PFL Europe’s Glasgow debut will be headlined by the Pride of Scotland Stevie “Braveheart” Ray against Wales’ Lewis “The Captain” Long, with fellow Scotsman Robert “The Hammer” Whiteford in the co-main event against American Roger “El Matador” Huerta The Professional Fighters League (PFL) has announced Scottish MMA legend  Stevie “Braveheart” Ray  will headline PFL’s debut in Scotland at the OVO Hydro on September 28. The mixed martial arts pioneer Stevie Ray will be the main event of PFL Europe’s first-ever event in Glasgow against Wales’  Lewis “The Captain” Long  in a Welterweight bout, and is excited to put on a show in front of his home crowd this September for the first time since 2017. In the co-main event will be his Scottish compatriot  Robert “The Hammer” Whiteford  in a bout against  Roger “El Matador” Huerta  in a fascinating match-up 150-pound contract weight bout, with more Scottish fighters to be announced soon. Fight fans can purchase tickets to see Europe’s biggest and most entertaining MMA fighters continue their “Path to Global” as they feature in the coveted PFL Europe playoffs, where the athletes will “Win & Advance” to the finals in Lyon this December for a chance to win $100,000 and the PFL Europe Championship, or “Lose & Go Home” and exit the bracket.  “We are going to put on an MMA spectacle in Glasgow this September and make it a truly memorable debut for PFL in Scotland.”  said  PFL Europe Head of Fighter Operations, Dan Hardy .  “Glasgow is a city brimming with talent, and we’re getting excited to fill the card with not only Europe’s finest, but with a real focus on Scotland’s future MMA stars.” Dan Hardy continues:  “The PFL Europe ‘Path to Global’ is one of the most gruelling tests in combat sports, as our athletes compete in a season format involving three fights in the year to win the PFL Europe Championship, the prize money, and the opportunity to be called up to PFL’s global league.” The 2024 PFL Europe Season began in March with an incredible sold-out show in Paris, before rolling into Newcastle Upon-Tyne at Utilita Arena on June 8, and is moving into new territory in Glasgow for a huge night of playoff action. The season will conclude with an epic Championship event in Lyon, France on December 14.

When a subject is near and dear to him, Bill “Superfoot” Wallace has never been shy about speaking his mind. Case in point: the relationship between martial arts and self-defense. “There are a lot of combinations you learn in point tournaments, regular sparring and full contact that will work in a real fight, and there’s a whole bunch of techniques [you learn] in self-defense [class] that won’t work in a real fight,” Wallace says. “Why? Things are just too choreographed. There are too many of them to remember, and you end up using what comes natural to you anyway.” Feeling compelled to elaborate, Wallace continues: “In a real fight, you have no idea when, where or what the bad guy’s going to do. He’s definitely not going to take a shot at you and leave his hand out there for you to grab.” Furthermore, action is faster than reaction, Superfoot says. “I could tell you exactly what I’m going to throw, and you still wouldn’t be able to block it. Do this as a test: Have a partner stand in front of you and slap you on the forehead. See if you can grab his hand and put him into some joint technique. [Then try it] while he’s slapping you on the other side of your face with his other hand. I don’t think so!” At this point, Wallace waxes optimistic: “The thing you have going for you in a fight is the bad guy usually takes for granted that you don’t know what you’re doing.” He recommends exploiting the underestimation by using a technique you’ve practiced over and over, one that’s unlikely to fail. “Make that technique work for fighting a troublemaker rather than messing around with all these prearranged self-defense combinations that you have to try to make work.” One such proven move, according to Wallace, is the sidekick. Most martial artists know it, it’s easy to execute and it’s versatile, which means it can function on its own and in a variety of combinations, he says. LOOKING BACK Before we delve into scenarios and the side-kick strategies Wallace recommends, it’s worth reviewing the Superfoot saga — for the sake of those who are too young to have lived through his heyday. In Okinawa, where Wallace began his karate career while serving in the Air Force, he concentrated on perfecting his side kick, along with his roundhouse kick, hook kick, lead-hand punch, lead-hand ridgehand and lead-hand backfist. He focused on striking and kicking because he’d suffered a serious injury to his right knee while practicing judo. To compensate for his inability to kick with his right leg, Wallace developed a sideways-facing stance similar to the traditional horse stance. From there, he could throw most of his moves from his left side, thus avoiding the bum knee. His solution proved so successful that he used that stance and strategy to build what would become a stellar career. More history: During his point-fighting phase, Wallace used all those aforementioned techniques. He augmented his arsenal by focusing additional attention on flexibility and developing ways to enhance his strength and endurance in his good leg. He went on to fine-tune the way he delivered those three kicks so they could be launched from the exact same chambered position. When full-contact karate became the rage, Wallace added the jab, left hook and left uppercut to his repertoire. While he now had multiple techniques in his toolbox, he remained a “jab and side kick” man because those moves come in straight, and he found that use- ful because he liked to lure his opponents into running toward him. Of course, Superfoot maintained his proficiency with a few other strikes that flew in from the side — just in case. For proof of the efficacy of this fighting method, consider the Wallace record. Among his numerous karate championships were 23 consecutive full-contact vic- tories. Furthermore, he was voted Black Belt’s Karate Player of the Year in 1973 and 1977, along with Man of the Year in 1978. It was nearly four decades ago when Bill Wallace retired — undefeated, no less — but he still practices and teaches those same techniques, simply because he’s found nothing that works better. The best part is that Superfoot is adamant that any martial artist can see success by adopting his moves and methods. LOOKING SIDEWAYS Against an Aggressor Who Unleashes a Punch Out of Nowhere: “I always stand sideways when someone I don’t know walks up to me,” Wallace explains. “Why? Because if something happens, I’m ready to kick or punch — or run, for that matter. I’m not standing there with my solar plexus or my groin wide open.” After the intro, he dives into the recommended response. “Say some guy comes up and starts provok- ing you,” Wallace says. “He’s not ready for anything because he doesn’t know that you know anything and because you’re standing there sideways. When he reaches out and tries to punch you in the nose, you just lean back a little and make a timid sound like ahh. Have you done anything that’s aggressive? No! You’re look- ing like the good guy. “Now he’s thinking, ‘I got you!’ Then bam, you nail him with a side kick to the ribs. He goes ooof — a wonderful sound as he gets the wind knocked out of him. You can do a follow-up punch or kick, but it’s best to just get the hell out of there. Do too much, and you’ll be the one going to jail — except if you live in Florida like me, where the stand-your-ground law gives the defender more rights than in most other states. But I’m a nice guy anyway, and I never want to hurt people — unless I have to.” Against an Aggressor Who Rushes in to Grab: “The bad guy attempts to put his hands on you, except this time there’s no opening for a body shot because he’s leaning forward,” Wallace says. “Well, if it were me, there would be an opening because I can kick him in the head, but it’s you and you can’t, so boohoo. (smiles) It’s a good thing you got your jab because his head is right in front of you — like a big cantaloupe. You blast him square in the jaw and knock him back. Then you nail him with a side kick and be on your way.” If you’ve done much point karate, you’ve no doubt found yourself in practically the same situation, Wallace notes. “What are the most common techniques in point fight- ing? The backfist and the lead-leg roundhouse kick. A competitor gets too close, and you blast him with a back- fist. He moves back, and you follow up with the kick.” There’s no reason those much-maligned moves —especially his fave, the side kick — won’t transfer to self- defense situations, he adds. Against an Aggressor Who Seizes a Lapel: “I’m a firm believer that if somebody is messing with you and your body language somehow makes the guy run away, you haven’t lost anything,” Wallace says. “But if you aren’t paying attention and the guy grabs your clothes and pulls you in, there’s still a lot you can do.” Remember that you have both hands free, he says. “If you don’t want to lean back and execute a side kick immediately, you can swing your left arm over the top of your grabbed-side arm, and now you have him. You can nail him in the head with a ridge hand or left hook. You might want to turn his face into a canoe with your elbow since it’s right there, pointing toward his face. However, in this case, just drill him with the side kick.” • Against an Aggressor Who Uncorks a Sunday Haymaker: “A lot of fights happen at night,” Wallace says. “It’s dark, and people can’t see the shot coming. You’ve got to react to movement and be quick. If you ain’t quick, I can help — but we’ll have to work at that in another lesson. (smiles)  “Things seem much faster for you at night, and it’s the same for the guy who’s picking a fight with you. He thinks he’s tough. He’s one of these ‘Sunday haymaker’ guys who throw that big right hook.” When the assailant does so, Wallace recommends angling your upper body back to avoid the blow. That also positions your shoulder to protect your head as a fail-safe. “As he misses, you’re on the outside of that haymaker,” he says. “You’ve got options: You can smack the guy right in the face with a left hook punch, or you can just slide back a bit and nail him with a side kick. Or you can do both.”  If you possess sufficient timing and speed, you have another alternative, he says. “You can move inside and throw a left hook before the guy’s haymaker gets to you. Even if he throws it, your punching arm should protect you from the attack. A note to point fighters: The hook- punch action is nearly the same as the ridgehand strike; just close your fist and you’ve got the hook.” Floyd Burk is a San Diego–based 10th-degree black belt with more than 50 years of experience in the arts. To contact him, visit Independent Karate Schools of Amer- ica at iksa.com .  This article originally appeared in a 2020 edition of Black Belt Magazine.

It's fight week in San Diego! Cage Warriors 173 once again hops the pond to California, with another exciting night of action on deck at the Sycuan Casino Resort! Topping the bill, former UFC world title challenger and MMA legend Wilson Reis looks to make it two in a row at featherweight, as he takes on fellow UFC veteran Bruno Souza, who returns to MMA after two years competing in professional Karate. Also making a welcome return to action is CW fan favourite Damon 'The Nomad' Wilson, as he takes on the rugged Brandon Carrillo. In the evening's co-main event, Roberto 'Green Light' Hernandez heads back up to featherweight, as he welcomes Javier 'El Mariachi' Garcia to the promotion. The final CW 173 card is as follows… Cage Warriors 173: San Diego | LIVE on  UFC Fight Pass Main Card – 20:00 (PT) | 23:00 (ET) | 04:00 (BST) | 05:00 (CEST) Featherweight: Bruno Souza vs Wilson Reis Featherweight: Javier Garcia vs Roberto Hernandez Featherweight: Brandon Carrillo vs Damon Wilson Featherweight: Diego Bigelow vs Xavier Vines Bantamweight: Magomed Bayduev vs James Settle Prelims – 18:30 (PT) | 21:30 (ET) | 02:30 (BST) | 03:30 (CEST) Heavyweight: Chadricc Kindle vs Sean Rose Lightweight: Joseph Perez vs Anthony Desilva Bantamweight: Miguel Peimbert vs Steve Mora Catchweight (195lbs): Ilias Faquiri vs Chace Eskam Cage Warriors 173: San Diego will air live on  UFC Fight Pass  and international broadcast partners.

Unlike the general public, Black Belt readers know a thing or two about systema. In large part, that’s because of the never-ending efforts of one Vladimir Vasiliev, the most visible systema teacher in the West. Vasiliev has appeared in Black Belt numerous times, and in 2013 he was the maga- zine’s Instructor of the Year. In this exclusive Q&A, the Russian martial arts master talks about the essential components of his self-defense system and how it differs from the traditional martial arts and combat sports. Where are you from, and what is your background? I’m from Russia, born in the city Tver. When I was a little bit more than 30, I came to Canada. I met my wife, and now I’m here. You studied both competitive and military-style martial arts, is that correct? Yes. I was 13 when I started to box. And in the army, we studied hand-to-hand combat. It was more [for] military applications. Then I did a karate competition — I was fourth in Russia, but now some people tell me I was third. (laughs) I forgot already. Then I met Mikhail [Ryabko] and started to study systema. Was Mikhail Ryabko your primary systema teacher? I had some other guys, but I dealt with Mikhail primarily. What drew you to the reality-based martial arts? Was it simply because it was required in the military, or did you feel some other motivation to switch from karate? When I studied boxing [and] karate, I felt some limitation with movement. [They’re] good, of course, but they teach you specific things and you’re not free in your movement. That bothered me. In boxing, I had to work just with my hands, but I like to work with legs, [too]. But they [did] not allow me to do this. When we started boxing, our teacher always told us, “If you want to [test] yourself, you have to go outside — fight in the street a little bit to see who you are inside yourself.” As we know, sometimes [people] do very well in the ring or in the gym but go outside and have problems. There were lots of street fights, so that’s [how I tested] myself all the time. Then you moved to Canada. How have Canadian and American martial artists — and the other people from all over the world who come to Toronto to train at your headquarters — reacted to systema? Of course, some people try to [test me] and are suspicious. [They’re] like me when I saw Mikhail — I didn’t believe he could work like that. (laughs) That’s why I understand the people who come to me. But most of the time, it is positive [even though] systema is at the other end of the martial arts, the complete opposite [of what] other people teach. Opposite how? For example, some people teach you how to be tense. They speak about relaxation but how they teach, how they move, how they work — I can see it’s pure tension, physically and psychologically. In systema, we try to avoid this. We try, from the beginning, to remove that tension inside and be quiet and reasonable. You’re known for teaching the self-defense system of systema, which is in contrast to sport- based martial arts. Is there any kind of sporting competition in systema? Like all humans, yes, we sometimes fight with each other. Some people touch you, you don’t like it, so you hit him back — it’s always like that. But we don’t teach people to compete with each other because it creates weaknesses and problems. For me, I [tested] myself in boxing and karate. I remem- ber when I studied systema and karate together, I understood how weak I was in karate. Systema actually helped me fight better because I would relax and allow people to hit me, and I was OK. If somebody hasn’t studied systema — maybe he or she has studied another martial art for a long time — will that person start to embody some systema principles over time? For example, starting to relax more? Yeah, it’s natural. If you’re stupid, you’ll die anyway, and [it won’t] matter, right? (laughs) But if you’re OK, you’ll start to look inside yourself. For example, if you have an injury, you cannot fight anyway, right? So you need to study how to avoid this. Systema gives you good [ways to do this]. It’s often said, “It’s not self-defense if you beat yourself up first.” Yeah, why do you need to destroy yourself? What’s the point? If you watch a sport martial artist work out, can you tell if that person has skills that will transfer to a real fight? It’s quite obvious. By watching [video], by watch- ing their teacher training, they [introduce] them- selves very well. They show who they are, how they talk, how they sit. When people ask me about this, I say, “Those people are extremely good. They’re strong.” But it’s like they show everybody that they have a belt. Dangerous peo- ple, you don’t see them. When I don’t see people, that’s what scares me. Fundamentally, how does a self-defense art differ from a competition art? Sport is good, and self-defense is good. It just depends on what people like to do. Because you could study something to protect yourself and do physical work anyway: push-ups, sit-ups or something. When you’re young, of course you want to compete, you want to [test] yourself. Some people push it. Sometimes you don’t fight for yourself; you fight for your friends, for your country. Some- times you need to do this, but sometimes people push you toward the fight. But self-defense — it’s all you. You need to see how you can survive in different situations to pro- tect yourself, your family, even your country. For me, I want to see what surrounds me and what’s happening, why I got in that situation. I want to do everything to prepare myself for a fight, [but I don’t want to fight] because [maybe] it’s two, three, four guys giving me a problem. It seems like that for civilians because you’d rather avoid the conflict, but sometimes if you’re in the military or law enforcement, you have to initiate. Is systema training different for people who are learning for self-defense versus professionals? It’s quite hard to explain. When you study sys- tema from the beginning, they teach you how to relax and feel comfortable in any position. You know how to breathe, how to relax, you’re OK. And in this situation, less aggressiveness comes inside you. You can control yourself and other people much more. It means you don’t show how good you are like you do when you study sport. When we train in a military situation, for exam- ple, we teach them to be healthy, to be strong, to be brave — not to be egotistical [like in a] Rambo movie. In a movie, a person can stand up and shoot other people, and the people shoot toward him but nobody [hits] him. In reality, no. Doing that would just provoke the other people to put a grenade there or shoot you. What Mikhail explained [to me] and what we now understand is in everything that we do, we [must] be invisible. The best way to stay invisible is to escape, but it’s so hard to do [when you train in a sport-based system] because you have your own ego and weakness and, of course, when you start to argue with people, you want to punch them. Is it beneficial to do some sport along with reality-based martial arts? I think so. You need to come to martial arts to [test yourself]. That’s why we hit each other a little bit, just to see how our body reacts, if we can protect ourselves not with our legs but with our own body. I like to move, I like to spar, I like to do these things. But if I see ego come in, that makes me worry because it’s not good. There’s a lot of emphasis on conditioning in systema, but the emphasis is different. In sport- based martial arts, most of the conditioning is aerobic training. How important is fitness to a person who’s doing a self-defense art? Of course, some fitness is important. Sometimes people train, train, train, and then after one round, they’re dead. They cannot move. I don’t know how they trained if, after three minutes, they already cannot move. Basically, endurance is very important for athletes and for self-defense. And even though fights don’t last very long, usually just a few seconds, endurance stabilizes your psyche, and that is the most important component. So a self-defense person who has good endurance won’t panic and won’t freeze. These days, people like to do what they call functional fitness. They have realized that free- dom of movement is as important as strength, as are stability and mobility. [Get] as much variety as possible — different movements, different muscle groups, different workloads, different settings. Work in the field, in the forest, on uneven terrain, in the water, in the middle of the night. The more variety and challenge for the body, the mind and the psyche, the better. And skill grows much faster. That’s why we do our systema camps over six days, which is probably equivalent to three months of regular training in the gym. So training and endurance are important for students of self-defense and students of combat sports. Does it matter how you build that endur- ance? Yeah, but not that many people explain it. That’s what I like about Mikhail Ryabko: He’s an incredibly wise person. He explains so many different things, and it makes sense. For example, I’m 60 now, and I feel in some ways better than when I was 30. I’m more relaxed now. My body can move. The body is actually more and more light, not heavy. Systema seems very sustainable in that it grows with you. You can keep your body healthy and strong, and you can adjust the way you move as you get older. For sure. Sometimes martial artists from other styles see systema clips on YouTube and comment that everything looks too relaxed, that people aren’t trying hard enough or training aggressively enough. What do you say to that? First, they see that we are relaxed. Why be tense? I don’t understand that — if you’re relaxed, they think, Why isn’t the person tense? Why isn’t he afraid? In a fight on the street, one person relaxes and smiles and then suddenly punches you and you are out — because you didn’t see that. If a per- son starts to be tense, you can start to prepare yourself. So why be tense? Tension creates tunnel vision. You don’t see people around you. You can- not scream, you cannot do anything.  Second, if you’re a normal person, when you don’t know something, you start to work a little bit slower. For example, if you’re in a dark room, you don’t run through the room. You walk slowly and try to understand what’s in front of you. So the training makes you cautious? Yeah. Many times, I saw brave people, very high level, train. Mikhail always tells people, “Don’t rush, please. You cannot protect yourself. Why run full speed into the wall? That’s stupid. Certain movements I can control, but in certain situations, it will be the end for you.” I saw one guy grab Mikhail — he was a sambo practitioner — and he turned Mikhail like he wanted to throw him over his hips. Mikhail put his hand on his ribs and the ribs popped out because of his own movement. Mikhail just put his arm there. It [happened] in front of me. So is there a place for scaling up speed and intensity in systema? Is that something that’s reserved for more experienced practitioners, or should everyone work at speed right away? It’s up to you. Some people will speed up anyway. You can tell them to work slowly, but for them, slowly is one speed, and for you, it’s another speed. Everybody has their own speed.  How do you prevent sparring in a self-defense class from becoming just another type of com- petition? When you do the proper exercises — for example, breathing or slow push-ups, slow movements — they remove tension inside you, [remove] the fear because you start to view yourself a little bit differently. And then when the people fight with each other — right away, they do the group attack, fight inside the crowd — everybody starts to understand they’re nobody. [We have] 20 people or 100 people in the gym sometimes — that shows how good you are. They destroy you anyway because when you hit one person, the other people hit you from the back. But that’s good [because it reveals] weakness [and makes you] want to investigate yourself. So one of the best ways to train for self-defense is to use multiple attackers and try not to lock in on one person? The best way to train is to have variety. What bothers me is when people teach you, for exam- ple, to always run away from a knife. Sometimes you cannot run away. [If you try], they can stab you or grab you. When people teach martial arts nowadays, they move away from reality. These days, everybody has a knife or a stick. Not that many people do bare-knuckle fighting. But they forget about this and when they tell you to run away, it makes sense for them because all their training was developed for sport.  One of your knife-mastery DVDs was insightful. You said that even if you want to run away from a knife, people might not know how to run away. If they don’t practice seeing and moving, they’ll freeze when they see a real weapon. It’s a personal situation. Sometimes you’re in the dark and you turn and hit a tree. That’s why military guys train a lot, with explosives and every- thing, to see how the body reacts, how to not destroy yourself. Of course, it’s good to run away, there’s no doubt. But please try it.  At our camp when we practice knife confrontations, people in the huge open field have plenty of room to run. The attacker comes with a knife, [but] people can’t run away. People hesitate and stumble and can’t run properly. There’s a famous quote by Mike Tyson: “Every- body has a plan until they get punched in the mouth.” So you can work on your boxing combinations and hit the bag for months and you’re in great condition — and then somebody punches you and all your ideas go out of your head because you’re not used to getting hit. In systema, you allow yourselves to be hit quite hard by partners. Do you feel it’s essential for reality- based martial artists to get hit a lot in training? Everything you said is correct. [However], when we trained in Russia, Mikhail didn’t hit us a lot. Now, most of the time, we play with open hands. We pull people, rotate them, move them because we create better distance. Before we start studying striking, we have to teach our body to receive strikes. This is the foun- dation. If you don’t know how to absorb the strike with your body and your breathing, it’s going to be a destruction very quickly. [First it’s about] practicing how to stop your partner, then how to push and then how to strike. So there’s a progres- sion that makes it a good solid skill. If a person wants to stop the guy but his movement is like he wants to hit him — that’s how fights start. Systema is one of the only styles that ask what you want to achieve by hitting the guy. If you just practice striking the air or the heavy bag, the motivation might be to always hit the guy as hard as you can to do damage. But in systema, you often think, Do I want to break his structure? Do I want to remove his will to keep fighting? Do I want to stop his fighting spirit? Or do I want to just maneuver him so I can do something else? You’re completely right. Some martial arts schools emphasize learning how to defend yourself from other people. In systema, you do this but you also teach students how to defend themselves from other threats like stress, anxiety and improper breathing. People live in stress all the time, so it’s important to remove that and not escalate it. We say a good warrior is a healthy warrior. So it has to be both the body healthy and the psyche, the mind, peace of mind, light heart. All these good things have to be there. Judging from the state of the world, is real self-defense more important than ever or less important? It’s more important. When you do sport, it’s one thing, but when you do proper training, when people teach you how to see, [it’s different]. If a car suddenly moves strangely, you need to pay attention, not sit inside yourself, not think how good you are or how bad you are. [You need] to do. You have to look around because suddenly people can attack you. To be well-rounded, competent and effective in self-defense, what are the three most important things to work on? Our systema slogan is, “Strength, courage, humility.” That’s what you need to develop. That’s what I believe. Because of all the survival threats, there is a great need to study martial arts and self- defense. A superhero will not fly in to help you. You need to save yourself. Our goal in training is to relax people around us and ourselves. It’s like [facing] an angry dog. You don’t go aggressively against it because it will attack you even more. Every professional, when he’s dealing with an aggressive criminal, wants to calm him down, not aggravate him. Only as a last resort do you get into a fight. For information about Vladimir Vasiliev’s products, courses and training camps, visit russianmartialart.com .  This article originally appeared in a 2020 edition of Black Belt Magazine.

Itsuki Hirata was one of ONE Championship's fastest-rising atomweights. Her momentum was halted, and she struggled to regain that lost momentum. At ONE 167: Tawanchai vs. Nattawut II, Itsuki Hirata wants to leave recent losses behind her and show she's ready to ascend back into the division's upper echelon against Victoria Souza. "I want to show my strengths and the determination to win no matter what. Instead of waiting, I'll attack first. If I can win that way, I don't have to fight a full 15 minutes," Hirata told ONE. "The sooner it ends, the better. I'll go on the offensive from the start so I don't have to fight for 15 minutes." "Android 18" is feeling confident she holds the advantage in this matchup. After stints in America training, Hirata has become a more well-rounded athlete. Back in Japan, she has fine-tuned her game and is comfortable wherever this match takes place. "Since I'm a bit bigger, my reach will be different, and if I can strike smartly, I think I'll have opportunities in the stand-up," Hirata mentioned. "And in grappling, if I take her down, I think I can ground-and-pound from the top, so I'll fight without losing focus for even a second." Against a talented Brazilian grappler, Hirata wants to showcase her own dominance on the canvas. While content with striking, she made it known that her biggest want is to win via submission. "I'm confident I can get a finish, and I want to get a finish. I want to beat a strong grappler with grappling," the Japanese star said. "I'll mix it up without overly sticking to one thing. But if I can get a submission, make her tap out, that would feel great." While many athletes can become frustrated by losses, Hirata has found the silver lining for herself. The recent setbacks have opened her mind to embrace and learn from failure. Now Hirata is more free to compete, fail, and learn in the gym and take those lessons with her onto the global stage on June 7. "Before, I didn't even want to get hit. I didn't want to lose or fail in training. But after losing, I realized that training is a place to fail," Hirata admitted. "I fail a lot. I get beaten by female fighters and amateur fighters too. Before, I was being stubborn, but I changed my mindset, and it became easier." While she may put less pressure on herself, a win will thrust her back into the discussions at atomweight. The stakes remain high. ONE 167 will test "Android 18" mentally and physically, giving her a platform to show she is ready to climb once again. "Thanks to Coach Osawa, instead of just being tense, I can relax and do it. My thinking is completely different from when I was thinking about winning alone, like, 'It's okay to lose, just do what I can do," Hirata said. ONE 167 airs on Prime Video on Friday, June 7, at 8 p.m. ET/5 p.m. PT, free for all U.S. and Canadian Amazon Prime subscribers.

The Tiger, Black Tiger, Leopard and SnowLeopard are the Real Kings of the Jungle! Anyone who’s had to fend off an angry animal — even one as small as a house cat — knows the fury they can bring to a fight. It’s apparent to us now, and it was apparent to Chinese martial artists a thousand years ago. No doubt those astute observers were enthralled by the speed, power, evasive ability and often total abandon that certain denizens of the wild kingdom brought to their battles.  Chinese warriors — and Shaolin monks, in particular — analyzed the offensive and defensive moves of any creature they deemed capable in a fight. “There are a lot of Shaolin animals — including lesser-known ones like the dog, the scorpion and the elephant,” says Steve DeMasco, a Black Belt Hall of Famer who’s spent his career assimilating the Chinese interpretation of critter combat. “However, it’s the animals that make up the Shaolin ‘five fists’ system that are the best-known,” he continues. “They are the tiger, crane, leopard, snake and dragon.” The tiger offers the power to shake the earth and to be the authoritative king of  its lair. The leopard is nature’s master of precision — sharp, efficient and lightning  fast. The crane dances with accuracy and control, and offers weightlessness to rise above crises. The extreme chi power generated by the snake helps activate profound sensitivity and enables all the muscles to work as one. The dragon protects treasures, defends against famine and floods, and is filled with ancient wisdom and folklore. — Rob Moses, kung fu instructor What’s not so apparent to modern practitioners who don’t indulge in the Chinese arts is that with self-defense proficiency comes fortified health. Tranquilize the mind to attain awareness, and exercise the body to become healthy and agile. Without tranquility, you cannot attain enlightenment. With- out good health, there will not be good circulation throughout the body. Adequate exercise makes the body strong and the mind healthy. Without it, you will always suffer from pain and poor health. — Bodhidharma, on the goal of five-animals training Because of that binary benefit, much has been written about the big five. Here, we will focus on two of those animals that hail from the feline family, along with a pair of similarly supersized kittens that are much more obscure: the black tiger and the snow leopard. Together, they comprise what you might call the big cats of kung fu. THE TIGER Inspiration: “The tiger is the strongest animal,” says DeMasco, who has served as Shaolin Temple’s martial arts ambassador to the United States since 1999. “When it goes after its prey, a tiger doesn’t care what part of the body it attacks. It just hits with its paws, sometimes clawing the flesh before securing a grip. It will bite any part of the body of its prey that it can reach.” Interpretation: “In kung fu, we have the tiger tech- nique, which uses the open hand to strike and then grab — the hit becomes a trap,” DeMasco says. “When you hit, your hand is mostly open and your fingers curled. On impact, the hand is going to close. That’s when you use the fingers to grasp and rip. “Some people think the claws should dig in, but that’s incorrect. They’re for grabbing and then ripping.” Implementation: “It took me a long time to learn the tiger,” DeMasco admits. “Here’s something that’s inter- esting: You see this muscle in my forearm? See how I can put pressure on you and it doesn’t tighten at all? It took me years to be able to do an entire tiger form and squeeze hard without using this muscle and the biceps — and still have power.” “Now, I could rip a part of an attacker’s body and my biceps won’t move,” he continues. “That’s special tiger training. Think about how they figured this out! Let’s say there’s a big, strong guy with huge muscles. You’d think he could do a tiger move and rip your chest off, but the more he tightens his biceps, the less power he has in his grip. When he tightens the biceps, it loosens his grip. How they figured that out I don’t know. “As a result, all the training for tiger is centered on the elbow. You don’t even think about the forearm. You only think about the fingers.” The tiger claw is formed by curling your fingers and bending back your wrist. You should feel a contraction of the extensor carpi muscles in your forearm and a tiredness after holding the position for a few minutes. In application, the heel of the palm is used with a thrusting or slashing motion, and that is often followed by a clawing and grabbing action using the fingers. — Stefan Verstappen Stance is also important for this feline. “It has to be a fighting stance,” DeMasco notes. “It’s not a wide stance, it’s not a Shaolin form. They used this tiger stance to fight.” Strong stances that create stable, grounded positioning contribute to the effectiveness of tiger strikes. Circular arm motions with the tiger claws executed while chang- ing from one stance to another result in maximum torque and power for deflecting an incoming blow — or for taking someone to the ground. It’s effective at tearing up muscles in the arms, legs and body of your opponent, or it can be used to press, push and drive him away. — Eric Lee “The fighting aspect was one of the things I was at- tracted to when I learned about the system,” DeMasco says. “When I first saw a video of it, I thought, Oh my God. I love this. This is me!” The tiger form basically develops the muscles and the ability to relax and explode in one movement. — Hector Echavarria “The video I watched had one of the master’s students doing techniques that looked like our kempo techniques only they were much closer and more fluid,” he explains. “I have never seen Chinese movements that looked al- most like kempo — except in the tiger system.” Tigers use their incredible strength to overcome their prey. Then they use their claws to rip its flesh, attacking with a viciousness that inevitably leads to death. When pitted against an opponent who prefers to punch and kick, the [tiger] stylist uses his fingertips as claws to grab his opponent’s pressure points. That will cause the cho- sen spots on the opponent’s body to go numb and lose their ability to function normally. [He] may then use his fingers to strike vital areas and use his vicious strength and technique to break any part of the body he targets. — Sin Kwang The, via Christina Grant When two tigers fight, one will die, but the other will be crippled. — Chinese saying  THE BLACK TIGER Inspiration: “It’s a different type of training than you receive in the tiger system,” DeMasco notes. “The black tiger is much less common. It’s a variation — like what you get with praying mantis kung fu, which includes northern mantis, southern mantis and seven-star mantis.” Fu-jow pai, originally called the black-tiger system, was purportedly developed in Shaolin Temple, where it was preciously kept among the monks until a century ago. Then a monk whose name is unknown left the temple for the Hung Temple and took with him knowledge of the black-tiger system. Later, he was to train a man named Wong Bil Hung in the secret ways. It was Wong who renamed the system “tiger claw.” ... One of the few to learn the style was Wai Hong.  — Anne Darling “I know the fu-jow pai black-tiger form from Wai Hong and a tiger form from Shaolin,” DeMasco says. “As I said, they’re very different. Shaolin forms are fluid, but the black tiger is much more fluid. It’s continuous motion.” Interpretation: “A tremendous amount of power ex- ists in the black tiger,” he says. “It’s a lot of upper-body strength, which plays a vital role in the power movements. It’s also low to the ground. The ability to develop both of those requirements takes time.” Most [students] are very disappointed because they don’t become superhumans in a month or two. About 10 percent of the people last. — Wai Hong  “The Shaolin black-tiger form is very different in terms of fluidity and movement than is the Shaolin tiger form,” DeMasco says. “For tiger, it’s the strike with the palm and then grip or claw. Black Tiger is the same. The difference is the strikes. In the black- tiger system, there are training meth- ods that not only hit with the palm and claw but also rip muscle from your body. So hit, claw, grab and pull.” The black-tiger style is character- ized by its extensive footwork, acrobatic kicks, low, wide stances, and unique fist position (where the thumb is curled in the same man- ner as the other fingers rather than wrapped around them). According to the Shaolin grandmasters, the style is the single most external style in the Shaolin canon; the lon- ger the stylist practices, however, the more he or she comes to rely solely on internal power. — Wikipedia Implementation: “You can really see the difference between tiger and black tiger in the forms,” DeMasco says. “In regular tiger, you just come in with the palm to hit and claw. In black ti- ger, you hit with the tiger palm, then rip and pull. It’s a distinct difference.” The essence of fu-jow pai is to simulate the speed and grace of the fighting tiger. — Anne Darling Health Benefits of the Cats Because of the internal nature of train- ing in the tiger, black-tiger, leopard and snow-leopard styles, practitioners can expect their organs to be strengthened, Steve DeMasco says. “Breath- You learn to sink the air into your lower abdomen. When you learn how to control your breath and force it down, pushing air into that space. It strength- ens the organs so that when you can coordinate your movement with your breathing, everything becomes much more powerful.” THE LEOPARD Inspiration: “People are surprised when I tell them that the leopard is stronger than the tiger pound for pound but that because of its lack of size, the leopard has to rely on speed,” DeMasco explains. “The Chinese wanted to know why things like this are the case and learn how they could take advantage of them. That’s why they studied the movements of the animals — to understand why they attack, how they attack and when they attack and then mimic them. All this supports the methodology of striking with the leopard paw or leopard fist.” Strikes to the armpits, neck, spine and temples are easily done with the leopard fist, as are pressure- point techniques aimed at the legs or between the ribs. The strike usually begins from a relaxed position, then goes out and back quickly to make contact with the knuckles. You can also whip it out like a backfist. — Eric Lee “When you know the leopard, you’re hitting with the leopard paw,” DeMasco says. “You’re not hitting meaty parts of the opponent’s body. You’re going for the throat or nose, under the armpit, maybe the carotid artery or the ear. You go to vital parts of the body because the leopard is strong even though it doesn’t have that size [of the tiger].” Interpretation: “When the leopard is approaching its prey, it crouches and watches, then moves slowly,” De- Masco continues. “Eventually, it will run after the prey, but that’s at a different point than for the tiger, which is slower. The leopard starts running from farther away. The tiger has to get a little closer because it doesn’t have the speed of the leopard. The leopard instinctively knows it can get its prey from a distance.” Like a leopard, once a leopard stylist closes the distance, he often will use a leopard-paw strike, DeMasco says. “That might be a strike to the side of the rib cage, not the chest or the head. Leopard strikes use precision. He will hit you in the jaw where it’s weakest, whereas a tiger prac- titioner might hit you anywhere on the jaw and shatter it.” Leopards are best-known for their persistence. They will relentlessly pursue their prey until they have captured it. Their power comes from their ability to remain loose, relaxed and whip-like. That enables them to generate great speed and power. When a stylist defends himself, he takes control of his adversary as soon as he senses an opening. Once he be- gins the counterattack, he uses mobility and speed to end the fight almost before it begins. — Sin Kwang The, via Christina Grant “When the leopard attacks, it bites vital parts of the body, usually the neck,” DeMasco says. “In contrast, the tiger doesn’t care what it bites and it doesn’t care what it claws because it’s big, it’s strong and it’s used to overpowering its adversary. The leopard has to use its speed and precision. It targets soft-tissue body parts. The goal is to deliver pain that opens the door for a follow-up.” Whereas the tiger strike uses muscle strength, the leop- ard uses power, speed, balance and agile movements. Leopard attacks ... may follow a straight or circular path, but they almost always are short and precise. Even when retreating, you attack and surprise the opponent. It’s a different movement that other styles don’t use. — Hector Echavarria THE SNOW LEOPARD Inspiration: “If I had to guess where this animal form comes from, I’d say Tibet,” DeMasco says. “The snow leopard lives up in the mountains there. It’s not an ani- mal that China had historically. “But the snow leopard is a phenomenal animal that at- tacks very differently from the other big cats. The snow leopard is relatively stocky and low to the ground. It has incredible forearms, and it gets those forearms from climb- ing on rocky cliffs and living in a mountainous environ- ment. When it attacks, it hits with its forearms. It’s not that big of an animal — certainly not like the tiger — but it hunts successfully by using its paws to hit and then to claw. “In kung fu, snow-leopard techniques are all about fore- arm strikes. They’re very powerful, which is why I was at- tracted to the snow leopard and asked to learn it at Shaolin.” Interpretation: “As I said, the snow leopard uses the forearms,” DeMasco says. “In terms of self-defense, it’s totally different from, say, the tiger and the leopard. The striking is different, and the striking areas are different.” Those forearms can be offensive or defensive, he notes. “When you block, it’s a very hard block like the snow leopard would use in nature. Your hand doesn’t meet your opponent’s punch; your forearm does. You hit him with bone, and it hurts like hell.” Implementation: “When you use the forearm to block, the harder your enemy punches you, the more it’s going to hurt him because the contact involves the force of you coming at him for the block and the force of his at- tack,” DeMasco says. CONCLUSION Such are the tiger, the black tiger, the leopard and the snow leopard. Each cat style is composed of physical techniques as well as philosophical elements. All four offer unique strategies and training methods that are certain to benefit virtually any martial artist. Virtually but not all. “I think whether the big cats of kung fu appeal to you depends on your age,” DeMasco says. “Students who are interested in this type of training are usually adults. Why do adults take martial arts lessons? Very few times will they tell you they’re coming in to learn how to defend themselves. Instead, they want stress release. They want exercise. They want flexibility. They want better health.” Exposure to media also can inspire a cat craze, he says. “It did for me. Thirty-five years ago when I was an instructor — this was before I ever went to Shaolin Temple — I would talk in class about the philosophies and principles of the cats. Back then, I studied with masters in Chinatown every weekend, and after class, I would go to the Chinese theater. There, I’d watch the leopard against the crane, and I learned that no one can beat the tiger master unless he learns the leopard and the crane. I wanted that, so I studied even harder and eventually went to Shaolin Temple to learn the animals. That’s when I found out that studying this fascinating part of the martial arts can keep you occupied for a lifetime.” For more information about Steve DeMasco, visit sdsskungfu.com .   This article originally appeared in a 2020 edition of Black Belt Magazine.

3 Words All Instructors Should Know: “I don’t know.” If you’re a martial arts teacher, these are among the most important words you can speak in your dojo. Why? Because when a student hears you use these words, it can set the standard by which he or she judges you and your facility. THAT MIGHT SEEM ODD. As a sensei, after all, you’re supposed to know. That’s why you’re a sensei, isn’t it? If you signed up for a French class and on the first day you asked your teacher how to say “hello” in French and he said, “I don’t know,” you’d probably take steps to get your tuition refunded. So, yes, if you don’t know the basics of your art and how to teach them, you shouldn’t be running a class. If, however, you have students who have trained for 10 or 20 years and you’ve raised them to high levels of competency, then “I don’t know” is some- thing they should hear, at least from time to time. And if it’s in response to a question from a beginner, answer ing with “I don’t know” isn’t necessarily a bad thing. I’VE HEARD teachers admit that occasionally students — even beginners — will pose a question and they will have to say, if only to them- selves, “I’ve never thought of that.” It’s natural to feel embarrassed. Don’t wallow in that sentiment, though. Instead, use it as a catalyst to discover the answer. The correct response when you’re asked a question to which you don’t know the answer is, “I don’t know; I need to investigate that.” Then do it. Perhaps the question is historical or technical. It doesn’t matter. It’s your task as a teacher to find the answer and give it to the student. How should you do this? One of the best ways is to ask your teacher. Oh, you don’t have a teacher? Well, that might be something you want to reconsider. Are you really at a place in your pursuit of mastery where you no longer think you need a guide? Perhaps your teacher has died or is otherwise unavailable. In this case, you should have colleagues or peers who can be consulted. The strength of your art depends considerably on having close relationships with other teachers. This is a good example of why those relationships are important. As soon as you discover an answer or at least an explanation, it’s your responsibility to go back to the stu- dent. Tell him or her what the answer is — and how you discovered it. This serves a good purpose: It shows the student that all arts involve an ele- ment of cooperation and mutual effort. It also shows the student that no matter how long one trains, there will always be more to learn and that even for a teacher, a humble attitude is essential. IF THE STUDENT who posed the question is a senior, the situation is apt to be more complex, more challenging. At this point, you may want to change your reply: “I don’t know; we need to investigate.” All seniors need to accept the reality that, even though the teacher/student relationship will always imply a certain order, that relationship still changes over time. The student can never be “equal” to the teacher in the social sense. The influences that Confucian thought has had on the martial arts are too deeply imbed- ded. The student must always defer in some way to the teacher — just as we should to our parents. The senior and the teacher do, though, through many years of training, become like colleagues. The student respects the teacher’s position, and the teacher comes to respect the knowledge and skill of the student. More and more, they explore the path together — which is why I said both parties should investigate to find the answer. THE FIRST TIME a student asks a ques- tion you cannot answer and you say, “We need to think about this and work on it,” it should make the student feel simultaneously proud and humble. He should feel proud because it signals his progress along the way. He should feel humble because it means he now has more responsibility. You no longer expect him to exclusively play the student. He realizes that he’s part of the process and must take a more active role in training. When you, as the teacher, depend on a student to assist you, the study of the art becomes far more exciting and rewarding. Instead of being something the student does, the art becomes something the student is. WHETHER YOU receive a question from a relative beginner or an advanced student, there’s another thing you should keep in mind: Your student doesn’t expect you to have all the answers. He knows any martial art is layered and complex, an endeavor that takes a lifetime to mas- ter. He doesn’t lose respect for you when you say, “I don’t know.” Admitting you don’t know does not diminish you in the mind of your students. In fact, it can elevate your students’ sense of self. They see, in your admission, that the model of the sensei is not some fantastic goal, unattainable by all but a few whose powers are nearly superhuman. They see that you face the same challenges they do when they come to the dojo. There’s a great deal of ego involved in the combat arts. As a teacher, you must be even more sensitive to this than your students are. One way to be aware of these problems — and to address them — is to use those simple words from time to time: “I don’t know.”  This article originally appeared in a 2020 edition of Black Belt Magazine.

The Olympics consistently captivate global sports fans, and the upcoming 2024 Games in Paris are no exception. Previously impacted by the coronavirus pandemic, the last Olympics were held with significant adjustments, including no spectators. Despite these challenges, Japan excelled, particularly in judo, a sport where they have historically dominated since its Olympic inclusion in 1964. This article delves into Japan’s formidable judo legacy and their aspirations for the 2024 Summer Olympic Games. Japan’s prowess in judo is well-documented, with a rich history of success that dates back to the Tokyo 1964 Olympics. Renowned for their technical expertise and high standards, Japanese judokas like Yasuhiro Yamashita and Tadahiro Nomura have become legendary figures, influencing generations. The 2021 World Judo Championships saw Japan continue this trend, claiming multiple gold medals and setting the stage for another strong Olympic performance. The All Japan Judo Federation recently finalized their Olympic team, including Tokyo 2020 gold medalist Aaron Wolf. Alongside Wolf, notable athletes like Tadahiro Nomura, Uta Abe, and Shohei Ono are expected to lead the charge. Ono, in particular, is looking forward to the Games after his successes in previous Olympics and is enthusiastic about the cultural exchanges that come with competing internationally. Japan’s judo athletes undergo a rigorous training regimen at the Kodokan Judo Institute in Tokyo. Their preparation emphasizes not only physical conditioning but also mental resilience. The training environment fosters a culture of excellence that is reflective of the nation’s dedication to the sport. As the 2024 Olympics approach, Japan’s judo team is poised to once again showcase their dominance on the international stage. With a legacy of excellence and a team brimming with talent and determination, they are the favorites to continue their winning streak in Paris.

The August 1970 Karate Illustrated   featured one of Southern California's top competitors Carlos Bunda, featured on the cover with his brother Ron Bunda. Bunda made a name for himself as one of the toughest karateka of the blood and guts era facing noteable opponents as Chuck Norris, Dan Inosanto, Al Gene Caraulia . The photo was shot by staff photographer Ed Ikuta.

Judo, a martial art with roots in 19th century Japan, is more than just a sport or self-defense technique; it's a comprehensive discipline that offers both physical and mental benefits. Students who practice judo can enjoy enhanced health and academic performance, as the sport promotes a balanced lifestyle and mental toughness. For students balancing judo with schoolwork, leveraging resources like UKWritings.com 's assignment writing service can be invaluable, helping them maintain academic excellence while reaping the benefits of judo. Physical Benefits: Cardiovascular Health and Fitness: Judo's dynamic nature, involving throws, grappling, and constant motion, boosts cardiovascular health and overall fitness. Strength exercises integral to judo training, such as push-ups and squats, enhance muscle tone and flexibility, essential for safely performing judo techniques. Coordination and Balance: Regular judo practice improves balance and body awareness, critical for executing throws and defensive maneuvers effectively. This enhanced coordination extends beyond the dojo, improving agility and reducing injury risks in daily activities and other sports. Flexibility and Mobility: Judo emphasizes stretching and dynamic movements, increasing flexibility and mobility. This not only minimizes injury risk but also aids performance in other physical activities, contributing to better overall health. Mental Benefits: Discipline and Self-Control: Judo teaches respect, discipline, and emotional control, crucial for handling intense situations. These skills foster improved decision-making, concentration, and self-discipline, translating into better academic performance and personal development. Confidence and Self-Esteem: Progressing through judo ranks and mastering techniques bolster self-confidence and personal growth, enhancing self-esteem and resilience—key for overcoming academic and personal challenges. Stress Relief and Mental Clarity: The physical exertion and focus required in judo serve as effective stress relief. Practices involving breath control and mindfulness promote mental well-being, helping students manage stress and maintain emotional balance. Respect and Sportsmanship: Judo instills respect for others and oneself, fostering sportsmanship that extends into everyday interactions. This respect enhances students' ability to navigate social situations with empathy and resolve conflicts effectively. Judo offers students significant physical and mental advantages—from improving physical health and coordination to cultivating discipline and respect. By integrating judo into their lives, students embark on a path of self-improvement and personal growth, gaining skills that benefit them in all facets of life, from the classroom to personal relationships.

Islam Makhachev has been competing as a professional fighter since 2010 and has become a prominent figure in the UFC. He made his debut at UFC 187 on October 3, 2015, securing a win against Leo Kuntz via rear naked choke in the second round. Since then, Makhachev has participated in 15 UFC fights and boasts a 12-fight winning streak, matching the longest in the division's history alongside Tony Ferguson and Khabib Nurmagomedov. In 2022, Makhachev claimed the undisputed UFC lightweight championship at UFC 280 by submitting Charles Oliveira, marking him as the 12th champion in the division's history. He has successfully defended his title twice against Alexander Volkanovski and aims to equal the record for most lightweight title defenses held by BJ Penn and Khabib Nurmagomedov. His professional record stands impressively at 25-1, with 11 of his victories by submission. Makhachev is currently the top-ranked Men’s pound-for-pound fighter globally, reflecting his dominance in the sport. Makhachev's prowess on the ground is evident in his six UFC submission wins, showcasing his versatility and skill. His most notable submission was against Charles Oliveira, where he clinched the lightweight championship. This victory underscored his exceptional grappling capabilities, further solidifying his status in the UFC. 5 Standout Fights From Islam Makhachev’s Career UFC 220 - Islam Makhachev vs. Gleison Tibau: Makhachev demonstrated his striking power with a quick knockout victory, signaling his well-rounded fight capabilities. UFC 259 - Islam Makhachev vs. Drew Dober: This fight was a critical test for Makhachev, where he showcased his dominance by securing an arm-triangle choke in the third round. UFC 267 - Islam Makhachev vs. Dan Hooker: Makhachev's swift victory via kimura over Dan Hooker was a decisive display that pushed him closer to the title. UFC 280 - Islam Makhachev vs. Charles Oliveira: Facing the top contender, Makhachev combined striking and grappling to win the championship via submission UFC 284 - Islam Makhachev vs. Alexander Volkanovski: In his first title defense, Makhachev proved his elite status in a thrilling five-round bout, earning a unanimous decision.

As UFC 302 approaches, anticipation builds around what promises to be an electrifying night at the Prudential Center. UFC 302 will be held on June 1, 2024 at the Prudential Center, Prelims start at 6:00 PM The event is headlined by a pivotal lightweight championship bout between the reigning champion Islam Makhachev and the formidable challenger Dustin Poirier. With a stacked card featuring seasoned veterans and rising stars, UFC 302 is set to deliver non-stop action. Here’s a breakdown of the full fight card. Main Event: UFC Lightweight Championship Islam Makhachev vs. Dustin Poirier In a highly anticipated showdown, champion Islam Makhachev defends his title against former interim champion Dustin Poirier. Makhachev, known for his grappling prowess and tactical acumen, faces a well-rounded fighter in Poirier, whose striking and resilience have seen him through numerous wars. This clash of styles will test both fighters' championship mettle. Co-Main Event: Middleweight Bout Sean Strickland vs. Paulo Costa Middleweight contenders Sean Strickland and Paulo Costa are set to collide in a bout that promises fireworks. Strickland’s precision striking and trash-talking meet Costa’s aggressive power and pressure fighting. Both fighters are looking to make a statement and edge closer to a title shot. Main Card Fights Kevin Holland vs. Michał Oleksiejczuk Kevin Holland, known for his dynamic striking and charismatic personality, takes on Michał Oleksiejczuk, who brings a robust striking game and a solid ground skill set. Expect a fast-paced encounter as both fighters vie for middleweight relevance. Jailton Almeida vs. Alexandr Romanov In the heavyweight division, Jailton Almeida's versatility and submission skills test against Alexandr Romanov's judo background and heavyweight power. Both competitors aim to climb the heavyweight ladder, making this a crucial bout for their careers. Randy Brown vs. Elizeu Zaleski Welterweights Randy Brown and Elizeu Zaleski face off in what could be a striking enthusiast’s dream. Brown’s reach and creative striking against Zaleski’s capoeira flair and knockout power could make this one of the night’s most entertaining bouts. Preliminary Card Highlights Roman Kopylov vs. César Almeida Middleweights clash as Roman Kopylov seeks to establish his mark against the newcomer César Almeida, who looks to upset the rankings in his debut. Grant Dawson vs. Joe Solecki Lightweights Grant Dawson and Joe Solecki showcase their grappling skills in a matchup that could easily be a technical ground warfare. Phil Rowe vs. Jake Matthews Phil Rowe’s reach and striking variety will be tested by Jake Matthews' experience and well-rounded skill set in this welterweight duel. Niko Price vs. Alex Morono Known for their gritty performances, Niko Price and Alex Morono will likely engage in a wild brawl that could steal the show. Mickey Gall vs. Bassil Hafez Mickey Gall returns to the Octagon against newcomer Bassil Hafez in a welterweight bout that could dictate their paths in the UFC. Joselyne Edwards vs. Ailin Perez In the women’s bantamweight division, Joselyne Edwards and Ailin Perez aim to climb the rankings and get closer to contention. André Lima vs. Mitch Raposo Flyweights André Lima and Mitch Raposo open the preliminary card, both hungry to make a statement and rise in the flyweight echelon. Here is the full fight card: MAIN EVENT | UFC LIGHTWEIGHT CHAMPIONSHIP | 155 LBS Islam Makhachev vs. Dustin Poirier CO-MAIN EVENT | MIDDLEWEIGHT · 185 LBS | PRO MMA Sean Strickland vs. Paulo Costa MAIN CARD | MIDDLEWEIGHT · 185 LBS | PRO MMA Kevin Holland vs. Michał Oleksiejczuk MAIN CARD | HEAVYWEIGHT · 265 LBS | PRO MMA Jailton Almeida vs. Alexandr Romanov MAIN CARD | WELTERWEIGHT · 170 LBS | PRO MMA Randy Brown vs. Elizeu Zaleski PRELIMINARY CARD | MIDDLEWEIGHT · 185 LBS | PRO MMA Roman Kopylov vs. César Almeida PRELIMINARY CARD | LIGHTWEIGHT · 155 LBS | PRO MMA Grant Dawson vs. Joe Solecki PRELIMINARY CARD | WELTERWEIGHT · 170 LBS | PRO MMA Phil Rowe vs. Jake Matthews PRELIMINARY CARD | WELTERWEIGHT · 170 LBS | PRO MMA Niko Price vs. Alex Morono PRELIMINARY CARD | WELTERWEIGHT · 170 LBS | PRO MMA Mickey Gall vs. Bassil Hafez PRELIMINARY CARD | BANTAMWEIGHT · 135 LBS | PRO MMA Joselyne Edwards vs. Ailin Perez PRELIMINARY CARD | FLYWEIGHT · 125 LBS | PRO MMA André Lima vs. Mitch Raposo