Few would think that working on their vertical-jump height could improve their martial arts, but it can. Although martial arts training does not primarily depend on the vertical jump, improving it will develop strength, speed, power and explosiveness in kicking, punching, hopping and skipping — all of which are needed for agility in martial arts. Anytime you improve power or augment the rate of force absorption in your muscles, you create the potential to be faster and more explosive. But being fast and explosive also comes down to coordination and synchronization of movements. Vertical jumping develops both. It builds power and teaches you how to coordinate and synchronise the movements of the jump — much like learning a new martial arts technique and then working on coordination and synchronization to maximize effectiveness. Improve Your Vertical Jump: Body Fat Body fat has a significant impact on your vertical-jump height. Therefore, reducing body fat through proper diet will help improve your jump height, speed, explosiveness and power. Improve Your Vertical Jump: Breathing Intra-abdominal pressure is crucial to augment force in your jump. Before you jump, inhale through your nose to create core tension and pressure. The intra-abdominal pressure will stabilize your spine. And when you compress the force in your core as you jump, it acts like a compressed coil that springs your torso elastically in your countermovement, which is the jump. Improve Your Vertical Jump: Knee Bend The knee bend is what creates the spring or coil. The optimal angle for this is 70 degrees. At this angle, you will maximize the force of your jump by using your hips, knees and ankles. It creates a spring that works like a trampoline. If you jump with your legs bent at a 90-degree angle, you will lose power from your hips, knees and ankles because you will deactivate the spring. The knee bend helps the ankles stiffen and absorb force to transfer into your jump. And the knee bend allows your hips to move to compress and create force from the floor. Improve Your Vertical Jump: Fast Eccentric Motion Fast eccentric motion initiates the stretch reflex. The stretch reflex is an elastic mechanism in your muscles that acts like a spring. The best way to visualize the stretch reflex is to think of a trampoline. The harder and more forcefully you jump on the trampoline, the higher you will go into the air. Your muscles can do the same thing. However, the stretch-reflex elastic energy must be used within a second or it will dissipate. So it’s essential to teach your muscles how to absorb force. For example, when you squat down to the floor in your vertical jump, how fast you move eccentrically is crucial. If you move slowly, you won’t gain or gather enough force elastically to transfer into the concentric part, which is the jump. Consider this: If you drop a ball, it will bounce back. But if you slam the ball down, it will bounce higher. You can see that there’s a difference in the eccentric motion of bouncing a ball. It’s the same when you jump. And that’s why you need to go into your squat fast to activate the stretch reflex. Don’t go into the squat slowly, or you won’t gain the elastic energy you need to jump high and fast. Improve Your Vertical Jump: Arm Swing Arm swing is another component that helps create force. If you don’t swing your arms, you won’t gather or gain enough force to jump as high as possible. The motion of the arms swinging down and back will create more force, enabling you to jump higher and faster. Improve Your Vertical Jump: Compress The final step is to compress all the components together. Think about compressing your core and feet into the floor by bending your knees and swinging your arms back. Here is a video to help you develop your vertical jump to maximize power in your martial arts. Now that you have all the elements of an optimized vertical jump, you must synchronize and coordinate each one into a sequence. You won’t maximize your jump speed and height if even one of them is off. Remember that vertical-jump power will enhance and improve your speed jumps, hops and skips. In addition, it will transfer to other movements and techniques in your martial arts training. For more information about speed and explosive power, check out the book INSTANT STRENGTH .

The first step in any difficult endeavor is usually the hardest. In jiu-jitsu, that step is literally the step you take when you walk through the door to try what to you is a new martial art. The decision to challenge yourself mentally and physically and commit to a long and often arduous journey is never an easy one. Among the next few steps that will come early in your jiu-jitsu journey are the ones you’ll need to take to tie your belt. These should be much easier than many of the other steps you’ll take in the grappling art. The following are five steps that will make your belt-tying experience as easy as possible. Step No. 1 Hold the belt in front of your body with both hands, ensuring that the length of the ends is equal. The first step in submitting an opponent in jiu-jitsu is the setup, and the same is true when tying your belt. It’s important to get both ends even so you don’t have one that is much longer than the other. Step No. 2 Wrap the belt around your waist starting in the front. Intuitively, many first-time jiu-jitsu practitioners start to tie their belt by wrapping it around the back of their waist. However, the correct way is to start from the front. You should end up with one end of the belt in each hand. Give a little slack to the end with the black bar. This will help you with the next step. Step No. 3 Take the end of the belt with the black bar and place it over the other end. The final position will resemble an “X.” The belt should be snug around your waist at this point. Step No. 4 Take the end that you put over the top in step No. 3 and put it under the center of the belt. You should now be able to pull both ends to make it tight. If you were to let go of your belt with both hands, it should stay snug around your waist. Step No. 5 Cross the end with the black bar over the other end and loop it through, pulling it tight to ensure that your gi top stays closed. Once you follow these five steps, you’ll be ready to step on the mat and focus on your jiu-jitsu training.

Two Japanese characters make up the word: Ki means “energy,” and ai means “to unify.” The concept appears often in the traditional martial arts of Japan and in different ways. In the broadest context, it refers to ways in which an opponent is manipulated through means other than physical contact. That can include the use of vocalisations. There are very sophisticated psychological ramifications of kiai, however, and they extend far beyond just shouting. A stare. A way of posturing. The “attitude” one exhibits in the face of conflict. All these can be expressions of kiais. Shimada Toranosuke (1810-1864) was still in his teens when his swordsmanship made him famous on the southern Japanese island of Kyushu. Using a bamboo shinai, he won several contests. He eventually traveled to Edo (now Tokyo) and launched another series of challenges. Although he lost some, he began winning. A lot. His fame grew, as did his self-confidence, which, given his youth, probably fermented into arrogance. Shimada challenged Odani Seiichiro, a small, nebbish-looking fellow who happened to be the 13th headmaster of the jikishinkage ryu. Shimada and Odani faced off; the former was convinced it would be a short match. To his surprise, he found himself slowly moving backward. Shimada did not will it; it just happened. Odani was stepping forward, his sword out but not looking particularly threatening. Shimada, however, said the experience was like facing a moving wall of kiai. Before he realized it, he’d backed up the length of the hall. Odani relaxed, retreated to the center of the room and once again assumed the look of a chubby panda. Shimada followed, and they resumed their match. And once again, even as he struggled mentally, Shimada later recalled, it was as if a solid cloud was advancing on him. He was powerless. He found, in desperation and confusion, that his arms and legs wouldn’t work. He actually lost consciousness. Afterward, Shimada begged to be accepted as a student of Odani’s ryu. He excelled and later founded his own branch. (Those who are interested in learning more about Shimada should watch the drama The Sword of Doom. Toshiro Mifune’s character is based on him.) Accounts of this sort make kiai sound like magic — or perhaps a kind of hypnosis or method of mind control. Lest you dismiss it as so much nonsense, take a look at, for example, videos of systema experts. Don’t concentrate on their techniques. Instead, look for the way they move and stand as they speak. They exploit posture, facial expressions and physical size. All work not as a substitute for talent but as a way of establishing control. We like to think of magic as something embraced by primitive, unsophisticated people who are intimidated by any threat of a power that’s not seen but is somehow communicated. All humans, though, are susceptible to suggestion, to almost-unconscious clues we pick up from the behaviors, expressions and movements of others. This is where the realm of kiai exists in serious martial arts. Just in terms of the vocalization of kiai, the subject is still far more involved than many know — especially those who shriek like a banshee who’s just stepped on a Lego as they do their kata “performances.” In classical ryu, specific vocalizations are taught. Some sounds tighten the muscles in the back that are used for thrusting; others engage the abdominals that enhance striking. The sounds aren’t spontaneous squawks or roars. They have a deliberate meaning. A vocalized kiai might be used to confuse or distract an opponent, just as loud noises of all sorts will do. But it also can disrupt concentration and impose one’s will to exploit weakness in an opponent. The key here is to remember the actual meaning of the word: to unify or harmonize one’s energy with that of another person. In this sense, kiai is about infiltrating the mind of an opponent, then controlling it. Again, this might sound esoteric, but the reality is that in a deadly confrontation, it takes only a fraction of a second of inattention or distraction — think of the way a pickpocket works, subtly bumping into a victim to momentarily break his or her attention — to take the advantage. There is no need for a spell or a power that incapacitates long term. All that’s necessary is the briefest disruption. It’s no accident that Shimada was defeated by a master of the jikishinkage ryu. That school concentrated on kiai as a fundamental part of its curriculum. It exists today, and the training is still emphasized. This ryu defines kiai as a combination of respiration with and without vocalizations, and attitude. To teach the former, students begin with a furibo, a huge, fearsomely heavy club that’s swung in solo exercises to teach muscular and respiratory connections. Later on, the curriculum of jikishinkage ryu takes the student through a succession of four kata sets, each with a different form of kiai. They’re named after the seasons, which have a number of esoteric meanings along with practical physical lessons. The scrolls of ancient ryu have numerous references to the notion of kiai as a means for dominating an enemy. Kiai no ri is an expression used to describe methods for employing one’s energy to affect another person in a combative sense. Another term is kihaku, which today is often heard in kendo dojo in reference to a “strong spirit.” In older parlance, however, it meant an ability to control circumstances by projecting energy through posture and breathing. Kiai is one of the many aspects of budo that outwardly seem simple. Look deeper, though, and you’ll find that it’s far from simple.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.

Against all odds, those women managed to succeed in the male-dominated world of pro wrestling. They raised families while blazing a trail for female athletes long before many of the breakthroughs of the civil rights and feminist movements occurred. The formula that was used — “sex, muscles and diamonds” — changed the image of combat sports. Promoter Billy Wolfe and his wife, world champion Mildred Burke, sold glamour and action. The women entered the ring dressed like Hollywood starlets, doing battle in satin bathing suits and tight leotards while performing some of the industry’s most difficult moves and introducing new ones, which became their signature. Johnson’s flying dropkick and other aerial maneuvers made the women more exciting to watch than the men. Wolfe became the first promoter to welcome Black women into the wrestling ranks in the early ’50s with Babs Wingo of Columbus, Ohio. Wingo fought against Burke in the first integrated women’s championship match around 1952. Her sisters Ethel Johnson and Marva Scott, along with Kathleen Wimbley and other Black women, soon joined. The “Negro lady wrestlers,” as they were known, were fierce and fabulous. The public’s curiosity made them the next big thing in wrestling. Segregated audiences clamored to see these female gladiators with their strong, muscular physiques. The rest, as they say, is history. For 13 years, journalist and filmmaker Chris Bournea labored to unearth the history of these African-American pioneers. His research began in 2005 in his native Columbus, the home of women’s wrestling. While working at a newspaper called This Week, a subsidiary of the Columbus Dispatch, he had a friend named Terry Anderson suggest a story idea about a local woman who used to be a wrestler. Bournea followed up — and ended up with the great fortune of interviewing Columbus native Ethel Johnson, the first Black female wrestling champ. During her career, she was billed as the biggest attraction to hit girl wrestling since girl wrestling began. The sportswriters of the day called her “the Black Venus.” Representatives of Arnold Schwarzenegger’s annual Arnold Sports Festival in Columbus read Bournea’s article on Johnson. They said they had never heard the history of these amazing wresters and were wondering if Bournea could help them get in touch with Johnson so they could honor her with a lifetime-achievement award. Having an international superstar acknowledge Johnson motivated Bournea to continue his research into women’s wrestling. He soon uncovered the hidden history of these unsung “sheroes.” I saw Lady Wrestler when it was screened in New York at the Museum of the Moving Image as part of the Fist and Sword Martial Arts Series curated by Warrington Hudlin, and I was captivated. How did you find so much information on these women? I interviewed Ethel Johnson and Ramona Isbell and their children and then Marva Scott’s daughter Kim Martin. Kim remembered a lot of facts. I was fortunate that my friend Wil Haygood works for The Washington Post. He’s a very accomplished journalist, and he referred me to Jeff Leen, who I interviewed in the documentary [and] who is also a Washington Post reporter who had written a biography of Mildred Burke. He told me that the University of Notre Dame has a huge wrestling archive, and that’s where I found a lot of the archival photos and press clippings that had background about the women. The University of Notre Dame was really just a treasure trove of information. How did those women train? In the footage, they appear to be in superb physical condition with incredible athleticism. They really had to know the holds, how to move and fall. Ethel Johnson talks about how she and her sisters took gymnastics when they were kids, not knowing that it would pay off later. So they knew how to tumble and fall, do the acrobatic things. It wasn’t just getting up there and faking it. When Billy recruited them as teens, he wanted young women who were like martial artists. They had to have the flexibility and almost be like acrobats. They knew how to fall so that they didn’t break their arms or neck or something. Their young bodies could take all that type of really grueling tough training and abuse. Ethel, her sisters Marva and Babs, Kathleen Wimbley and others were among the first Black women to train in Billy Wolfe’s gym as part of his fighter-development program. They trained with his more experienced white female fighters, having medicine balls thrown into their stomachs, lifting weights, [doing] deep knee bends, practicing wrestling techniques, flipping over the ropes. Through this type of training, the women really developed the endurance of an Olympic athlete.Gerry Chisolm was Black Belt’s 2020 Instructor of the Year. For more information about Lady Wrestler, visit ladywrestlermovie.com

Kayla Hracho is in a groove of late.  After delivering mixed results over the course of her first three years as a professional fighter, the 32-year-old resident of Deerfield Beach, Florida has been on fire, winning her last three bouts in Combate Global’s cage, “La Jaula”, in decisive fashion, thanks in large part to her phenomenal punching skills. With her latest conquest – a unanimous decision over Spain’s Andrea Meneses on December 2 -  “Kayrock” ranks as high as #32 in the world in the women’s atomweight (105 pounds) division and finds herself at the front of the line for a Combate Global title shot in 2024. We talked with Kayla about her fight prep and post-fight rituals: What is your approach to food after the weigh in? I work closely with a professional nutritionist and weight-cut specialist named Eric Peña. After focusing on hydration, we aim to eat easily-digestible carbs and lean protein, and we limit fat and fiber. I try to eat small meal every few hours until I go to sleep. I shoot for foods that I ate during camp. In my opinion, if you fuel your body for 8 weeks with a certain type of gas, why would you completely switch up the gas type before the big race? My go-tos are salmon, chicken, rice and potatoes, greek yogurt, and fruits.  Describe your pre-fight playlist? I go through different waves of emotions pre-fight, and I listen to certain music based on how I’m feeling in the moment. During fight day, leading up to the event, I mostly listen to worship music. It keeps me calm and centered. When I arrive at the venue, that’s when I turn it up. I listen to a lot of Mobb Deep, Meek Mill, and even some reggaeton.  Do you have any fight day superstitions? I don’t have any superstitions, but I am somewhat regimented on fight day. I drink coffee and eat breakfast. I do a light workout. Then I spend the most of the day praying, meditating/visualizing, sleeping, stretching, eating, and relaxing. I may watch a movie, go for a walk, or relax in the sun. Before this previous fight, I spent some time watching old Ilia Topuria + Alexa Grasso fights.  Is there a specific person that always helps you warm up? My cornermen for my last 2 fights (and victories) have been the legends Thiago Alves and Johnny Eblen. Thiago is a UFC legend — a former title challenger and BKFC world champion.  Johnny Eblen is the current Bellator Middleweight World Champion. He’s a good friend and mentor of mine, and a damn good fighter. Thiago warms me up on the pads before the fight. These two guys get me in the perfect flow before stepping into battle.  Who is the last person you call pre-fight? On fight day, I’m typically alone the entire day until I meet my coaches at the venue. If I speak to anyone on the phone leading up to the fight, it would be my family.  What’s going through your mind as you make the ring-walk? The 20-second ring walk feels like a lifetime. At the same time, I’m thinking about everything and nothing. I am focused. Alert. Wide awake. I quickly run through my fundamentals and game-plan… “Knees bent. Hands up. Fast jab.” I utilize positive self-talk… “You’re the best. You’re prepared. You’re slick. You’ve worked so hard for this. Leave everything you have in there.” I think about specific combinations that I practiced all camp. And lastly, I breathe. I like to use the box breathing relaxation technique. You breathe in through your nose as you slowly count to 4 in your head, being conscious of how the air fills your lungs and stomach. Then hold your breathe for a count of 4, and exhale for a count of 4, releasing all tension in the body.  Once you see your opponent in the ring for the first time, is there anything that you're looking for? When I see my opponent standing across the cage, I don’t take my eyes off her. I’m scanning her eyes, her body and her chin, looking at the targets I’m going to hit. In my mind, I’m trying to instill fear, and letting her know by the look in my eyes that this is going to be her toughest fight yet.  What goes through your mind the first time you get hit? I’m going to hit her harder.  How difficult is it to control your anger during a fight? I’ve never been angry in a fight.  How often do you hear the crowd? I hear the crowd immediately before and after the fight, but not during.  Who is the first person you call post-fight? My mom. Does your post-fight routine change after a loss vs after a win? No, it doesn’t change. I typically take one week off training to recover and heal. If I’m able, I travel and spend time with my family. Whether I win or lose, I use this time to pause, reflect, and process the camp/fight. I study the fight (probably a few too many times) and list things that I want to focus on improving when I’m back on the mats.  What’s your favorite post-fight meal?  (or What’s the first thing you think about eating after a fight?) PIZZA AND PASTA WITH VODKA SAUCE!

We know that the benefits of martial arts training can be powerful and lifelong. After all, there’s got to be a reason we constantly leave the house, dress in what probably looks like pajamas with an oversized belt or sash around our waist, and proceed to punch and kick the air. Thing is, not everybody milling about outside the dojo can understand that motivation. Whether you are somebody who is trying to explain the reasons you’re doing what you’re doing or you are considering stepping into this weird-yet-worth-it world, this post is for you. Listed here are five ways — plus a bonus! — the martial arts can make you a better, well, you! Confidence Whether you walk into the martial arts studio a meek person too shy to make friends or you feel like an anxious performer too afraid to reveal your amazing personality on the stage of life, the confidence gain that comes with training may be a medicine you need. Just wrap your brain around the process you will go through. The martial arts studio is one of the few places where you can do uncomfortable things in a comfortable environment. You get to pressure-test your spirit and see yourself become a stronger person — physically and mentally. Like a sculptor uncovering the hidden beauty lying underneath unmolded clay, martial arts training chips away the negative thoughts that are holding you back and keeping you from unleashing your personality. Athletic Improvement While martial arts practice is not about gaining a heartthrob-level physique, there are many physical improvements that come in varying levels according to the style in which you train. Improved coordination, increased explosive power, better flexibility and enhanced mobility — the list could go on. The best part is, the athletic improvements don’t stop at the physical. Just like a basketball player before a big game, you learn to concentrate and block out all distractions in your head and in your environment. After all, as you perform a kata or work with a partner, you’ve got to keep your head in the game. Community & Legacy Something not often discussed as a desired result of martial arts training is the human connection. You don’t purchase a workout buddy when you sign up for a gym membership. However, learning martial arts means you are immediately surrounded by people, all of whom want to see you succeed in life. Not least in this positive stream is your sensei. Success without a successor is a failure. Just as your teacher pours his or her knowledge and devotion into you, one day you’ll get the chance to help another person on this journey. Beyond the success, this is an opportunity to be more significant in the world. Awareness of Self & Others Life’s like a ... Did you finish that line with “a box of chocolates”? I wouldn’t fault you if you did. The way I often finish is with “a snow globe.” Sometimes, we need to be shaken up a bit to see what remains settled at the bottom of our heart. In training, you get to see what habits are ingrained in your daily life and your attitude toward the world. When faced with aggression, do you posture toward it with ego and consume the threat; do you remain steadfast and unfazed, striving to analyze every aspect of the encounter; or do you give space and deftly avoid the problem? When you struggle to master a movement, do you give up, watch how another person does it or continue to work on it by yourself? You’ll find out soon enough. Healthier Habits It’s easy to quit a responsibility; it’s harder to quit a relationship. Though you may be able to stop going to the gym when it gets tough, it is motivating to have a sensei who’s dedicated to your personal accomplishments and healthier lifestyle. Like I touched on earlier, you are now a part of a community that wants to see you succeed in every aspect of life. Just as important as the decision to work toward a better you is the relationship you have with yourself, regardless of the phase of life you’re in. Through training, you start to work toward a better you because of the parts of yourself that you appreciate and desire to maintain or refine. In many ways, this is better than drawing that motivation from a place of self-loathing or a perceived lack that’s easy to succumb to. At the end of the day, it’s not just what you do. Why you do it also matters. BONUS! Work Ethic and Career Options I’ve met general managers who think highly of hiring martial artists because they know they’re willing to put in the work needed to achieve a goal. Aside from that, there are other opportunities that open up with formal training under your belt. Working security, becoming a stunt performer or action-movie star, opening a martial arts studio or offering private lessons (digital or in-person), stepping into the combat-sports world, writing for martial arts publications — all these are paths a martial artist can walk. Keep an open mind, and something amazing will pour in as an opportunity!

Like most netizens, we love Chuck Norris jokes. But Chuck Norris is more than just an action hero. As this classic interview with Sara Fogan shows, the former karate champion is also a deeply spiritual man who has devoted his life to helping children. Here are the real Chuck Norris facts. Missing in Action “In Missing in Action 3, the kids we worked with were all Amerasian,” Chuck Norris said while discussing his most memorable movie and TV roles. “It was in the Philippines, so they were half-Filipino, half-American. "We tried to help a lot of them financially. We were on the set one day, and this kid came in. He had a big growth on his cheek. When he walked around, he’d keep his hand over it. One day we took him to a surgeon, and he removed the growth. The change in him [was incredible].” Several days later, three more children with deformities found their way onto the set. “We had them taken care of, as well,” Chuck Norris said. “And the next day, we had a line of 100 or so kids. "And we were saying, ‘Oh, my, what can we do?’ We helped as many of them as we could because surgery over there was not that expensive. But it was sad to see so many of those kids with deformities.” Walker, Texas Ranger Chuck Norris added that his favorite episode of Walker, Texas Ranger was also about a sick child. The two-hour episode, titled “Lucas,” tells the tale of a boy, played by Haley Joel Osment, who was born with AIDS. “It was the most emotional script,” Chuck Norris said. “Of all my films and TV shows, that one affected me more than any other. When we sat down and read the script—I read every script with my writers to get a feel for it—after a while I had to stop because I was crying. The tears started coming down my face, and I looked at my writers, who were all crying, too. And I said, ‘I’ve got to rest; I’ve got to walk around for a while and recompose myself.’ That one was one of the most incredible scripts we ever had.” At the end of the episode, Chuck Norris ’ character had to perform the eulogy. “I said to myself, ‘Look, you’ll get one shot at this. You’d better be ready with the camera because this is too hard.’ And it was a very difficult scene to do. That was a special two hours for me.” The Black Belt Hall of Fame member and karate champion said the spiritual episodes of Walker, Texas Ranger were every bit as moving. “Especially the one about the gang leader who becomes a born-again Christian,” he said. “He finally finds his faith and breaks his gang ties, and now he’s an associate pastor. And the gang he used to run around with robs the church and injures the pastor, who goes into a coma. Now this boy’s at a crossroads. He has to decide, Does he resort to his gang ways, or does he try to forgive?” The plot unfolds as Chuck Norris’ character counters the violence of the gang members and talks to the youth about his faith. “I won the Epiphany Award for the best Christian show of the year for that episode,” he said. “In the last scene — you know, you can say ‘God’ on TV but you just don’t say ‘Jesus’ — the network didn’t want me to use Jesus’ name. But I thought, I have to. My character was talking about Jesus dying on the cross, not God. "So I wound up doing it anyway. The show did so well that they forgave me for doing it against their wishes.”

In a recent letter, someone mentioned his interest in taking karate lessons. He wanted to know what questions he should ask a prospective instructor to find out how well that instructor could train him. How to Choose A Martial Arts School - I'm sure there are many more people who are in a quandary about this, too. Each instructor is naturally biased toward his own style. Each will naturally say his style is superior. As has been said so many times before, however, an instructor is only as good as the students he turns out. He need not be the greatest karateka (karate practitioner) in the world. He need only be a good, patient and sincere teacher. To the prospective student interested in finding the best school and style suitable to him, I would recommend that you first contact the various karate schools in your area to find out when they hold promotional testing and whether spectators are allowed during the test. Most schools will allow people to view the testing, and I would be rather skeptical of schools that don't allow spectators or those which give out belts without a test. Once the test begins, observe not only the person testing but also those who are awaiting their turn to test. See if they are disciplined enough to sit patiently and quietly while their fellow students are being tested. Next, see if the candidate shows proper respect to the person or persons testing him. Respect and discipline are the foundations for any good school. Throughout the test, observe the physical conditioning of those being tested. The test should be hard enough to make them exert themselves, and their condition should be such that they can take it. During the test, you can also see what that particular school stresses most. Do they perform many forms (also called hyung or kata)? If so, are they hard forms or soft? Do they concentrate on the use of the hands or the feet, or do they use them equally? These points should all be considered in your selection of a school. The prospective student should also have a chance to see if the use of weapons is required or if there is an emphasis on board breaking. Also, find out also how much importance is placed on free-sparring. During the sparring, see how much control is used by the participants. This is a very important point. While at the studio, you will have a chance to observe the facilities it provides. See if these are up to the standards you have in mind. You might also check the following, if they are important to you: the appearance of the students (their uniforms should at least be clean and ironed) and the average age of the people testing. Compare the amount of time required by each school between each testing cycle and between each grade. If one school requires a minimum of one year before the green-belt test and another requires only six months, I would say the first school's green belts, on average, would be superior. Last but not least, check the instructor. How does he handle himself? Is it in a mature way? What is his appearance like? Is he setting an example of neatness? Does he appear to be in good physical condition? Would you be proud to point to him and say, “That's my instructor"? These are some of the things you should check when trying to find a new school for yourself.

In the 35 years he's been in show business, Chuck Norris has built a name for himself that's instantly recognized around the world. As the title of his newest book, Against All Odds, says, he's had to claw his way up from having a four-word bit part in his first film to being deemed worthy of starring roles in big-budget productions—all despite the naysayers who insisted that a mild-mannered karate champ could never make it big in Hollywood. Despite his success, he never forgets to give credit to those who helped him navigate his circuitous path to the top and always manages to find time to spread the magic of the martial arts to those who need it most. Keep reading for the full interview! BONUS CONTENT: New Name, Same Aim Former karate champion Chuck Norris says his mother often told him, "God has plans for you." He believes part of the plan is to help at-risk kids lead productive lives and fulfill their goals. His nonprofit organization, KICKSTART, is enabling him to do just that for thousands of children. Originally called Kick Drugs Out of America, it was founded in 1990. It was developed through private donations, he says, but people's misconception that it was primarily an anti-drug program often made it difficult to secure contributions. Consequently, his recent decision to change the name was a practical one. "Why have a name that you're having to spend a lot of time trying to explain?" he asks. "We changed it to KICKSTART: Building Strong Moral Character in Our Youth Through Martial Arts." The martial arts are an essential component of the program, he says, but the purpose of the training is not to teach kids how to fight. Rather, it's to raise their self-esteem so they don't feel they have to fight. "Think of the martial arts as help to raise your self-esteem in a positive way—it's been proved with my foundation over the years." There are currently 5,200 children in KICKSTART, which is in 37 schools. More than 30,000 people have already graduated and headed for college. "One of our boys is going up to MIT on a scholarship; that's very gratifying," Norris says. "Many of our kids are valedictorians, graduating and getting scholarships to universities. If you talk to them, they'll say, 'The program helped give me the self-esteem, the inner strength to pursue my goals in life.' " For more information, visit http://www.kick-start.org . —Sara Fogan Chuck Norris Exclusive Interview : Black Belt: Your movie career began in 1969 with an appearance in The Wrecking Crew. What do you remember about that role? Chuck Norris: (laughs) That's going a long way back. Bruce Lee was the stunt coordinator on that film, and he asked me if I wanted to play this part. And I said, "Oh yeah, it sounds exciting." So they gave me the script, and I had one line in it. I studied it for two weeks, trying to figure out how to say it. On the day of shooting, Bruce wasn't even there. Before he went off to do something else, he said: "Oh, you know how to do the fight scenes. You don't need me here." But I was nervous as can be. My one line was, "May I, Mr. Helm?" which I had to say when Dean Martin walked into the club to see Elke Sommer and Nigel Green. As he walked in and I was sitting in this booth, I could feel my throat tightening up. I jumped up and tried to say, "May I, Mr. Helm?" My throat froze up, and I couldn't even say it. Of course, they didn't care. Then I did the fight with Dean Martin, and it was fine. BB: Next was Return of the Dragon in 1973, a movie that included a monumental battle between you and Bruce Lee that people are still talking about. Norris: Yeah, that was amazing. Bruce had left for Hong Kong to pursue his movie career, and I didn't hear from him for a couple of years. Then he called me out of the blue and asked if I would be his opponent in this new movie, which he was directing as well. He said, "I'm going to do this big fight scene in the coliseum in Rome—a fight to the death, like two gladiators." And kiddingly I went, "Well, who wins, Bruce?" And he said, "I win; I'm the star of this movie." I said, "Oh, I see." Because I held the world title then, I said, "So you want to beat the world champion?" And he said, "No, I want to kill the world champion." I said, "Oh ... OK." BB: Were you happy with the way the fight came out? Norris: Oh yeah. It became a classic. Even to this day it's still … we just went to a Target [store], and in the DVD section there was only one copy of Return of the Dragon left on the rack. It's amazing. BB: Next came Breaker! Breaker! I remember that one—where you played a trucker—because I saw it at a drive-in theater in 1976. Norris: Breaker! Breaker! was a real low-budget film. We actually had to shoot a promo to get the investors to put up $240,000. It was my first strong acting role. Eighty percent of the people in it were my black belts—my students. It was fun to do, but it didn't do much for my reputation because it was a trucking film. It wasn't a "Chuck Norris movie" per se. BB: Next came Good Guys Wear Black in 1977. Norris: That was my first real film, and it was tough because there was a lot of dialogue. But luckily it had a lot of good actors—James Franciscus, Anne Archer, Lloyd Hanes—and they helped me a lot. We actually had to "four-wall" Good Guys Wear Black . No movie studio wanted the film, so we went out and four-walled it, which means we rented the theaters and whatever money came in, we could keep. I went around from market to market promoting the movie, and it did really well. BB: What do you remember about the pivotal scene in which you execute a flying side kick through the windshield of the moving car? Norris: That's really what sold the movie; it was the promo that brought a lot of people into the theater. Producers didn't think martial arts films had any life after Bruce Lee, but Good Guys Wear Black proved martial arts films still did have life. Now, that movie played in a lot of drive-ins. I went to one in Chicago, and cars were lined up for blocks to get in. I walked into the snack bar, and people started asking me to sign autographs. There was a line of women—because all the guys were watching the movie—and one of them was pregnant. Then her water broke, and she went into labor right there in the snack bar. I ran over, picked her up and put her on the table. Then we tried to get ahold of the husband, but he was watching the movie in one of the 2,000 cars in the drive-in. So they got on the speaker, and he finally came in. The ambulance arrived, and we helped her into it. She said, "If it's a boy, I'll name him after you." (laughs) Of course, I never knew … BB: After that was 1978's A Force of One, in which Bill Wallace played the principle bad guy. Norris: That was a film Pat Johnson wrote when I was on tour with Good Guys Wear Black. It was doing very well, and the producers said, "Let's do another film." So I called Pat and said, "What do you think about writing a script?" And he said, "How about one with you as a professional fighter?" I said, "OK." So he wrote A Force of One. No studio wanted this one, either. So I started the whole gambit again, following the same route I did on Good Guys Wear Black . And then A Force of One wound up out-grossing Good Guys Wear Black. BB: Then you began shooting The Octagon, which came out in 1979. Norris: By that time, Good Guys Wear Black and A Force of One had grossed a lot of money, so the studios wanted The Octagon. American Cinema is the group that four-walled us; they became a public company, and they distributed The Octagon as well. BB: Who were your co-stars? Norris: Tadashi Yamashita was my adversary. Richard Norton was in it, as was Aaron, my brother. All the guys I fought were my black belts. They were all wearing masks, and it was funny because I was fighting them, and after I'd knock them out, they'd run around and get back in [the scene] for a second time. I was knocking them out over and over again. BB: Your next movie was An Eye for an Eye in 1980. Norris: I played a cop in San Francisco. It was an OK film. The villain was Toru Tanaka, a big Japanese wrestler. He was a great guy. And Mako co-starred in it. It was fun to do. BB: Then in 1981 came Silent Rage, where the villain is injected with a chemical that makes him invincible. It was about a psycho who couldn't die. It's amazing that out of all my films, it's the one that makes the most people come up to me and say, "Are you going to do a sequel?" I say: "What would I do? I tried every way in the world to kill that guy. Finally I had to dump him down a well. There's nothing else I could do to him." BB: Also in 1981 was Forced Vengeance. Norris: I played kind of a cowboy who was in a casino in Hong Kong, where he worked as a bouncer/bodyguard for the owner. It was OK, but it wasn't something I was really excited about. I had a three-movie deal with MGM, and after doing Forced Vengeance, I could see the direction they wanted to go with me. So I talked my way out of the contract because that wasn't the direction I wanted to go. BB: Next up was another fan favorite, Lone Wolf McQuade, which was released in 1982. That's one of my favorites, too. It was great working with David Carradine and Barbara Carrera. I thought it was a good fight scene with David. Gil Reyes, the big muscle-bound guy I kept knocking out, ended up becoming Andre Agassi's personal trainer right after the film came out—and he still is. BB: Because your character in the movie always drank Pearl beer, I actually went out and bought some. It wasn't that great. Norris: That reminds me … in the movie when I was in my truck, which had just been buried in the dirt, I took out a Pearl beer and poured it on my head [to revive myself]. Well, you forget that's alcohol. I went, "Oh, man!" My eyes start burning, and I said, "What a stupid thing to do!" BB: Your next job was headlining Missing in Action in 1984. Norris: That film—all three of the Missing in Action films, actually—was very special to me. The first one, of course, dealt with the MIAs and my mission to rescue them. We shot it in the Philippines. In the second one, Missing in Action II: The Beginning, I was a prisoner of war who was trying to escape and all that stuff. It was a prequel. BB: After the second Missing in Action, you did Code of Silence in 1985. Norris: That was my biggest critical success. I played a cop in Chicago, and Dennis Farina was one of my co-stars. It was probably the first movie where the critics really praised me. They called me the next John Wayne. BB: Was that gratifying after having taken so much of the abuse that action stars always seem to take? Norris: It was nice to get good reviews, which I'd never gotten before. I always felt I was a people's actor, not a critic's actor. Steve McQueen once said: "Look, the critics can praise you to the end of the world, but if your movie makes $2, you're not going to work. So the thing is, as long as people come and see your movies, you're going to keep working, no matter what the critics say." So when I got crucified by the critics, I'd try to keep that in mind. BB: Invasion USA came along later in 1985. Any special memories? Norris: That's the one I shot in Atlanta and Miami. I wrote that screenplay [after] I got the story out of a Reader's Digest, which talked about what would happen if terrorists came into our country and started blowing up schools and buses and airplanes—things that would isolate our transportation system. [It was like] 9-11. Of course, in the film it was the Russians who were trying to scare us into not leaving our homes. And I saved the day. (laughs) BB: Your next effort, in 1986, was another military movie titled Delta Force. Norris: That was a good one, too, because it was a privilege to work with Lee Marvin. He was an incredible guy, a real macho guy. He was known for criticizing everybody—all his co-stars—and he never said nice things. Then they interviewed him right after we did Delta Force and asked him about me. He said: "I liked him. He was a cool guy." So I thought, "Thank goodness." BB: Around that time, some of your martial arts fans started complaining that you were getting away from fighting with your hands and feet and getting into fighting with machine guns … Norris: In that particular movie, it was appropriate because I was fighting terrorists [who had taken over] a plane. But we had a good fight scene at the end. Most of it, however, was motorcycle riding and stuff like that. It was more of a stunt movie than a fighting movie. BB: Next up in 1986 was one of my favorites, Firewalker. Norris: That was a script I loved. It showed a lighter side of my character, and I thought it would be fun not to have to be so serious, to just be a happy-go-lucky guy. It didn't do the gross that the other films did, though. BB: Had you always wanted to do a comedy? Norris: Not a comedy—I didn't want to be comedic. I just wanted a lighter role, and that's what I liked about Firewalker. It was great to work with Louis Gosset Jr. BB: In 1987 you returned to a serious role in Braddock: Missing in Action. Norris: The third Missing in Action film was about the Amerasian children in Vietnam. The story was, I was married to a Vietnamese woman. I thought she was killed but she wasn't. She was actually expecting a baby. Years later, I found out about it and went back to rescue them. BB: After that was Hero and the Terror in 1988. Norris: That was shot here in Los Angeles. It was a scary movie. The bad guy was a monster, a huge guy. It was OK, but it wasn't one of my favorites. BB: Your next role was in Delta Force 2: Operation Stranglehold, a 1990 sequel to your earlier success. Norris: That was a film we shot in the Philippines, too. It was just an action film. I had a lot of fun doing it. BB: In 1991 you made The Hitman. Norris: That was shot in Vancouver, Canada. It showed the darker side of my character—the opposite of Firewalker. I played a cop who was double-crossed by his partner and left for dead. Then he went undercover to crack this Mafia. And you really saw the dark side because he was a cold-blooded killer. He started questioning his loyalties, and being undercover for so long, he began to wonder who his true friends were: the FBI or the Mafia. That can actually happen to law-enforcement officers who go under deep cover. Sometimes their mind starts playing tricks on them. That's what The Hitman was all about. BB: Your next movie was a bit lighter: Sidekicks, released in 1993. Norris: Sidekicks was very successful. A friend of mine put up the money for it—a guy named "Mattress Mac." Mattress Mac owned—and he still does—one of the most successful furniture companies in Texas. He was actually the first man to put up money for KICKSTART, then known as Kick Drugs Out of America. I met him and his wife, Linda, at a charity function and started telling them about what I wanted to do with at-risk kids and all that. The next day, I went to their office and told them more about the program. Linda pulled out her checkbook and started writing. I was wondering how much they would give me—$5,000 maybe? I would have been excited about that, but she handed me a check for $50,000! Then Mac started promoting the program on his radio spots. All of a sudden, we had people coming in. I don't know if I would have gotten it started without their help. BB: After Sidekicks came Hellbound in 1994. Norris: It was an interesting movie, a little on the lighter side. [My adversary] was the devil—or his helper or whatever, a guy who had lived thousands of years. King Richard actually entombed him, then hundreds of years later some guys opened the tomb and let him run rampant. It was half humor and half sci-fi. I enjoyed the trip to Israel, where it was filmed. BB: In 1995 you made Top Dog. Norris: It was interesting working with a dog—even though they always say, "Never work with dogs or children." This dog was incredibly smart. I was doing a scene where the dog and I were running, and we both had our marks to land on. I ran up and looked—and missed my mark by two or three feet—but the dog landed right on his. And they said, "Chuck, if a dog can land on his, you can sure as heck land on yours!" BB: The last film on the list is Forest Warrior, which was released on video in 1995. Norris: Yeah, that was a cute movie we shot in Oregon. I played a man who gets killed and becomes a spirit in the mountains. Then I help these kids. It's a nice family film. BB: Last question: Which is your favorite, and which are you most proud of? Norris: I have to say I'm proud of them all. My favorite? That's a tough one because each has a special [meaning] to me. The Missing in Action films were very special because they were really the ones that [took] me to a higher level [where I was] more in demand. They helped spearhead my career. Of course, Code of Silence is special because it was a critical success. And Lone Wolf McQuade was a fun film. We're delighted to republish this timeless article for our readers' enjoyment.

When it comes to martial arts and strategy, only a few books are considered must-reads. One of them is The Book of Five Rings(Gorin-no-sho) by Samurai Swordsman Miyamoto Musashi . Written between 1643 and 1645, it remains a source of ageless wisdom. The recent publication of The Complete Musashi: The Book of Five Rings and Other Works, translated by Alexander Bennett, includes the well-known text along with other important writings by the famed samurai. The book’s release seemed like the perfect opportunity to find out why, after hundreds of years, the philosophy of the master swordsman is still studied and why it still rings true. Luckily, Alexander Bennett was able to speak with me about his martial arts career, the legend of Miyamoto Musashi and why Musashi is still relevant today. Way of the Sword In addition to being a gifted writer and translator, Bennett has extensive martial arts credentials: kendo (7th-degree black belt), iaido (5th degree), naginata (5th degree), jukendo (6th degree) and tankendo (6th degree), as well as ongoing training in three kobudo arts. As such, he is perhaps the most appropriate person to bring the legendary samurai’s wisdom to the world. Bennett’s personal story has the makings of a great warrior’s legend. Traveling to Japan from his native New Zealand as an exchange student, he was in the perfect place to study the way of the sword in the land of Musashi. After his host mother suggested doing something Japanese as an activity, he found kendo. Bennett described his first impression of the art: “That just blew me away. It was just crazy stuff going on in there. I’d never seen kendo before, but as you can imagine, a young, impressionable 17-year-old seeing people pretending to be samurai was pretty cool, so I thought I may as well give that a go. “And that was where it all started, with not much intent at all other than just to go in there and have a bit of a laugh, really. As I got into it, it was a bit like the Hotel California: I sort of checked in and didn’t check out again, and here I am, still here.” The demanding, and sometimes brutal training, which took place seven days a week, was physically and emotionally taxing, but it led Bennett to great personal growth. “You start to realize after a while it’s all a matter of your frame of mind,” he said. “If you put your mind to something, it doesn’t matter what the hell it is — you’ll get through it.” After decades of studying kendo, it almost seems fated that he would tackle the daunting task of sorting fact from fiction in the legend of Musashi. Legend of Musashi Although The Book of Five Rings is a revered text, Bennett pointed out that the original manuscript no longer exists. Subsequently, a plethora of versions, hand-copied through the ages and likely containing errors, made it difficult to find the most authentic one. “Trying to sort of identify which one is the closest to what Musashi wrote originally — that was the work of Professor Uozumi, whom I’ve known for many, many years. So I was able to reference his work to get to the closest version of Musashi’s original.” Though the errors of transcribers can be corrected, the myths surrounding Musashi are harder to correct, Bennett said. “Part of the reason for writing this book is to dispel a lot of the myths surrounding Musashi because the truth of the matter is, without the myths, Musashi’s life and his career and Musashi as a person are absolutely fascinating. “What he’s created, his career, is just phenomenal in its own right.” Ageless Wisdom Some may wonder about the value of reading Musashi in the modern era. As delineated in the book, the samurai was not talking about just swordsmanship. “Musashi goes to great pains to point out that it doesn’t bloody matter if you’ve got a sword or not,” Bennett said. “And if you’ve got a sword, it doesn’t matter how big it is; it’s how you use it. That’s the point. So he’s very clear about saying, ‘This is not just about one-size-fits-all kenjutsu. This is applicable to everything.’” This quote from Bennett’s translation of The Book of Five Rings may be recognized by some readers, and it’s quite possibly the best template for mastering skill: “One thousand days of training to forge, 10,000 days of training to refine. Be mindful of this.” (Musashi, 104) Whether you’re a swordsman, a Brazilian jiu-jitsu practitioner, an IT specialist or anything else that requires skill, you will find value in the message of Musashi: You have to work in your field for a long time to develop skill. Bennett explained the famous quote further: “You can learn the basic movements in three years — 1,000 days is give or take three years. But to truly master them and refine them properly so that they become a part of you takes 10,000 days of training — 30 years. That’s figurative, of course, but that’s something that in my own experience as a martial artist I find to be very true.” The road to a high level of skill and understanding is long, and Bennett crystalized the essence of Musashi’s message perfectly: “Anybody that wants a quick fix and wants to go and buy their McDojo black belt down the road — well, they’re just fooling themselves. If you really want to understand this world of the martial arts, then this is something that you have to prepare to spend a life doing.” Musashi, M., 2020. The Complete Musashi, The Book of Five Rings and Other Works. Translated by A. Bennett. Tokyo: Tuttle.

GLORY can officially announce that the ‘King of Kickboxing’  Rico Verhoeven (60-10, 20 KO) has signed a brand-new three-year contract that will not only see him compete in the ring for multiple more fights but also be more involved with the brand outside of the ring. In addition, Rico Verhoeven confirms that he will also enter the eight-man one-night GLORY Heavyweight Grand Prix which will take place Saturday, March 9, at the GelreDome in Arnhem, the Netherlands. The heavyweight champion joins a field which includes the previously qualified Tariq Osaro (25-3-1, 13 KO), Levi Rigters (15-1, 7 KO), Uku Jürjendal (20-8, 16 KO), Bahram Rajabzadeh (65-1, 58 KO), and Sofian Laïdouni (35-2-1, 17 KO), and Antonio Plazibat (22-6, 16 KO), who yesterday was confirmed as a wildcard entrant. "As someone who's been part of the GLORY family since 2012, I can honestly say that I've never felt more motivated and excited," Rico Verhoeven stated. "What truly inspires and drives me is the combination of facing challenges in the ring and my role in growing the brand and combat sports in general outside of it. GLORY's new direction for 2024 is a real game-changer. If you're a fan of combat sports, GLORY is the place to be for non-stop action and entertainment. I put my money where my mouth is by going up against seven other top heavyweights to claim victory in the Heavyweight Grand Prix on March 9!” “Rico has dominated the heavyweight division in kickboxing for the last 10 years, a feat that no other fighter managed to achieve in other combat sports,” said Pierre Andurand, GLORY co-founder and Chairman. “He is a great champion inside and outside the ring, and I am glad that he decided to fight in GLORY for at least the next three years. Going back to the eight-man tournament format and having Rico competing in the Grand Prix on March 8 is very exciting. Tournaments are more unpredictable and are a test of the fighting spirit. They guarantee more action, more emotions, and more drama. New stars will arise. I hope the fans are as excited as me about what is to come in 2024 and beyond in the sport of kickboxing.” “Next year will be an historic year for GLORY and with our new strategy in place, Rico will be an important driver for our future success,” said Maurice Hols, GLORY Executive Director. “I am thrilled to see him enter the GLORY Heavyweight Grand Prix and extend his contract for multiple more years. Having his involvement with the GLORY brand outside of the ring will also play an important role in what will be a massive period of growth & evolution of the GLORY product for fans.” This news follows the massive structure change to the GLORY 2024 calendar which will see thrilling Grand Prix events across the heavyweight, light heavyweight, middleweight, and lightweight divisions, superfights, bigger & more international events, and an elevated fan & viewer experience. The GLORY Heavyweight Grand Prix will take place March 9 live from the GelreDome in Arnhem, the Netherlands. For tickets, fans can join the   presale registration here . Stay tuned to  GLORYKickboxing.com  for more information on upcoming GLORY events.

GLORY 90 took place Saturday, December 23, live from the RTM Stage in Rotterdam, the Netherlands. It was the final event of a truly groundbreaking year for GLORY and it ended in style.   In the main event, welterweight champion  Endy Semeleer (36-1, 18 KO) retained his crown with first round stoppage victory over ‘House of GLORY’ winner Anwar Ouled-Chaib (3-1). The 28-year-old showed his class as he pressured & blitzed Ouled-Chaib to knock the young Moroccan down to the canvas three times in quick succession, forcing the referee to step in and call an end to the action.  It was his fifth straight victory and third title defense for Semeleer who is one of the P4P best kickboxers on the planet today.   Morocco’s  Nabil Khachab (27-4-1, 4 KO) booked his spot in the GLORY Heavyweight Grand Prix. The fan favourite pushed the action and looked a level above Serbia’s Nikola Filipovic (11-3, 6 KO) en route to unanimous decision victory.   Khachab now joins Rico Verhoeven (60-10, 20 KO), Tariq ‘Cookie’ Osaro (25-3-1, 13 KO), Levi Rigters (15-1, 7 KO), Uku Jürjendal (20-8, 16 KO), Bahram Rajabzadeh (65-1, 58 KO), Sofian Laïdouni (35-2-1, 17 KO), and Antonio Plazibat (22-6, 16 KO) in the eight-man one-night tournament set for March 9 at the GelreDome in Arnhem, the Netherlands.  Elsewhere on the main card,  Teodor Hristov (16-3, 7 KO) caused the upset of the night. The Bulgarian youngster scored the biggest win of his budding career with a decision victory over former champ Murthel Groenhart (70-27-3, 40 KO).  Enriko Kehl (53-15-2, 31 KO) potentially booked himself as the next contender for the lightweight title. The German stopped Arman Hambaryan (58-9-2, 27 KO) of Armenia in the third round. After the fight, champion Tyjani Beztati stormed the ring to go face to face with Kehl and the two exchanged words.  Albania’s  Berjan Peposhi (29-4, 16 KO) ended 2023 on a high. Having lost his first three fights in the GLORY ring, he stepped in on late notice to defeat Portugal’s Miguel Trindade (57-7, 24 KO) via split decision in what was an action-packed fight from start to finish.  Rising Moroccan star  Mohamed Touchassie (16-1, 13 KO) registered another electric performance knocking Cameroon’s Brice Kombou (18-4, 3 KO) down three times in the first round to get the TKO victory.  In the prelims, Turkey’s  Cihad Kepenek (22-6, 15 KO) made a successful return with a split decision victory over Poland’s Michał Blawdziewicz (11-7-1, 5 KO) and Dutch prospect Nina van Dalum (14-6, 1 KO) got her hand raised in her promotional debut against Portugal’s Debora Evora (27-10-1, 2 KO).  Here are the complete results breakdown for GLORY 90: Main Event - GLORYWelterweight Title Endy Semeleer (36-1, 18 KO) def. Anwar Ouled-Chaib (3-1) via TKO (three knockdown rule), round 1, 1:42.  Co-Main Event - Heavyweight Grand Prix Qualifier Nabil Khachab (27-4-1, 4 KO) def. Nikola Filipovic (11-3, 6 KO) via unanimous decision (30-27 x 5).  Welterweight Teodor Hristov (16-3, 7 KO) def. Murthel Groenhart (70-27-3, 40 KO) via unanimous decision (30-27 x 3, 29-28 x 2).  Lightweight Enriko Kehl (53-15-2, 31 KO) def. Arman Hambaryan (58-9-2, 27 KO) via TKO, round 3, round 3, 0:31.  Catchweight 67 kg Berjan Peposhi (29-4, 16 KO) def. Miguel Trindade (57-7, 24 KO) via split decision (28-27 x 4, 27-28).  Middleweight Mohamed Touchassie (16-1, 13 KO) def. Brice Kombou (18-4, 3 KO) via TKO (three knockdowns), round 1, 1:52.   Heavyweight Cihad Kepenek (22-6, 15 KO) def. Michał Blawdziewicz (11-7-1, 5 KO) via split decision (30-27 x 4, 28-29).  Super Bantamweight Nina van Dalum (14-6, 1 KO) def. Debora Evora (27-10-1, 2 KO) via unanimous decision (30-27 x 5)