Spoiler alert! Kickboxing legends Jean-Yves Theriault, Wally Slocki and Bill Wallace recently returned to the ring in Ottawa, Canada. Motivated not by money or belts, the former champs did it for charity — and for the benefit of fans everywhere. While raising money for a good cause, these legends proved that the martial arts can be a pursuit for practitioners of any age. There’s an old joke that goes something like this: “Three guys walk into a bar. ...” In this story, however, it’s three legendary kickboxing champs — men nicknamed “Iceman,” “Viking” and “Superfoot” — who walked into a ring. And in an instant, fans of the combat sports were trans- ported back to the glory days when everyone was talking about “the kick of the ’80s.” The return of this iconic trio to the squared circle was part of a spectacular evening of fights promoted by Canada’s Jean-Yves “Iceman” Theriault, who ascended to Bill Wallace’s middleweight throne in 1980. In addition to a slew of amateur kickboxing bouts showcasing Team Canada versus Team USA, the evening featured three of the most celebrated warriors of the past half century. The goal was to raise money for the Make-a-Wish Foundation. The bouts were part of Capital Conquest, a three-day martial arts festival that takes place annually in Gatineau, Canada. Organized by former PKA Promoter of the Year John Therien, the weekend also featured seminars with a plethora of instructors from around the world. In addition to raising funds for charity, the headline bouts offered an opportunity for Theriault to showcase the value of practicing martial arts into one’s senior years. For those who are approaching the age at which concerns about retirement funds and grandchildren outweigh worries over physical activity, Theriault summarized the life-enhancing benefits of training: “People look at me strangely and are surprised when they [learn] I will be fighting again. They look at me like, ‘Is that a joke?’ Listen, I’ve been training since I was 18, and we’re not ready for the coffin. Everybody can do some kind of martial art — whether it’s kickboxing, karate, kung fu or tai chi. There’s a martial art for every- body, and it can be practiced at any age.” Promoting an evening of action while ensuring the athletes are well taken care of can be stressful — as Theriault discovered. “The most restful part of the event,” he confessed, “will be when I am in the ring.”  The preliminary matches showcased Canadian and American amateurs who ranged from their teens to their 50s. Sitting ringside were special guests, including Carlos Newton, Canada’s first UFC champion, and Murray Wilson of the Montreal Canadiens, four-time winner of the NHL Stanley Cup. A touching part of the evening came when an award was presented to Steve “Nasty” Anderson, Black Belt’s 1982 Competitor of the Year. The former world champion, who wreaked havoc in tournament karate in the 1980s and who’s made Canada’s capital his home for the past few decades, is battling Parkinson’s disease. Unwilling to be put on the canvas by the ailment, Anderson moved the crowd from tears to cheers when he shoved his walker aside and strode up the steps and into the ring to receive his award.  Superfoot vs. Viking The first dust-up involving the former fighters pitted Bill “Superfoot” Wallace against Wally Slocki, the Canadian karate phenom who came within a hair of becoming a kickboxing world champion. The last time these two martial artists faced off, Richard Nixon was the new resident of the White House and the prime minister of Canada was named Trudeau — not the current Justin Trudeau but his father Pierre Elliott Trudeau. In case you haven’t figured it out, that match took place in 1969. It was part of the USKA Grand Nationals in Kansas City, Missouri. So how does one begin to describe a man dubbed Superfoot? Perhaps by stating that he’s a karate fighter who once had his kick clocked at more than 60 miles an hour. Perhaps by noting that now, despite having enough replacement parts in his body to set off a metal detector — two hips and one knee — he can still deliver age- and gravity-defying foot techniques. Wallace’s entry into karate was literally by accident. While representing the U.S. Air Force judo team in 1966, the former high-school wrestler blew out his right knee. The accident caused him to switch from judo to karate. His one good kicking leg wound up being the greatest kicking leg ever, and it took him to the podium at every major point-fighting competition in America. In 1974 Wallace made the leap into full contact and won a title at the first PKA World Championship, held in Los Angeles. He went on to defeat 22 more opponents over his six-year career in kickboxing, retiring undefeated in 1980. Then the entertainment industry came calling, and that led to, among other things, karate lessons for Elvis Presley and John Belushi courtesy of Superfoot. Now 74, Wallace said his motivation for accepting the bout with Slocki was threefold: Proceeds would go to charity, the experience promised to be fun and his participation would demonstrate that the martial arts can be practiced at any age. In a comment typical of his tongue-in-cheek approach to life — which continues to delight attendees at the 50 seminars he teaches annually — Superfoot deadpanned, “I’ll kill him!” just before the action began. Wally Slocki, aka “The Viking,” began studying with Mas Tsuruoka, known as the father of Canadian karate, in 1965. By the time he was in his 20s, Slocki had become a multiple-time Canadian national karate champion. During the same period, he was setting the North Ameri- can tournament scene on fire — and signing autographs for wide-eyed 10-year-olds like this writer. Slocki competed at the same 1974 PKA World Championships that Wallace did. Slocki faced Jeff Smith, a prominent Jhoon Rhee student, for the light-heavyweight crown. Each of the martial artists won a round, but Slocki lost the third because he had a point deducted for a rules violation. Undaunted, he fought Smith again in 1976 but failed to capture the title. Tall, blond and still blessed with his movie-star good looks, Slocki, now in his 70s, disputed the use of the term “blood and guts” to describe tournament karate in the 1960s and ’70s. Fighting in that era demonstrated a wealth of good techniques thrown with control, he said. “It might have been rough and tough, but [that] was the martial arts. Everyone has their own interpretation of what was a hard punch or kick.” These days, Slocki has an insightful, somewhat humor- ous approach to fighting. “We can’t kick and punch like we used to, [but] we still have the mechanics,” he said. “The mind says, ‘Go, go, go,’ but the body says, ‘Whoa, whoa, whoa!’” The exception to his comment is Bill Wallace, who “still kicks and punches as hard as he used to,” Slocki said. When they shook hands before their bout, the two leg- ends drew a standing ovation. Wallace jokingly asked the referee to repeat the pre-fight instructions in French so he could understand. Joe Corley, former PKA head hon- cho and founder of the Battle of Atlanta, provided playful kick-by-kick commentary to the delight of the audience. Wallace wowed the crowd by performing a full split before the bell rang. When the battle started, both fight- ers displayed the same hand and foot combinations that made them champions so long ago, and their demonstrated mastery of the martial arts enthralled everyone. Corley joked that Wallace’s kicks are now timed at a mere 55 miles an hour. Between rounds, the irascible Wallace walked over to taunt Slocki’s corner before getting back to business in the center of the ring. And they did mean business. Seated ringside, this writer can attest to the sound each kick and punch made when it landed. Clearly, these karate veterans never got the memo that they might be past their prime. Afterward, Wallace quipped that it was “just another day at the office.”  The exhibition ended with hugs exchanged and belts presented to both men. When Corley asked Wallace if he was really trying to hit Slocki, Wallace quipped, “Who, me?” Slocki noted that while Wallace is famous for his kicks, he’s the owner of “the best hands in the busi- ness.” Then Slocki jokingly told this writer to make sure Black Belt readers know that “Wallace was trying to kill me.” Iceman vs. Big Ben Before the nickname “Iceman” was claimed by former UFC champion Chuck Liddell, kickboxing champ Jean- Yves Theriault was brandishing the moniker and his trademark icy glare while knocking down opponents like bowling pins. Over the course of his 15-year reign as a full-contact world champion, Theriault amassed a record of 23 title defenses and 61 knockouts. Amazingly, those KOs were delivered with both his hands and both his feet — a feat (sorry) unmatched by any other combat athlete before or since. Theriault’s time in the ring saw him take on the best of the best in kickboxing, including Ernesto Hoost, Rob Kaman, Don “The Dragon” Wilson, Rick Roufus and Bob “Thunder” Thurman. While he still possesses the speed and ring savvy he owned in his younger years, Theriault admitted before the bout, “I don’t have that knockdown KO power any- more.” For anyone standing across the ring from him, that likely would be interpreted as a blessing in disguise. The Iceman’s opponent for the main event was Ben Ladouceur, who put together a record of 24 wins and two losses when he competed. He was a three-time Cana- dian kickboxing champion, a two-time North American kickboxing champion and the 2017 World IKF amateur light-heavyweight kickboxing champion. Ladouceur currently runs two jiu-jitsu and kickboxing schools, where he administers to nearly 1,000 students. A student of Theriault’s since he was 5, Ladouceur has spent hundreds of hours sparring with him. During all those rounds, Theriault broke Ladouceur’s nose twice, and once he even bent a protective face shield while that nose was recovering. So he knew what to expect going into this match — even if it was just a demonstration. When Theriault originally approached him with the idea, Ladouceur said he couldn’t refuse. He confessed that he’d be honored to share the ring with his mentor and, as the father of two healthy children, said he’d be happy to do it for such a worthy cause. With his trademark walkout music from 2001: A Space Odyssey blaring and fireworks exploding, Theriault made his way to the ring. His two daughters were ringside, where they worked the crowd into a frenzy, shouting, “Just like old times, Dad!” Traditionally a slow starter, Theriault let the younger Ladouceur do his thing while he searched for openings. The audience, knowing that Theriault usually KO’d people in the later rounds, began echoing the rhythmic chant of “Jean-Yves, Jean-Yves” that reverberated inside stadiums across North America and Europe during his heyday. The bout yielded three rounds of technical kickboxing, with each fighter at times pushing the pace. While you can “play” football or hockey, it’s hard to play at fighting. There was no doubt that these two martial artists were throwing real shots because the sounds of contact could be heard clearly at ringside. They seemingly took turns launching kicks to the head and punches to the body, often from the clinch.  When the exhibition ended, spectators rose to their feet. Theriault thanked everyone for supporting him over the past 40 years. He also praised the locals for helping the charity event raise almost $25,000. This spirit of giving was exemplified by Lorraine Pollock, wife of Greg Pollock, the strength and conditioning guru for many NHL players. She won a $2,000 prize that night and immediately donated the money back to the organizers so it could go to the Make-a-Wish Foundation. Theriault, in summing up why he put it all on the line for charity just a month before his 65th birthday, said, “I’m doing something because I can. I was given a platform to do something for others than [ just] myself. An athletic career is never over. If famous guys don’t do anything after [their time in the spotlight is over], I think they are missing the boat. My mom always said, ‘If you can help, you do help.’”  The event thrilled those in attendance and earned more than expected for the Make-a-Wish Foundation. In the eyes of many, this commitment by Jean-Yves Theriault to give back to his community illustrated why they consider “The Iceman” to have been transformed into “The Niceman.” Perry William Kelly has a sixth-degree black belt in jiu- jitsu and is an instructor in four other martial arts. He’s the former national coordinator for use of force for the Correctional Service of Canada. In 2017 he was a karate gold medalist at the World Police and Fire Games, and in 2018 he received the Joe Lewis Eternal Warrior Award. His website is perrywkelly.com .  This article originally appeared in a 2020 edition of Black Belt Magazine.

Cage Warriors will kick off the biggest week of MMA in the UK with a huge international championship bout in Manchester.  Italian powerhouse Dario Bellandi will make the first defense of his 185lb title, as he takes on striking sensation Robin Roos.  The bout - which will be contested over five rounds - will feature on the main card of Cage Warriors 175 at Manchester’s BEC Arena, on Thursday, July 25th.  Bellandi (7-1) captured the gold back in November, outpointing former champion Mick Stanton at CW 164.  The Italian grappler currently rides a five fight winning streak in the famous yellow gloves, with wins over the previously undefeated trio of Joan Arastey, Justin Barry and Daniel Karlson (all by way of a finish) and a unanimous decision victory in his title eliminator bout with Naglis Kanišauskas.  After mixed results to start his pro career, Robin ‘Pretty Boy’ Roos (7-4) has now been victorious in five of his last six bouts.  A proven KO artist, the 29 year old Swede holds wins over CW vet Håkon Foss, and Bellator veterans Martin Hudson and Kevin Fryer.  He last competed on Sweden’s Superior Challenge, knocking out Fryer to capture the promotion’s middleweight title.  He’ll now look to add another belt to his collection, in what will be the first bout of an exclusive multi-fight deal with the promotion.  “Manchester is hosting the biggest week for MMA in the UK this year, so it’s only right that Cage Warriors kicks it off with a huge international title fight…” said CW President Graham Boylan.  “Dario has shown that he’s one of the most durable and dominant fighters in the division, but this is the first time he’s faced a striker like Robin; I’m expecting an exciting clash of styles.”   “With CW alumni like Paddy Pimblett, Molly McCann, Christian Leroy Duncan and Tom Aspinall taking centre stage at UFC 304, fans can be sure that the stars of tomorrow will be in action at Cage Warriors on July 25th!” CW 175 airs live on UFC Fight Pass and international broadcast partners, with further bouts set to be announced.

For the first time in over a decade GLORY, the world’s largest kickboxing organisation, returns to Croatia. GLORY 95  will take place at the Arena Zagreb in the heart of the nation’s capital on September 21 . GLORY can today officially announce a blockbuster heavyweight main event showdown at GLORY 95 between the number one ranked Levi Rigters (18-2, 8 KO) and Croatian superstar Antonio Plazibat (22-5, 16 KO) . In recent years, Rigters has emerged as the newest wave of Dutch heavyweights to take the kickboxing world by storm. Earlier this year the 28-year-old reached the final of the thrilling GLORY Heavyweight Grand Prix and almost knocked out the ‘King of Kickboxing’ Rico Verhoeven with a spinning backfist. That night was a pivotal moment in Rigters’ career and it gave us all a glimpse of the full potential of his abilities. Since then, he registered a hard-fought victory over the tough & durable Nico Horta at GLORY 92. Now he comes up against Antonio Plazibat in a clash of two top heavyweights. “This is a fight between two of the heavyweight division’s best,” said Levi Rigters. “I am looking forward to competing in beautiful Croatia but, unfortunately for the fans there, I will be the one with my hand raised in victory. This will be an unforgettable night in Zagreb. Do not miss it!” With a history of devastating knockouts, Antonio Plazibat is one of the most exciting heavyweights on the planet. However, the 30-year-old has been out of action since last year after suffering a broken arm and now looks to make a triumphant comeback in front of his home country, vowing a knockout. “Levi is just a body in the way. He will be knocked out and 15,000 crazy Croatians will cheer me on,” stated Plazibat. “Buy a ticket, buy the PPV, watch on Videoland, I don’t care, just watch this fight because you won’t want to miss it.” GLORY 95 will be live exclusively on Videoland in the Netherlands, Bally Live & Stadium across the United States & Canada, DAZN in France & Belgium.

Bruce Lee stands out as the most prominent figure in the martial arts realm. Despite his passing in 1973, his numerous admirers continue to seek additional insights into his life, his craft, and his beliefs. Fortunately, Lee bequeathed five remarkable films for audiences worldwide to savor. "Over the last 40 years, the martial arts community has closely analyzed his movies and his life. While many people believe they are familiar with all aspects of the "Little Dragon's" films, this may not be entirely true. Here are some lesser-known facts and perspectives concerning Lee's films and fight choreography." EARLY WORK Although Lee was a child star in Cantonese cinema, his film career as we know it started in 1970, when a Shaw Brothers executive named Raymond Chow received $1 million from a friend, left his job and started Golden Harvest. The startup’s first release was The Invincible Eight. Directed by Lo Wei, it starred Nora Miao and Angela Mao Ying. Chow never used the money he’d received; instead, he returned it with interest. Then he offered a young martial artist named Bruce Lee a two-film contract for $7,500 per movie—which dwarfed Run Run Shaw’s $2,000 per film—and the stage was set. Lee’s first film, Fists of Fury, was titled King of the Boxers before it was changed to The Big Boss for the Chinese market and Fists of Glory for other parts of the world. Its straightforward plot introduced a new brand of street-fighting heroism to Hong Kong cinema. Lee plays a lad named Cheng, a new Chinese laborer at a Thai ice factory. Perplexed by the disappearance of his co-workers, he eventually discovers that the boss is using the factory as a front to smuggle heroine.Boss Mi is portrayed by an acclaimed martial arts instructor named Han Ying Chieh. He’s the man responsible for introducing the trampoline to Hong Kong kung fu filmmaking in 1961 in the Shaw Brothers release The Touch. Also of note: Han’s new assistant is Beijing-opera student Lin Zhen Ying, known to many as the one-eyebrowed priest in the Mr. Vampire films and the female impersonator in the wing chun-based The Prodigal Son. Lin was one of Lee’s favorite fight choreographers, and Lee promised to bring him to Hollywood one day so they could work together. Soon thereafter, Lee passed away and Lin never got his chance in Tinseltown. It was a major disappoint-ment, one that haunted Lin until his death several years ago.It was Lin who introduced Lee to one of his opera brothers, Tung Wai. A top Hong Kong fight choreographer, Tung worked on Bulletproof Monk and the live-action Scooby-Doo film, but fans will know him best as the youth Lee whacks on the head in Enter the Dragonwhen he’s asked, “How did it feel to you?” after doing a side kick.“Bruce was a big influence on me,” Tung said. “Before him, kung fu films were formulaic, but he was very natu-ral and charming. It’s funny—you feel like he’s overacting, but it was easy to accept. In the late 1970s, many tried to impersonate him, but none could catch his essence and especially his move-ments.“Lin introduced me to Lee at a coffee shop in the Hong Kong Hotel. He had a beard and wore a denim shirt and blue jeans. He didn’t seem special to me. Everyone says he can do two-finger push-ups, but we’re [from the] opera school and can also do that. We weren’t impressed. But then he stood up, put his hands three hand lengths in front ofhis body and, keeping his legs straight, did push-ups by slowly bending his arms until his nose touched his hands. We were all shocked.“Films don’t capture his speed. And his feet—they were something else!” POLITICALLY INCORRECT In 1964 King Hu—who later became one of Hong Kong’s best-known direc-tors with films like Come Drink With Me and A Touch of Zen—wrote, di-rected and starred in Sons of the Good Earth, a war drama set during the Sino-Japanese War. Because of that period’s sensitive political climate, the local ver-sion of the movie was severely edited and could be seen in its entirety only in Malaysia and Singapore.It took the clout of Bruce Lee to over-come Hong Kong’s fear of producing anti-Japanese films with his second ef-fort, the $200,000 Chinese Connection. Although initially titled The School of Chivalry and released in Asia as Fist of Fury, the English-speaking world came to know it as The Chinese Connectionbecause of a labeling mistake that oc-curred when the prints were about to be shipped overseas. The Mandarin title Ching Wu Men reflects the film’s significance. Men means “door,” and in martial arts circles, it represents a gate to knowledge. So Ching Wu Men means “Entry Into the Ching Wu Martial Arts School,” referring to the facility created by Shanghai martial arts legend Huo Yuan-jia, upon whom the film is loosely based.The story revolves around the quest for revenge undertaken by Huo’s stu-dent, Chen Chen (Lee), after his master dies. Lee’s character arrives late for the funeral and endures ridicule from a Japanese entourage headed by an effeminate interpreter. In the motion picture, the audience is treated to one of Hong Kong cinema’s most important battle scenes. Aficionados also will note that the wimpy interpreter is played by Wei Pin Au, who in real life was impris-oned for stabbing his wife 10 times in the chest.Most fans know that the final stunt in which Susuki flies backward across the yard is performed by Jackie Chan. But few know the fight that takes place in the Japanese school had two major impacts on Hong Kong film. First, af-ter Lee is surrounded by the karateka,he kicks eight different people with eight different kicks in one unedited, wide-angle shot. You can tell it’s Lee performing the kicks, and it’s a success only because of his incredible skill. The scene works flawlessly, causing Lee to implement the same game plan in the final mass-mayhem scene in Enter the Dragon.Second, it’s the first fight in which stuntman Corey Yuen appears. One of Jackie Chan’s Beijing-opera brothers, Yuen is a premier martial arts film di-rector in Hong Kong. He action-directed X-Men and directed The Transporter and Jet Li’s Fong Sai Yuk. Trivia tidbit: Yuen Woo-ping got his job on The Matrix be-cause Corey Yuen had turned it down. In The Chinese Connection, Corey Yuen is one of the Japanese attackers dressed in a hakama. Incidentally, the hakama are worn backward in the film as one of many insults Lee aimed at the Japanese martial arts. (Others in-clude the shot of Lee defiantly standing proud with a photo of shotokan founder Gichin Funakoshi in the background, as well as the numerous occasions in which samurai swords are placed up-side down in their stands.)“In that sequence, [Lee] actually hit me and loosened one of my teeth, but I wasn’t the only one,” Yuen said. “You can see me in there in a close-up. I was young and didn’t understand the way of things. He would share with us the phi-losophy of life and explain the philoso-phy of striking. He was very powerful. He was also thought-provoking when you worked [with him] and talked to him, and he let you know what martial arts was really all about. I’d learned op-era, dance and weapons—but not mar-tial arts. He told us what that was. So after knowing Bruce, we went to study real martial arts. We saw him as a god.” THE DRAGON After the success of his first two films, Lee started his own production com-pany, Concord Pictures. His first effort under that banner was Return of the Dragon (aka Way of the Dragon), in which he plays Tang Lung, a country bumpkin from Hong Kong sent to help his restaurant-owning uncle in Italy, where he winds up fighting the Mafia.The famous Colosseum fight scene between Lee and Chuck Norris was supposed to have taken place with Joe Lewis. However, Lee and Lewis had had a falling out. As it was, it marked Norris’ best film fight to date. Several years af-ter Lee’s death, Norris claimed that if Lee had let him do the choreography, it would’ve been even better.Just as with The Chinese Connection, Return of the Dragon was Lee’s way of showing his disdain for the way his people were expected to be subservi-ent to Western powers. Lee had prob-lems with racism in Hollywood, and that was reflected in his cinematic fights, in which he strove to show that the little Asian man was capable of de-feating the big powers. It’s no wonder audiences cheered when Lee defeats the cruel Japanese, does in the proud Russian and disposes of the sneaky, quiet American (Norris). THE ULTIMATE GAME Lee’s next project was to be The Game of Death, but when Warner Bros. offered him a $550,000 budget for Enter the Dragon, filming was suspended—forever. In Enter the Dragon, Lee plays a secret agent sent by the British to break up a suspected drug ring organized by the inscrutable Han, who uses martial arts tournaments to recruit bodyguards and lackeys. One could argue that the film was po-litically correct 20 years before it was politically correct to be so. However, having an Asian, a Caucasian and an African-American as cooperating he-roes was probably Warner Bros.’ way of appeasing the demographics, and it served as a sign that it was still too early to cast an Asian as the lead Most martial artists agree that Enter the Dragon is a great film, but its fights are very Hollywood. It’s hard to imag-ine what the producers were thinking when they had John Saxon, who obviously lacked advanced fighting skills, take on Bolo Yeung. The movie also had minor problems with its choreogra-phy—like when Lee’s back is flexing for the camera as he tries to open the el-evator doors in the dungeon sequence. He suddenly steps, turns around and is attacked by a handful of thugs. Talk about close-up! Not only can you not see what anyone is doing, but with his last sweeping backfist, the bad guy tumbles in the opposite direction. FINAL FIGHTS The 1978 release of The Game of Deathwas less than thrilling, but the special edition shown on AMC, with its 25 ad-ditional minutes of footage, was far more interesting. The “bonus” revealed added fight scenes, as well as the jeet kune do founder engaging in quirky dialogue.Lee obviously never intended for the lost footage to be part of the final cut of The Game of Death. In the nunchaku se-quence alone, mistakes are numerous and easily seen. Furthermore, some of the best posters for the production include photos in which Lee strikes Kareem Abdul-Jabbar in the face with a roundhouse kick and in which he exe-cutes a flying kick to his head. However, neither image appears in the film.If you study that fight closely, you’ll conclude it’s a bit clumsy. Abdul-Jabbar’s kicks waver like a noodle, his stances are rubbery and his fighting postures resemble those of an actor who’s trained for three months.Nevertheless, it and the other four movies soar because of Lee’s on-screen presence and charisma. Essentially a simple man who dreamed of using the martial arts to become a star, he succeeded in spreading the virtues of Chinese culture. In doing so, he left us with a wonderful film legacy, and for that, the martial arts world should be grateful.

The true measure of an artist's greatness lies not merely in their fame or achievements but in their ability to influence others. Fame, on its own, can be misleading, and achievements, though impressive, might only reflect personal milestones similar to an accountant’s tally of numbers. Influence, however, is a different beast altogether. It is the ability to inspire others that sets truly great artists apart. This concept, drawn from the literary theories of Harold Bloom, is equally applicable to martial arts. Bloom spoke of "strong poets" whose impact was felt across subsequent generations of poets. Similarly, the martial arts world has seen figures whose influences have reshaped entire disciplines. For instance, Mas Oyama's creation of Kyokushin transformed karate, while Jigoro Kano's judo has permeated contemporary grappling arts. Among these influential figures, Bruce Lee stands out as a transcendent icon whose impact has bridged martial arts, cinema, and even broader pop culture. Bruce Lee's legacy and influence is pervasive. It challenges the traditional constraints of martial arts, promotes the acceptance of cross-training, and champions a pluralistic approach to martial truths, allowing practitioners to glean insights from various styles. His philosophy and methodologies continue to shape not only traditional arts but also modern combat sports like MMA, where his principles of functionality echo in the practical focus of the sport. Furthermore, Lee's influence extends beyond the dojo. In cinema, he became synonymous with martial arts, setting a standard that many filmmakers sought to emulate long after his death. From mainstream Hollywood films to the individual pursuits of pop culture figures, Lee's legacy is omnipresent. It appears in subtle homages like a musician borrowing Lee’s on-screen persona for a stage name, or in overt references like the idolization by characters in films such as "Boogie Nights." "YOU CAN SEE THE HUMBLING INFLUENCE OF LEE IN ALL THE ECLECTIC STYLES THAT HAVE BEEN LAUNCHED SINCE THE 1970S BUT NEVER REALLY WENT FAR. THEY ALL CLAIMED TO MELD THE BEST OF MANY STYLES INTO ONE GREAT STYLE, BUT THEY WOUND UP BEING LESS COMPELLING THAN JEET KUNE DO" Yet, Lee’s widespread influence carries with it a double-edged sword, reminiscent of Bloom’s "anxiety of influence" where great works might stifle new creativity. In martial arts, this is seen in the numerous eclectic styles developed post-1970s that attempted, yet often failed, to surpass the depth and appeal of Jeet Kune Do. Aspiring martial artists and thinkers find themselves in the shadow of Lee’s monumental legacy, striving to forge original paths in a landscape he heavily defined. The lasting impact of Bruce Lee’s influence in martial arts and beyond is undeniable. As long as his legacy endures, ambitious martial artists will face the challenge of extending or surpassing the profound insights of Jeet Kune Do. Bruce Lee himself had to navigate these waters, moving beyond the confines of Wing Chun to develop Jeet Kune Do. Future martial artists will similarly need to build upon his foundation of deep thought and functional technique to achieve greatness. Only time will tell how long Lee’s influence will resonate, but it continues to shape the path of countless individuals in martial arts and beyond.

This might come as a surprise to many who train in Japanese karate, who have come to regard Gichin Funakoshi (1868-1957) as the most towering figure in the art, the man who brought it from the countryside of Okinawa to Japan and the man who oversaw its introduction to the rest of the world. But it’s true. While Funakoshi was a central figure in those accomplishments, we know that there were others — some with more experience in karate than he had — who also contributed. We also know that a primary reason Funakoshi was promoted to bring karate to mainland Japan was the fact that he was well-educated and able to communicate with the Japanese at a level that wouldn’t lead to his dismissal as an uncouth hillbilly — which is how many Japanese regarded Okinawans back then. So it’s reasonable to remove Funakoshi, gently, from his pedestal and view him in a more realistic light. However, in doing so, we should avoid going too far in reducing his stature. He wasn’t a saint. He was, though, a remarkable figure. FUNAKOSHI LEFT 20 precepts, a distillate of his karate philosophy. They are engraved on a plaque at his grave at Engakuji, the Kamakura temple where he’s buried. His sixth precept is a win- dow into the character of the man. Kokoro wa hanatan koto o yosu. “Be able to release your mind.” That’s a poor translation, but it’s challenging to come up with a more accurate one. The idea is that you should not be so rigid that you can’t adapt to changes in circumstances that are part of life. More than two centuries before Funakoshi’s era, the concept of marobashi was described by Yagyu Sekishusai, founder of the Yagyu Shinkage Ryu, as a core element of his school of strategy. In part, marobashi describes a “rolling log,” and it refers to the ability to cope and adjust and exploit circumstances in life that change as quickly as a log rolling down a slope. BUT FUNAKOSHI was quoting a Chinese philosopher from centuries before that. Shao Yong (1011-1077) was a Confucian thinker who lived during the Northern Song dynasty. As a classically trained scholar, Funakoshi was familiar with Shao Yong’s writings; he incorporated a line from the philosopher’s poetry in his precepts. To be able to release one’s mind from an inflexible frame would have been important to a man in Funakoshi’s circumstances. Think about it: Funakoshi went from tiny, quiet Okinawa to bustling Japan, a land that was only a couple of decades past a violent uprising, the Satsuma Rebellion, during which dissatisfied samurai sought to over- turn the new imperial government and along the way threw the whole country into turmoil. The Japan of the early 20th century was the scene of fierce politics, with communists and labor-union workers frequently brawling in public. There was tremendous energy in the debate over Japan’s future, with the military insisting on an expansionist course (that would soon translate into Japan’s invasion and occupation of Korea) and industrialists and others seeking a more isolationist approach. Demonstrations often spiraled into riots; political opponents were frequently beaten and assassinated. It must have seemed like an apocalypse to Funakoshi. FUNAKOSHI WAS also alone. He’d left behind his wife and two of his three boys. The food, the language, the customs — all of it would have been at least slightly unfamiliar to him. Additionally, he was trying to introduce his foreign (to the Japanese) art. Most karateka know this, but they may not understand just how difficult that task was. Okinawans who lived in Japan were not even considered full citizens. Further, karate was seen as a crude system when compared with the elite warrior traditions of Japanese budo. Imagine going to Burgundy, France, home of some of the world’s great vintages, and trying to market some homemade dandelion wine you’ve cooked up in your basement. That would have been what it was like for Funakoshi to introduce karate in Japan. Funakoshi owed a huge debt to judo founder Jigoro Kano, who took an interest in karate and provided introductions and facilities that allowed Funakoshi to bring his art into the mainstream of Japanese budo. Even so, it was an uphill climb. Karate, for many years in Japan, had to fight against the image it had, one of being something that was used by thugs and lowlifes. Funakoshi also had to deal with critics back in Okinawa. His “Japanizing” of karate was met with animated disapproval. Funakoshi adopted Japanese names for kata. He brought teaching and training in line with Japanese customs. Traditional Okinawan karate was taught informally, but Funakoshi, once in Japan, introduced the notion of group practice, with rows of exponents moving in unison, which was similar to what was seen in kendo schools. (Nearly all the Osu! and Hai, sensei! utterances have their roots in this period, when the influence of the Japanese military came to dominate the world of budo.) EVERY JAPANESE and Okinawan of Funakoshi’s generation lived through amazing changes, including the devastation of the Second World War. Through it all, Funakoshi managed to persevere, to achieve his goals. He was not, technically speaking, the greatest karateka of that period. He was, however, a giant in his accomplishments. Many of those accomplishments were achieved through his ability to be flexible, to be ready to adapt. He was prepared, at all times, to release his mind. Dave Lowry has written Karate Way since 1986. For more information about his articles and books, visit blackbeltmag.com and type his name into the search box.  This article originally appeared in a 2020 edition of Black Belt Magazine.

In an electrifying evening of mixed martial arts, UFC Fight Night: Cannonier vs. Imavov captivated fans at the KFC Yum! Center in Louisville, Kentucky. This marquee event not only showcased a series of thrilling bouts but also set a new attendance record, drawing an impressive 19,578 fans and generating gate sales of $2.5 million. Broadcasted live on ESPN+, the fight card featured fourteen bouts, including high-stakes knockouts and technical submissions. The highlight of the evening was the middleweight showdown between Nassourdine Imavov and Jared Cannonier. In a stunning performance, Imavov secured a knockout victory over Cannonier at 1:34 of the fourth round. Utilizing a formidable combination of punches and knees, Imavov's striking prowess was on full display, signaling his rise in the middleweight ranks. The co-main event saw Dominick Reyes return to form against Dustin Jacoby in the light heavyweight division. Reyes demonstrated his striking capabilities, ending the fight with a decisive knockout via punches and a knee at 2:00 of the first round. This victory marks a significant comeback for Reyes, positioning him as a serious contender in the division. The bantamweight bout between Raul Rosas Jr. and Ricky Turcios was a showcase of grappling excellence. Rosas Jr. secured a submission victory with a rear-naked choke at 2:22 in the second round, highlighting his potential as a future star in the division. In another middleweight contest, Brunno Ferreira delivered a spectacular knockout against Dustin Stoltzfus. A perfectly timed spinning elbow at 4:51 of the first round ended the fight, marking Ferreira's explosive UFC debut. Julian Marquez faced Zach Reese in a middleweight bout that concluded dramatically. Reese's powerful uppercut followed by hammerfists led to a knockout just 20 seconds into the first round, signaling his arrival on the big stage. The preliminary fights were not short on action, with standout performances across multiple weight classes. In the welterweight division, Miguel Baeza faced off against Punahele Soriano, who won by unanimous decision after three hard-fought rounds. The flyweight rematch between Andrea Lee and Montana De La Rosa ended in a split decision in favor of De La Rosa, showcasing her improved tactical skills and determination. In the opening bout, Puja Tomar from India was victorious in her strawweight battle against Rayanne Amanda, marking India's first ever victory in the UFC.

The December 1984 Karate Illustrated cover featured a young Charlie Lee from Washington DC , with the headline "Tae Kwon Do: a New Generation." The future would prove the cover correct as Charlie Lee would go to become one of the most successful forms competitor of his generation. His moves and combinations still are emulated today by the Gen Alpha CMX competitors.

Will martial arts build muscle? Martial arts can strengthen, lengthen, and define muscularity. In order to create mass or growth in muscles, weight or resistance training is required. READ MORE: Fitness and Strength Training for Martial Arts The Importance of Slow Twitch Muscle Fibers in Martial Arts Do You Want to Become a Superhero?!

Can Martial Arts Help You Lose Weight? Martial arts are an excellent way to lose weight, as they focus on a crucial aspect of fitness: cardiovascular exercise. Beyond cardio, martial arts also incorporate strength training, flexibility, and endurance. The varied and dynamic movements engage multiple muscle groups, leading to a comprehensive full-body workout. Additionally, the discipline and consistency required in martial arts training help maintain a regular exercise routine, further supporting weight loss and overall health. READ MORE: Drills to Learn Martial Arts Breathe Like a Martial Artist Twelve Weight Loss Tips from Grappling Champions Essentials for Beginners in Self-Defense

BRAVE Combat Federation has announced its return to the Netherlands following the tremendous success of the record-breaking BRAVE CF 83. During the announcement, BRAVE CF also released the first set of fighters for the upcoming show, scheduled for September 22 in Alkmaar, a day before the organization’s eighth birthday.   The event, marking BRAVE CF’s second collaboration of the year with European powerhouse Enfusion through its ECE MMA brand, will feature Noach Blyden, Nabil Haryouli, and Clyde Brunswijk. Blyden will be returning to the BRAVE Combat Federation cage after making a statement in his promotional debut at BRAVE CF 83 which happened in the Netherlands in May. After capturing the attention of the fans with his entertaining videos leading up to the fight, Blyden made a strong impression by securing a first-round knockout against Oskar Herczyk in the co-main event. This victory marked his fourth consecutive first-round finish in MMA, setting the stage for his next fight in the most global MMA organization.  Undefeated Nabil Haryouli was initially scheduled to fight in the co-main event of BRAVE CF 83 but was forced to sit out. An established kickboxer, he currently holds a professional MMA record of four wins and no losses with all his wins coming through stoppages. The much-awaited BRAVE CF debut of Haryouli will now happen at BRAVE CF’s second event in the Netherlands.  Also featured on the fight card is Clyde Brunswijk, who has established himself as a formidable MMA fighter, kickboxer, and boxer. With a professional MMA record of four wins and one loss, Brunswijk has fought in more than 50 kickboxing bouts and will bring his extensive experience to the BRAVE CF cage. The upcoming event in Alkmaar will be BRAVE Combat Federation's second event in the Netherlands, following the historic BRAVE CF 83 held in May.  Part of BRAVE Combat Federation’s 2024 Europe Tour, the event is bound to further strengthen the MMA ecosystem in the Netherlands.

The line between sport and martial art has become increasingly blurred in recent years. With the rise of mixed martial arts (MMA) and the inclusion of disciplines like judo, taekwondo, and boxing in the Olympics, the question of whether martial arts are sports or something more has ignited debate among athletes, practitioners, and fans alike. This article explores the arguments for and against classifying martial arts as sports, examining their competitive nature, training methodologies, and cultural significance. The Case for Martial Arts as Sports: Competition:  Many martial arts have well-established competitive formats, with tournaments, leagues, and rankings. Athletes train rigorously to hone their skills and compete against others in their weight class or skill level. The presence of structured rules, referees, and scoring systems further reinforces the sporting aspect of martial arts competitions. Physicality:  Martial arts demand a high level of physical fitness, including strength, endurance, agility, and coordination. Athletes undergo intense training regimens to develop these attributes, similar to athletes in other sports. The physical demands of martial arts competition are undeniable, with athletes pushing their bodies to the limit in pursuit of victory. Mental Discipline:  While physical prowess is crucial, martial arts also emphasize mental discipline and focus. Athletes must remain calm under pressure, strategize effectively, and adapt to their opponent's tactics. This mental aspect of martial arts competition aligns with the psychological challenges faced by athletes in other sports. Examples: MMA:  The Ultimate Fighting Championship (UFC) is a prime example of martial arts as a sport. It features athletes from various disciplines competing in a cage under a unified set of rules. The UFC's popularity has soared in recent years, attracting a massive global audience and generating significant revenue. Olympic Martial Arts Judo, taekwondo, boxing, and wrestling are all recognized Olympic sports. Athletes from around the world compete for medals in these disciplines, showcasing their skills on a global stage and further solidifying their status as legitimate sports. The Case Against Martial Arts as Sports: Self-Defense Origins:  Many martial arts originated as self-defense systems, focusing on practical techniques to neutralize an attacker. While competition is a significant aspect of modern martial arts, some argue that the emphasis on winning can detract from the original purpose of self-defense. Cultural Significance:  Martial arts are deeply rooted in cultural traditions, often with philosophical and spiritual elements. Some practitioners argue that reducing martial arts to mere sports disregards their cultural significance and the values they promote, such as respect, discipline, and humility. Beyond Competition:  While competition is a significant aspect of many martial arts, it is not the sole focus for all practitioners. Some individuals train in martial arts for personal development, fitness, or stress relief, without any intention of competing. The question of whether martial arts are sports is complex and multifaceted. While they possess many characteristics of traditional sports, including competition, physicality, and mental discipline, they also carry cultural significance and self-defense origins that distinguish them from other athletic pursuits. Ultimately, whether one considers martial arts to be sports is a matter of personal perspective.  However, the growing popularity of martial arts competitions and their inclusion in the Olympics suggests that their status as sports is becoming increasingly difficult to deny. Martial Arts Styles:  There are numerous martial arts styles, each with its unique techniques, philosophies, and competitive formats. Some popular styles include karate, kung fu, jiu-jitsu, Muay Thai, and capoeira. Benefits of Martial Arts:  Practicing martial arts can offer numerous benefits, including improved fitness, self-defense skills, stress reduction, increased confidence, and mental discipline. READ MORE Best Combat Sports Athletes Karate and Kickboxing Considered for 2028 Olympics Emerging Judo Stars to Watch at the 2024 Paris Olympics Sport Karate in the Olympics