. Many simply retired. When Karate Combat launched, part of its stated purpose was to create a professional destination for elite karate athletes and allow them to build international followings while competing for world championships. That concept could ultimately prove as significant as the fights themselves. Because professional opportunity changes sports. If young karate practitioners can look at a professional league and think: “I could fight there someday,” the entire development system begins to change. Coaches train differently. Athletes prepare differently. Promoters invest differently. Fans follow fighters rather than merely organizations. And karate begins producing professional combat-sports personalities. BLACK BELT AND THE NEXT GENERATION OF FULL-CONTACT MARTIAL ARTS This is precisely where Black Belt believes there is a larger story to tell. Since its earliest years, Black Belt has documented the evolution of martial arts — traditional karate, kung fu, taekwondo and judo through the full-contact revolution, kickboxing, Brazilian jiu-jitsu, MMA and today's rapidly changing combat-sports landscape. The next chapter should not simply be about choosing traditional martial arts versus modern combat sports. It should be about where they intersect. Through expanded editorial coverage, interviews, historical features, technical breakdowns, digital video and the continued development of the Black Belt media platform, we intend to increasingly spotlight organizations, fighters and teachers who are testing traditional martial arts in demanding environments. Karate Combat represents an important part of that conversation. We want to examine the techniques. We want to talk to the champions. We want to talk to the traditional karate masters watching those champions. We want to understand what works, what has changed and what traditional karate can learn from fighters competing under full-contact conditions. And we want to follow the young martial artists who may become the next generation of professional karate fighters. THE CIRCLE MAY BE CLOSING Martial arts continually evolve. Traditional karate produced sport karate. Sport karate helped produce full-contact karate. Full-contact karate helped fuel kickboxing. Kickboxing, wrestling, jiu-jitsu and other arts helped create modern MMA. And now, after decades of evolution, combat sports may be influencing traditional martial arts to rediscover something that was there from the beginning: The ability to fight. Karate Combat isn't abandoning karate tradition. In many ways, it is putting that tradition under examination. Can the stance work? Can the distance work? Can the blitz work? Can the reverse punch work? Can the side kick stop someone coming forward? Can traditional timing survive sustained pressure? There is only one convincing way to find out. Fight. That is why Karate Combat deserves the attention of the traditional martial arts world — and why Black Belt intends to follow its evolution closely. The uniforms may have changed. The arenas may have changed. The production may look futuristic. But underneath it all is a question martial artists have been asking for generations: Does your karate work when someone is really trying to hit you? For a new generation of karate fighters entering the Pit, the answer isn't going to come from theory. They're going to prove it.

For Dan Rizzuto, martial arts was never just about learning how to fight. It was an escape route. Growing up in a rough neighborhood in Edmonton, Alberta, he describes a childhood filled with the kind of mischief that often comes from having too little guidance and too few opportunities. Many of the friends he grew up with eventually found themselves in prison, addicted to drugs or alcohol, or victims of violence. Rizzuto believes his path could have easily ended the same way. Instead, it led him to a kickboxing gym beneath a blood dripping butcher shop. A gym called Panther Gym. That unlikely beginning eventually took him around the world. He trained with some of martial arts’ biggest names, went on to coordinate stunts and choreograph fights for blockbuster action films, and trained, worked with A-list actors such as Tom Hardy, Jason Momoa, Nic Cage, and Karl Urban to name a few. He has coordinated and choreographed for stars including Viola Davis, Wesley Snipes, Jensen Ackles, Iko Uwais, Jennifer Lopez. He’s now also directing and has sold several scripts and continues to work as an action ghost writer, establishing himself as one of Hollywood’s known action designers. Yet if you ask him what changed his life, he won't mention a movie set. He'll tell you about getting submitted in 27 seconds. The Loss That Changed Everything As a teenage kickboxing champion, Rizzuto considered himself a tough fighter. That confidence disappeared almost instantly after Ron Balicki, at one of his seminars, encouraged him to travel to California and compete in a Shoot Wrestling match at the Inosanto Academy. Keep in mind Rizzuto had no idea what Shoot Wrestling was. "I just knew how to punch people, and hurt them" he recalled. “How hard can it be?” Seconds into the match, his opponent launched into a flying armbar. Before Rizzuto fully understood what had happened, he was on the mat in pain. Not knowing what tapping even was, the referee, Shooto USA founder Yori Nakamura, had to stop the fight before Rizzuto’s arm was broken. For many competitors, such a defeat might have been discouraging. For Rizzuto, it became an obsession. "If someone could beat me that fast," he said, "I had to learn what it was." That moment ignited a lifelong pursuit of knowledge rather than victories. Betting Everything on Heart Not long afterward, Rizzuto set his sights on joining Frank Shamrock's renowned team at AKA. He didn't have money. He didn't have connections. He bought a $45 Greyhound ticket and endured a 27-hour bus ride just for an opportunity to try out. During the grueling evaluation, he dislocated his knee and broke his ankle—but refused to quit. During the tryouts, Shamrock delivered a lesson Rizzuto still carries today. While laying on the ground waiting for the next round’s buzzer to ring Frank leaned over him…. "I don't care if you can fight," Shamrock told him. "I'll teach you how to fight. I care about what's in here." He pointed to Rizzuto's heart. That single moment became the foundation for everything that followed. Andy Cheng, Diana Lee Inosanto, and Dan Rizzuto Martial Arts Opened Every Door Rizzuto's fighting background naturally led him into stunt work. Early opportunities came through martial artists like Ron Balicki and Diana Lee Inosanto before expanding into bodyguard work on Dark Angel. Mentors including Mike Mitchell, James Bamford and Kimani Ray Smith, eventually trusted him with opportunities in fight choreography, and one opportunity snowballed into another. Looking back, he credits martial arts—not Hollywood—as the true architect of his career. "Without martial arts," he said, "I wouldn't have any of this." Beyond Violence Although audiences know Rizzuto for explosive action sequences, his perspective on martial arts is surprisingly introspective. He argues that combat sports provide something modern society often lacks: a healthy outlet. Humans, he believes, still possess primal instincts. Without positive avenuesto channel them, those instincts often emerge through destructive behavior. "Martial arts isn't about beating people up," he explained. "It's about expression." That philosophy eventually became the driving force behind one of his newest projects: TheReactionLab.com The Reaction Lab aims to mentor aspiring performers, provide practical education about the film industry and create the kind of guidance Rizzuto wishes he'd had while getting into the industry. Success Means Giving Back Throughout the conversation, one theme surfaced repeatedly. Gratitude. Rizzuto speaks about mentors such as Frank Shamrock, Ron Balicki, and Diana Lee Inosanto not simply because of their accomplishments, but because they invested in younger artists. Now he hopes to pass it forward. "The seminars are my way of giving back," he said. Watching someone land their first professional stunt job often feels more rewarding than his own achievements. The Industry Runs on Trust For martial artists hoping to transition into stunt work, Rizzuto offered practical advice that cuts through the glamour often associated with Hollywood. Networking matters. Mentorship matters. Trust matters even more. A stunt coordinator isn't simply hiring talent—they're trusting someone with actors' safety, production schedules and millions of dollars. No impressive Instagram clip can replace a reputation built through professionalism, humility and consistency. His advice is refreshingly simple: Be honest. Train relentlessly. Develop skills beyond martial arts. Understand cameras. Learn set etiquette. Become someone others genuinely want to work with. Stand your ground. The Infinite Game Despite coordinating major productions and checking off nearly every career goal he once dreamed about, Rizzuto doesn't speak like someone chasing accolades. He speaks like someone still learning. Today his ambitions stretch beyond bigger action films. He's building educational resources. Developing online courses. Writing scripts that explore deeper themes than violence alone. His next creative chapter, he says, is about telling stories with purpose. Because in the end, martial arts gave him much more than a profession. It gave him direction. And now he's determined to help others find theirs. As a member of the DGA he is also pushing his own projects, he’s traveled to such places as Jakarta, Indonesia, to shoot a pilot for an upcoming action film, and is currently in talks to direct a very heartfelt personal script he has written geared towards creating a prospective change for troubled youth. For more information on Dan Rizzuto and his projects, visit danrizzuto.com and thereactionlab.com

The martial arts world has lost one of its greatest standard-bearers. On August 3, 2026, Hanshi Hatsuo Royama passed away at the age of 78, closing a remarkable chapter in the history of Kyokushin-Kan Karate. For more than six decades, Royama embodied the spirit of Osu no Seishin—the perseverance, humility, and indomitable fighting spirit that defined the teachings of Kyokushin founder Mas Oyama. To many, he was a world champion. To thousands of students, he was a teacher. To the history of karate, he was one of the last direct links to the generation that transformed Kyokushin from a small Tokyo dojo into one of the most influential full-contact martial arts systems in the world. A Teenager Who Found His Calling Born on March 31, 1948, Royama entered Mas Oyama's original dojo in 1963 at just fifteen years old. The training was legendary for its intensity. Students endured endless rounds of kumite, grueling conditioning, and a culture where discipline was earned through action rather than words. Few remained. Royama not only survived—he flourished. Under Oyama's direct instruction, he became one of the organization's most respected young fighters, developing a reputation for technical precision, exceptional conditioning, and an unwavering determination that reflected the very essence of Kyokushin. Royama with Mas Oyama circa early 1960s Those who trained with him often remarked that Royama never sought shortcuts. Every achievement was earned through relentless repetition, respect for tradition, and a belief that karate was a lifelong pursuit of character rather than simply victory. The Champion Who Changed Fighting Royama announced himself to the martial arts world in 1973 by capturing the prestigious 5th All Japan Open Karate Championship, one of the toughest tournaments in combat sports. Two years later, he cemented his reputation by finishing runner-up at the inaugural World Open Karate Championship, competing against the finest Kyokushin practitioners from around the globe. While his tournament victories were extraordinary, Royama's influence extended far beyond medals. He became synonymous with one technique that forever changed full-contact karate—the devastating gedan mawashi geri, the low roundhouse kick delivered to the opponent's thigh. Although low kicks had existed previously, Royama refined and demonstrated their effectiveness at the highest level of competition. His precision, timing, and relentless application transformed the technique into one of Kyokushin's defining weapons. Today, virtually every striking sport—from Kyokushin and kickboxing to Muay Thai and mixed martial arts—recognizes the importance of attacking the legs. Royama helped make that approach a fundamental part of modern combat. Preserving the Spirit of Mas Oyama Following the passing of Mas Oyama in 1994, the Kyokushin world entered a period of division and organizational change. Rather than pursuing popularity or commercial expansion, Royama focused on preserving what he believed were the original principles of Kyokushin. 2003 he founded the Kyokushin-kan International Karate Organization, dedicated to maintaining the traditional values of Budo while continuing to evolve technical excellence. His emphasis was never simply producing champions. It was producing martial artists. Students remember Royama as a demanding but deeply compassionate instructor who expected discipline, humility, respect, and continuous self-improvement. His dojo was a place where character mattered as much as technique. His message remained remarkably consistent throughout his life: Karate begins with respect, grows through hardship, and ultimately becomes a way of living. A Life Recognized In 2024, Black Belt Magazine proudly welcomed Hanshi Hatsuo Royama into the Black Belt Hall of Fame, recognizing not only his extraordinary competitive achievements but also his lifelong contribution to preserving one of the world's most influential martial arts traditions. The honor celebrated more than six decades devoted to teaching, inspiring, and protecting the legacy of Kyokushin Karate. For Black Belt, it was an opportunity to recognize a man whose influence reached far beyond tournament titles. Royama represented an era when martial artists measured success not by social media followers or commercial ventures, but by integrity, discipline, and service to the art. Those fortunate enough to meet him witnessed the same qualities that had defined him since his teenage years—humility, quiet confidence, and genuine respect for everyone around him. An Enduring Legacy Hanshi Hatsuo Royama belonged to a generation of pioneers whose influence continues to shape martial arts around the world. His techniques are practiced daily by countless fighters. His philosophy continues to guide instructors across every continent. His dedication to Mas Oyama's vision ensured that future generations would inherit not merely a style of fighting, but a way of life rooted in discipline, honor, and perseverance. As we remember Hanshi Royama, we are reminded that the greatest martial artists are measured not only by the championships they win, but by the lives they shape. His legacy lives on in every dojo where students bow before stepping onto the mat, every practitioner who embraces hardship in pursuit of improvement, and every karateka who understands that true strength begins with humility. From everyone at Black Belt Magazine, we extend our deepest condolences to the Royama family, the Kyokushin-kan organization, and the worldwide Kyokushin community. Osu, Hanshi Royama. Your spirit, your teachings, and your example will continue to inspire generations of martial artists around the world. Black Belt Magazine extends its sincere appreciation to Kyoshi Shihan Tom Callahan, Vice Chairman of All Americas and International Committee Secretary, whose generosity, knowledge, and personal reflections helped bring the remarkable life and enduring legacy of Kaicho Hatsuo Royama to our readers.

There was a time in America when winning a karate tournament could make you a worldwide star. Mike Stone, Joe Lewis, and Chuck Norris in early karate tournament training Long before mixed martial arts, pay-per-view, and social media, the road to fame ran through packed gymnasiums and sold-out arenas, where the world's greatest martial artists battled for championships, prestige, and respect. The iconic 1968 Black Belt cover featuring Joe Lewis and Chuck Norris captured the beginning of what many would call the "Blood and Guts" era of tournament karate. Both men would rise from tournament champions to international superstars, proving that success on the competition floor could launch careers that reached far beyond the martial arts world. For more than six decades, martial arts has continually reinvented itself. Every generation believes its fighters were the toughest, its champions the most skilled, and its era the greatest. But one question remains: Was there truly one era that produced the toughest martial artists in history? The answer depends on what "tough" really means. Was it the pioneers who stepped onto hardwood floors with little protective equipment, often fighting multiple opponents in one night? The kickboxing legends who transitioned martial arts from point fighting to full-contact warfare? The tournament superstars who became global icons? Or today's mixed martial artists competing at the highest level of professional combat sports? The debate has no easy answer—but every era tells part of the story. The 1960s: Blood, Guts, and Authentic Combat If toughness is measured by grit, courage, and surviving in an era with almost no safety standards, many veterans point to the 1960s. This was the age when martial arts was still proving itself in America. Tournament rules were minimal. Protective gear was virtually nonexistent. Fighters often competed multiple times in a single day, sometimes against opponents from entirely different styles. Names like Mike Stone, Chuck Norris, Joe Lewis, Jeff Smith Allen Steen, Steve Sanders, Vic Moore, Ron Van Clief, Thomas La Puppet , Jim Harrison , Pat Burleson , Ron Marchini and Bill "Superfoot" Wallace. Thomas La Puppet appearing in early 1960s cover These athletes weren't specialists. They represented karate, taekwondo, kung fu, and other striking systems, constantly testing themselves against unfamiliar opponents. Winning required adaptability, toughness, and an extraordinary willingness to fight anyone. There was a great deal of raw emotion, aggression, and intensity. Karate gave that energy direction and discipline. It wasn't perfect. It wasn't polished. But it was authentic. There was very little imitation. Fighters relied on instinct, courage, and personal expression. They helped shape modern sport karate through experience rather than theory. They earned every lesson the hard way. That authenticity, combined with the friendships forged through shared hardship, is what made the "blood and guts" era unforgettable. Although the matches often appeared wild and violent, beneath the surface there was a code of respect beginning to develop. - Mike Stone Mike Stone with Chuck Norris, with a young Ron Marchini the next champion of the era in the background There were no million-dollar purses. No social media followers. Only respect. The 1970s: From Tournament Floors to Full Contact The 1970s were the Glory Days of Martial Arts. It was a decade when legends were forged, rivalries became folklore, and point fighting stood at the pinnacle of the martial arts world. Champions dazzled audiences with lightning-fast reflexes, flawless technique, and split-second precision. Epic clashes like Benny Urquidez vs. John Natividad lasted only moments, yet a few iconic photographs were enough to preserve them forever. Those images became part of martial arts history, reminding us that greatness isn't measured by the length of a fight—but by the legacy it leaves behind. Benny Urquidez vs. John Natividad 1973 Internationals went down as one of the greatest point matches in history. Martial artists began asking a simple question: What happens if we don't stop after scoring a point? The result was the birth of modern full-contact kickboxing. Pioneers like Bill "Superfoot" Wallace, Joe Lewis, Jeff Smith, Howard Jackson, and Benny "The Jet" Urquidez, helped transform martial arts into a spectator sport where knockouts—not judges—often settled the outcome. "Then came the birth of Full Contact Karate, later known as Kickboxing, introducing a faster, tougher, and more demanding level of competition. Only a select few champions successfully crossed over and excelled in both arenas. Their ability to master the precision of point fighting and the intensity of full contact competition set them apart as true martial arts pioneers. These remarkable athletes didn’t just win championships—they elevated the sport, inspired generations, and helped shape the future of competitive martial arts. The 1970s weren’t simply a great decade for martial arts—they created a legacy that still inspires champions today." - Jeff Smith Entering the 80s Across Europe and the United Kingdom, a new generation of kickboxers embraced ring competition, helping expand full-contact fighting into an international movement. Dutch, British, and French competitors would eventually become some of the most feared strikers in the world, laying the foundation for future K-1 and global kickboxing promotions. Superstars like Peter Aerts and Bas Rutten appearing on Black Belt covers. Television also began embracing martial arts. For the first time, audiences could regularly watch elite fighters compete, bringing the sport into living rooms around the world and creating the first true martial arts television stars. The 1980s: The Golden Age of Superstars If the 1970s established the foundation of modern martial arts competition, the 1980s transformed it into a spectator sport. Tournament fighting evolved into a showcase of elite athleticism, lightning-fast techniques, and charismatic personalities. As television expanded the sport's reach, a new generation of competitors emerged who were as exciting to watch as they were technically gifted. Legends including Keith Vitali, Nasty Anderson, Linda Denley, and Ray McCallum thrilled audiences with unmatched speed, precision, and explosive performances, helping define an era that many consider the golden age of tournament fighting. Point fighting evolved into an art form where fractions of a second determined victory. These athletes trained relentlessly to become explosive, technically flawless competitors. They also began crossing over into Hollywood. At the same time, full-contact kickboxing reached unprecedented global visibility with the rise of the Professional Karate Association (PKA). Joe Corley, who joined PKA as Exec VP in 1976 --following his retirement from competition and who then guided the direction of PKA on air--now CEO of PKA WORLDWIDE reflects... “From our first PKA World Championship broadcast on ABC’s Wide World of Entertainment in 1974 through more than 1,000 hours of television on CBS, Turner Sports, NBC, ESPN, USA Network and SHOWTIME, the PKA gave full-contact martial artists something they had long deserved: a national stage. The PKA did more than create great fights and unforgettable rivalries; it transformed accomplished martial artists into internationally recognized professional athletes and helped open the doors through which future generations would enter sports, entertainment, and popular culture.” - Joe Corley The PKA ushered in a new era of international stars. Champions such as Jean-Yves Thériault, Brad Hefton, Alvin Prouder, Jerry Trimble became household names among fight fans. Their fierce rivalries, unforgettable championship battles, and spectacular knockouts proved that martial arts could captivate mainstream audiences, laying the foundation for the televised combat sports boom that would follow. Rick Roufus vs. Jean-Yves Thériault became one of the PKA's greatest rivalries, delivering some of the most spectacular battles of the era and helping define the golden age of professional kickboxing. The 1980s also marked a turning point beyond the ring. As the popularity of martial arts exploded, many of its greatest champions made the successful transition to Hollywood, following the trail first blazed by pioneers such as Chuck Norris and Joe Lewis. Martial artists were no longer viewed solely as competitors. They became actors, instructors, authors, television personalities, entrepreneurs, and global ambassadors, expanding the influence of martial arts far beyond the dojo. No one embodied that evolution more than Don "The Dragon" Wilson. After becoming one of the most accomplished champions in professional kickboxing history, Wilson successfully transitioned to Hollywood, starring in dozens of action films and becoming one of the most recognizable martial arts stars of his generation. His success demonstrated that excellence in the ring could open doors to an international entertainment career, inspiring countless fighters who followed. By the close of the decade, martial arts had evolved from a niche competitive sport into a global entertainment phenomenon. The champions of the 1980s didn't just win titles—they built an industry whose influence continues to shape combat sports, film, and popular culture today. The 1980s represented a unique moment in martial arts history—when tournament champions, full-contact kickboxers, and action film stars all shared the spotlight, creating one of the sport's most influential and recognizable eras. In 1988 The Olympics made Tae Kwon Do and official sport, by 1990s superstars like Jimmy Kim, Herb Perez, Dana Hee, Arlene Limas and Lynnette Love dominated headlines. Many more crossed into Hollywood, following the path blazed by earlier pioneers. Martial artists were no longer simply competitors—they became stunt men and women, movie stars, instructors, authors, and global ambassadors for the industry. The 1990s: Everything Changed Then Came the UFC The early 1990s ushered in the most significant transformation martial arts had seen since the birth of professional tournament competition. The arrival of the MMA and the Ultimate Fighting Championship (UFC) forever changed how the world viewed combat. For the first time, the question that had fueled decades of debate—Which martial art is truly the best?—was put to the test inside a single arena. Traditional style-versus-style rivalries replaced point tournaments, as karate, boxing, wrestling, judo, Brazilian jiu-jitsu, kickboxing, and other disciplines collided under one set of rules. The earliest UFC events shocked audiences. Grappling, submissions, ground fighting, and cage competition introduced millions to a new dimension of martial arts that few had ever witnessed. Victory was no longer determined by points or judges alone, but by the ability to finish an opponent using every aspect of combat. A new generation of icons quickly emerged. Royce Gracie demonstrated the effectiveness of Brazilian Jiu-Jitsu against much larger opponents, forever changing the way fighters trained. The Gracie and Machado families helped establish Brazilian Jiu-Jitsu as an essential component of every serious fighter's arsenal. Soon, champions such as Ken Shamrock, Frank Shamrock, Dan Severn, Mark Coleman, Don Frye, Randy Couture, Chuck Liddell, Tito Ortiz, Matt Hughes, and Georges St-Pierre became the new faces of martial arts, blending striking, wrestling, and submission grappling into a complete fighting system. As mixed martial arts grew, the sport attracted a new generation of fans who were drawn to its realism, unpredictability, and all-around athleticism. The era of the specialist gave way to the era of the complete fighter. Yet while the UFC redefined professional fighting, it did not erase the legacy of those who came before it. The pioneers of tournament karate and full-contact kickboxing had already laid the foundation—proving that martial artists could become world champions, television stars, and global icons. Mixed martial arts built upon that legacy, creating the next chapter in the evolution of combat sports. The 2000s: The dominance of theUFC Era By the 2000s, the UFC had become the dominant force in combat sports. Modern fighters evolved into complete athletes—combining striking, wrestling, Brazilian jiu-jitsu, strength training, nutrition, sports science, and year-round professional preparation. At the same time, Olympic taekwondo adopted increasingly controlled rules emphasizing speed, precision, and electronic scoring and although Traditional tournament participation grew it was focused on children so audiences declined. While the sport gained worldwide legitimacy through Olympic recognition, many longtime martial artists felt it had drifted away from the hard-contact roots that originally attracted them. "The generation of warriors before mine were my idols. I have always respected the men who paved the road I got to travel. My seniors were tough guys in the truest sense — they didn't come to the dojang to learn life skills, they came to learn to fight, and they competed to prove who was best. My generation had two advantages: we were taught by those warriors, and we had the lights of the Olympic Games in front of us. Suddenly every country was building better technical and strategic systems to get to the top of the podium. So you had genuinely tough men working inside an explosion of new kicking and new strategy, in a full-contact sport where knockouts were common. You had to be physically durable and technically proficient or you ended up face down on the mat. Full contact Tae Kwon Do was replaced by a bad game of electronic tag. Athletes now chase contact with a chest protector or headgear with no regard for whether the technique carries any force behind it. The result is a mutated generation: not durable, not dangerous, and no longer able to throw a technique that does damage." - Herb Perez Olympic Gold Medalist The level of technical excellence reached heights unimaginable just decades earlier. Yet many veterans argue that today's fighters benefit from advantages unavailable to earlier generations: superior coaching, safer rules, better medical care, full-time training, and significantly larger financial rewards. That raises an intriguing question. Does superior athletic performance automatically make someone tougher? Or does toughness come from overcoming harsher conditions? So... Who Was the Toughest? Perhaps the better question isn't who was toughest. It's what kind of toughness each era demanded. The pioneers of the 1960s fought with little protection and built the foundation. The 1970s warriors risked everything to prove martial arts belonged in the ring. The 1980s champions elevated tournament fighting into an art while becoming international stars. The 1990s competitors adapted to an entirely new combat reality. And today's mixed martial artists represent the most complete combat athletes the world has ever produced. Every generation produced extraordinary fighters. Every generation believed it was tougher than the last. Maybe they're all right. Because toughness isn't measured only by championships or knockouts—it is measured by the willingness to step onto the mat, into the ring, or inside the cage, and test yourself against another human being. The real winner isn't one era. Or is it?

Black Belt Magazine is proud to feature Legend of the White Dragon, an action-packed martial arts adventure that pays tribute to the legacy of Jason David Frank, whose lifelong dedication to the martial arts inspired generations around the world. Best known to millions as Tommy Oliver from the Power Rangers franchise, Jason David Frank was far more than an actor. A highly accomplished martial artist, he held black belts in multiple disciplines and spent decades promoting martial arts through seminars, competitions, and mentorship. His passion for the martial arts community made him a natural fit for the role of The White Dragon—a hero defined by honor, resilience, and perseverance. Photo credit: Well Go USA In Legend of the White Dragon, Erik Reed is a fugitive forced to live in the shadows after being falsely accused. Determined to clear his name and reunite with his family, he must confront a mysterious and relentless villain whose only mission is to destroy the White Dragon once and for all. Blending dynamic fight choreography, emotional storytelling, and superhero action, the film delivers an exciting experience for martial arts and action fans alike. For those who have followed Jason David Frank's remarkable career, Legend of the White Dragon stands as a fitting celebration of his enduring spirit and his commitment to inspiring others through martial arts. Black Belt Magazine recommends catching Legend of the White Dragon when it arrives in theaters on August 28 through Well Go USA!

Core Training and Stability These days, athletes are focusing more attention on core stabilization—during routine training and especially during rehabilitation after an injury. Certain martial arts facilitate good core development; however, core stabilization is more commonly associated with Pilates and yoga. Depending on your training routine, you may experience the benefits of good core stability or the problems that stem from the lack thereof. Core Stabilization “Core” generally refers to the lumbar spine, pelvis, hips, shoulder girdle, or all of the above. An easy way to think of it is that your core is essentially the trunk of your body. Stabilizing your trunk means you have a stable platform to generate power when using your arms and legs. If your core is weak, excessive forces are transferred to your arms and legs, and that can result in injury. A strong core also enhances the transfer of torque from your trunk to your arms and legs, thereby maximizing the efficiency and power of strikes. Core stabilization and core training involve a broad spectrum of exercises that strengthen the muscles of the trunk, abdomen, pelvis, and shoulder girdle. A crucial component is the superficial and deep muscles around the spine that exert control during bending and twisting motions. If your core spinal muscles are weak, repeated twisting and turning, when uncontrolled, can initiate a chain reaction of problems extending outward to your arms and legs. A common problem for martial artists and non-martial artists alike is lower back pain. There are many causes for it, but in a situation in which the lower back is found to be relatively normal after medical investigation, segmental instability of the lumbar spine is a possible mechanism. Segmental instability is hypothesized to occur when a lumbar vertebral body moves to a greater extent than normal. Muscular training around the spine can correct excessive vertebral motion and reduce pain. Restoring the coordination and control of trunk muscles will improve control of the lumbar spine and pelvis. Injury Prevention and Performance If you’re injured, numerous methods can help rapidly return you to activity, as well as improve performance by emphasizing neuromuscular efficiency in your trunk. Core stabilization requires elements of strength training, endurance training, coordination development and, most important, motor learning. Optimal trunk functionality is essential to precision and explosiveness in the extremities. The number of exercises is many; confer with your trainer and/or physiotherapist to find out which ones are best suited to your situation. In general, core stabilization starts with postural positions and lumbopelvic motion, training the correct sequence of muscle contractions and doing this during simulated tasks. It progresses to more dynamic movements that often involve progressive-resistance loading of the trunk, hips, and shoulder girdle. Most core training uses a balanced strengthening protocol involving spine and abdominal muscles. More sophisticated and advanced training relies on coordinated, synchronous activation of muscles in the core, as well as the extremities. No matter which art you practice, the most important principle to understand is that the trunk serves as a stable yet dynamic platform for extremity motion, which means attention to body posture and motion should be the focus of your core strengthening. Core Exercises Core exercises progress from simple to complex and from minimal weight-bearing postures to full weight-bearing dynamic movements, all while maintaining proper breathing. Studies have shown the benefits of such exercises in people with lower back pain. Acute hamstring strain also has been studied, and it was found that core stabilization helps return people to activity sooner with a lower re-injury rate compared to people who do only static stretching and strengthening. Why does it help with injury prevention? Inadequate neuromuscular control of the trunk may compromise dynamic stability of the lower extremities and result in increased torque at the knees. This tends to increase strain on knee ligaments, thereby leading to injury. The body’s ability to maintain or resume an equilibrium position of the trunk after perturbation is critical. The position of the trunk over the legs during movement can change your center of balance and the force acting on your joints. The ability to dynamically orient the trunk over the lower extremities, especially while landing after a jump, may decrease the risk of leg injury. Ongoing Research Core stability is still being researched despite numerous advances in our understanding of the anatomy and biomechanics of the trunk. Similar efforts continue to provide knowledge of the neuromotor mechanisms, or the interaction between the nervous and musculoskeletal systems, of trunk control and dynamic movement. The challenge lies in using that knowledge to select specific exercises that will help you achieve the results you want.

Sikh Warrior Ways: The History and Development of the Weapons Art of Gatka To document the evolution of gatka, the traditional weapons-based combat sport of the Sikhs, one must first look to the ancient Hindu martial art of shastar vidya, from which it’s derived. The origins of shastar vidya, which means “weapon science” in Sanskrit, are unknown, but according to ancient accounts, the art may have belonged to a Caucasian tribe that invaded India around 1500 B.C. Other sources indicate that it predates that invasion and was the product of prehistoric Indians. Whatever the truth, one thing is for certain: In the 17th century, Guru Hargobind Ji, sixth guru of the Sikhs, made shastar vidya part of a training regimen designed to prepare men for battle against the Mughals, who were persecuting people across the Indian subcontinent. Guru Hargobind Ji introduced the concept of miri-piri, or temporal and spiritual power, which helped transform the Sikhs into saint-soldiers who were ready to wage war against anyone who committed injustice, regardless of their religion or caste. Practitioners were taught to use their skills only for defense and only as a last resort. Guru Gobind Singh Ji (1666-1708), the 10th Sikh guru, made that crystal clear when he wrote, “When all other means of ending injustice have failed, it is permissible to hold the sword.” Shastar vidya was widely taught and studied until the early 19th century. Afterward, its numbers declined rapidly because masters were killed or forced into exile by the British. Fortunately, the art survived the attempt at eradication, mostly because it had been secretly taught to people who lived in the community of Akali Nihang Singh Khalsa, India, where the most martial faction of the Sikhs resided. Only in recent years has shastar vidya been made available to the public. EVOLUTION From the battlefield art of shastar vidya, the combative sport of gatka evolved. Attend a modern Sikh festival, and it’s gatka you’ll see demonstrated. In fact, whenever practitioners display their skills with the gatka stick, staff, sword or shield, crowds gather for the spectacle. A typical gatka lesson takes place in a training hall that’s called an akahra. Instruction begins with the teacher leading the students through warm-up exercises and stretches to prepare their muscles for what’s to come, thus helping them avoid injury during the repetitive portions of the workout. Next come prayers and a traditional salute to the weapons that will be wielded. Beginners must learn the basic footwork before they’re permitted to touch the weapons, which lie neatly on a blanket or mat spread across the floor. More correctly described as a series of whole-body movements, the footwork, called pentra, guides their hands and feet in geometrical patterns. Progressing in gatka leads to another prerequisite: meditation. The training, called simran, is a vital component of the art because it keeps the mind focused and free from evil intent, hesitation, haste and distraction. That’s crucial whenever potentially deadly weapons are about to become part of the mix. When weapons are introduced, students are taught a few movements slowly and told to master them before other techniques are shown. In the early stages of learning, speed is discouraged for obvious safety reasons. ARMS Gatka training includes a plethora of weapons, most of which fall into the categories of blunt, bladed, flexible and projectile. All were designed to injure or kill on the battlefield. For example, the khanda is a double-edged sword with a heavy broad end that enabled warriors to hack off an enemy’s limbs with ease. The katar is a punch dagger designed to penetrate body armor. The lathi is a bamboo staff that’s hard but flexible, the nature of which enabled a warrior to shatter an enemy’s bones without shattering the weapon. The chakar is a steel ring with a sharp outer edge. When thrown, it could sever body parts. Other war devices in the gatka arsenal include the gurj (mace), bichua (curved dagger), teer (arrow), barcha (spear) and talwaar (curved sword). No matter which one is wielded, modern practitioners emphasize safety. Their primary goal is to demonstrate perfection of martial skill—much like karate students do with weapons kata. APPLICATIONS Even though gatka is no longer the weapon of choice for men on the battlefield, it can still function in self-defense. Because its stances and techniques are more realistic than those of some ancient arts, they can permit practitioners to fend off real-life attacks. Its effectiveness is enhanced by its evasive footwork and practical hand techniques. It’s that relevancy, coupled with its historical roots, that causes Sikhs to hold great respect for gatka, which is regarded in a different light than, say, imported arts like karate, kung fu and taekwondo. That cultural connection draws strength from the few gatka manuals that have been preserved. One is titled, naturally enough, The Art of Gatka-Fighting. It was written in 1936 by K.S. Akali, physical director of RSD College in Ferozepur, British India. Another text, Gatka: Book One–Dance of the Sword, was written in the 1980s by a well-known American master named Nanak Dev Singh Khalsa. Gatka has spread to many parts of the world, including America, Canada, Britain and Germany—mostly through the hard work of the Punjab Gatka Association, the Gatka Federation of India, the International Gatka Organisation and the International Gatka Federation. Their members are dedicated to the preservation and promotion of the art. SOURCES FOR SIKH SKILLS Shastar vidya is now taught by a man named Niddar Singh in five locations in the United Kingdom: Wolverhampton, Birmingham, Leicester, Cranford and Slough. He’s the ninth master in his lineage. His skills in armed and unarmed combat are remarkable, and his knowledge of Sikh history and traditions is astonishing. Martial artists interested in learning more about gatka are advised to search online for one of the aforementioned books or organizations. Alternatively, they can access videos of the art on YouTube. In 2006, a renowned United Kingdom-based master named Uptej Singh performed at a Sikh temple for the Prince of Wales, Prince Charles, and the Duchess of Cornwall, Camilla. The art was also famously demonstrated in a 2010 episode of the reality-TV show India’s Got Talent. The practitioners, members of the Bir Khalsa Group, even reached the finals. As more people discover gatka, chances are good that it will experience a revival and become a popular 21st-century “cultural combat sport.” More good news for the historically inclined: Thanks to the efforts of people such as Niddar Singh, shastar vidya is also gaining popularity. In all likelihood, neither art will be lost to the sands of time like so many other aspects of pre-Mughal India have unfortunately been.

"Without Ed Parker, the modern martial arts world would look very different." Every August, the martial arts community returns to Long Beach—not simply for another tournament, but to honor the vision of one extraordinary man. Senior Grandmaster Ed Parker Born in Hawaii, Parker arrived in Southern California during a time when karate was virtually unknown in America. Opening one of the first commercial karate schools in the Los Angeles area, he introduced thousands of Americans to the art of Kenpo Karate. But Parker's ambitions extended far beyond teaching techniques. He dreamed of bringing martial arts out of the dojo and into the mainstream. That dream became reality in 1964, when he founded the Long Beach International Karate Championships, an event that would forever redefine martial arts competition. Parker welcomed practitioners from every style, every country, and every background, creating what would become the most prestigious martial arts tournament in the world. For more than four decades, the Internationals became the stage where legends were made. It was here that Chuck Norris, Joe Lewis, Bill "Superfoot" Wallace, Benny "The Jet" Urquidez, Cynthia Rothrock, Mike Stone, Steve Sanders, and countless other champions built their reputations. It was also the tournament that introduced a young martial artist named Bruce Lee to the American public. Invited personally by Ed Parker to demonstrate his revolutionary approach to kung fu, Lee's famous one-inch punch and two-finger push-ups became one of the defining moments in martial arts history. Yet Parker's influence reached far beyond competition. Long before martial arts became a Hollywood phenomenon, Ed Parker understood the power of entertainment. He was the first promoter to merge the worlds of martial arts and celebrity, transforming the Long Beach Internationals into a cultural event unlike anything audiences had ever seen. His close friendship with Elvis Presley, one of his most devoted Kenpo students, helped bring unprecedented attention to the martial arts. Hollywood icons, including Sharon Tate, Sidney Poitier, and many other actors, filmmakers, and entertainers, regularly attended the Internationals, making the tournament as much a gathering of stars as it was a showcase of champions. In doing so, Parker helped lay the foundation for martial arts' eventual explosion in film and television. No publication chronicled that journey more closely than Black Belt Magazine. From its earliest years, Black Belt documented Ed Parker's innovations, profiled his students, covered his tournaments, and celebrated the champions who emerged from the Long Beach stage. Together, Ed Parker and Black Belt Magazine helped introduce martial arts to millions of readers, preserving the stories, techniques, personalities, and history that continue to inspire practitioners around the world. Their partnership helped shape an entire generation. Today, the Long Beach Internationals remain more than a tournament—they are a living tribute to a man whose vision united styles, elevated competition, embraced Hollywood, and brought martial arts into popular culture. As the martial arts world gathers once again on the first weekend of August, we celebrate not only an iconic championship but the remarkable legacy of the man who made it all possible. Thank you, Senior Grandmaster Ed Parker. Your vision transformed martial arts from a niche pursuit into a global movement. Your friendship, mentorship, and leadership changed lives, launched careers, and inspired generations. Black Belt Magazine makes sure that legacy continues to be shared with martial artists around the world. The legend lives on.

“I think everybody likes to fight. At a certain age, most people find out it’s not for them, so they choose something else. But deep in their heart, every guy likes to fight.” —Bas Rutten, Former UFC Heavyweight Champ Dealing with violence is a large part of what the martial arts are about. On the most basic level, they’re about physically responding to violence. But to do that, we learn more than just punches and kicks. We learn about the nature of violent confrontations. We look into how they start and why. We study ways of defusing situations before things get physical. Stay in the arts long enough, and all this thinking about violence will lead you to questions about human nature. Are we inherently violent, or do circumstances make us so? If violence and aggression aren’t in our genes, why do so many choose them over nonviolence? Those questions are at the heart of what it means to be a martial artist. They’re also at the heart of The End of War, a new book by John Horgan. Horgan is best-known for writing another “end of” book, the mid-1990s best-seller The End of Science. His new book is a survey of what science tells us about war—that conflict is not in our genes or based on environmental causes. The evidence seems to show it’s a consequence of our choices. Horgan argues that war is coming to an end because we’re slowly reaching the limits of our tolerance for it. The First Few Sections The first few sections of the book survey the evidence from studies of apes that lethal aggression is innate. Special attention is given to primatologist Richard Wrangham’s research on how and why chimpanzees kill each other. Similar patterns in chimps and humans, he argues, suggest a common tendency toward lethal aggression. And his observations of groups of chimps in the wild killing lone members of other groups for no apparent gain does seem depressingly similar to human cruelty. He says that chimps may kill other chimps for no reason other than they like killing and that humans, especially men, are the same. But when Horgan reviews the research on primate violence, he finds much less evidence for lethal aggression being innate. For example, he looks at the actual rate of lethal group attacks by chimps and finds they happen about once every seven years. He even gets Wrangham to admit in an interview that chimps killing each other is rare. Then Horgan surveys studies of other primates and finds more evidence that environmental factors determine their level of violence. The most eye-opening was a study of a troop of baboons in which the most aggressive males were killed off by disease. That led to “conflict within the troop dropping dramatically,” and the change in violence “persisted for more than two decades, even after [the troop] absorbed males from other nearby populations.” In other words, our shared genetic heritage is more about adaptability to change than a tendency to kill. Research on Violence The book examines anthropological and genetic research on violence. The anthropology shows there’s wide variation between cultures in their levels and frequencies of lethal violence. What’s surprising is how little evidence Horgan could dig up for violent group conflict in human prehistory. It suggests that war is a human invention, not an inescapable fate. The genetic research is about efforts to find a “warrior gene” and the failure to locate one. Horgan sums up this shortcoming by talking about crime rates: “No purely biological model can explain why, for example, recent U.S. homicide rates are 10 times lower than in El Salvador and 10 times higher than in Japan.” The focus then turns to external causes of violence. If we aren’t born to kill, maybe our circumstances force us into lethal conflict. Horgan goes over the connections between war and things like population density and resource scarcity. The research shows that these are very real risk factors for conflict, but peace can be maintained in their presence. Sometimes wars are waged even when risk factors are absent. As Horgan puts it, “Many conditions appear to be sufficient for war to occur, but none are necessary.” We’re left with the conclusion that lethal group violence is a collection of our choices. Nothing makes this kind of violence inevitable, not genes and not environmental circumstances. We choose violence. Either it’s a rational choice, like when a nation defends itself from attack, or it’s an irrational choice, like when people kill because they fear or hate another culture or race. The Best Part The best part of The End of War is the evidence that humanity may be choosing a more peaceful world. Horgan’s review of the statistics shows there were roughly 4 million war-related deaths per year worldwide in the first half of the 20th century, compared to 1 million per year in the second half. That number has dropped to 250,000 per year since the turn of the century. My only quibble with the book is that the focus on lethal violence and war obscures the general aggressive tendencies in people. We may not be born to kill, but I agree with the Bas Rutten quote. All primates, including humans, put on angry displays and engage in nonlethal fights. And really, it’s a rare person who doesn’t occasionally want to bury his fist up to the elbow in another guy’s face. We may not do it, but we feel it. These general aggressive tendencies are not the same as lethal violence, but they’re related. I would have liked to see more about what science tells us is normal aggression and how it’s distinct from lethal conflict. Overall, The End of War presents a compelling argument that lethal group violence is not inevitable and that we can and should do something about it. It’s a message that many martial artists are sympathetic to but one most of us base on beliefs, not evidence. What Horgan gives us is that missing evidence and some solid reasons to be optimistic about the future.

Ever look through an old issue of Black Belt and see an article about a martial artist who catches your interest? Ever wonder what happened to that person? More than 30 years ago, Black Belt ran a story about a New Yorker named Ralph Mitchell, one of the first Westerners to train in Chinatown’s kung fu schools. Later, he served in the Vietnam War and gained exposure to Thai boxing. Afterward, he competed in underground kickboxing tournaments, eventually making his way back to Thailand, where he was among the first Americans to train there. It was a fascinating look at a pioneering martial artist with a wide range of unique experiences. So what happened to Ralph Mitchell? Turns out he’s still in New York and looking not so different from the way he did in those old photos. Of course, I asked him the obvious question when we connected: “What have you been doing for the past 30 years?” His answer was what you’d expect: He’s been training. Combined Experience Mitchel combined his experience in judo, kung fu, kickboxing and other arts and created his own style, called the Universal Defense System. “I have students from back then who have graduated from my school and now have schools of their own under the Universal Defense System banner,” he said. “But they have my blessings to change things. I don’t want clones.” Although he started his career giving instruction in the traditional hung gar and praying-mantis styles he learned in Chinatown, his curriculum evolved to embrace the many styles he’d been exposed to. “Now I teach the concepts of the arts I’ve done,” he said. “Rather than a specific style, we deal more with the elements of fighting at long range, middle range and close range.” Never one to rest on his martial arts laurels, Mitchell also studied jeet kune do under Dan Inosanto and Paul Vunak during the intervening years. And he took up savate. His approach to training remains the same as it was decades ago—to be in the best possible condition so he doesn’t get tired during a fight and to be pound for pound the strongest martial artist he can be. “The difference is, I’m more well-rounded and understand fighting better now,” Mitchell said. “I understand the strategy and tactics. I also understand how some people are better-suited for traditional martial arts and some people want to compete, and I understand how to help them go from amateurs to professionals.” Although he still teaches elements of the traditional arts, like kata, in his schools, he’s had no qualms about branching out into MMA—helping produce, among others, former UFC competitor Phil Nova and IFL veteran Nardu Debra. Both started as children in Mitchell’s traditional program and later transitioned to MMA. Traditional Roots, Modern Respect Despite his traditional roots, Mitchell has always been a fan of MMA—“a fighter loves a fighter,” he said—while at the same time disapproving of the circus mentality that sometimes surrounds the big events. As for traditionalists who turn up their noses at MMA, he said those who haven’t actually done it should at least respect it. One thing he doesn’t respect is traditional instructors who try to jump on the MMA bandwagon by claiming to teach MMA. “If you’re a good karate school, then call yourself a good karate school—be proud of that and stick with that,” he said. “But I can understand there’s a law of supply and demand, and MMA has made a big dent in the business of traditional schools. It’s a fine line between the positive and negative influence MMA has had. Nowadays, people aren’t looking for a Yoda-type sensei to teach them. They’re looking for a coach to get them into some form of competition. They have multiple coaches for different aspects of the game.” But Mitchell’s OK with that, saying he primarily handles the stand-up training for his students who compete in MMA. Wisely, he has Brazilian jiu-jitsu instructors oversee their ground game. His feet are firmly planted in the modern era, but he still respects the past. He gives a lot of credit to his first martial arts instructor, Edward Liddie Sr., while making sure to mention Liddie’s son, Eddie Jr., an Olympic medalist in judo. He also stays in touch with his first kung fu instructor, Gin Foon Mark. Mitchell is quick to acknowledge that he was wrong about one aspect of the arts: In that old Black Belt article, he gave the impression that racial discrimination held back Westerners who wanted to learn kung fu in Chinatown in the 1960s, but in hindsight, he said he believes it was just a filtering system. “Sifu Mark said to me it doesn’t matter what race you are—laziness is a universal thing,” Mitchell recalled. “That’s why they started us with the most difficult forms and made us hold the lowest stances—to see if we really wanted to be there. Now I train my students the same way.” Photo Courtesy of Ralph Mitchell