For some, it may be difficult to remember a time when Chuck Norris wasn’t an established action-movie star. Although Norris’ legendary appearance in Bruce Lee’s film, The Way of the Dragon(1972) brought him to the attention of film audiences, a trio of action-martial art movies made in the late 1970s, consolidated Chuck Norris’ reputation to deliver top-notch entertainment, making him a bonafide movie star, as well as bringing martial arts films into the mainstream. By using successful film tropes of the era, such as the trucker movie, Breaker! Breaker! , conspiracy/spy films, Good Guys Wear Black , and the battle against the drug culture, A Force of One , Norris was able to make films that were more relatable than traditional martial art movies had been up to that time. There were no kung fu school rivalries or masters to be avenged. Norris injected his distinctive martial arts skills into what were usually standard pugilistic fight scenes and set himself apart. Here are the classic 70s films that brought an icon to prominence and every fan should see. Breaker! Breaker! (1977) It may not be a well-known genre now, but in the 1970s, movies about truckers were very successful. Smokey and the Bandit was one of the top-grossing movies in 1977 and Convoy, based on C.W. McCall’s chart-topping hit of the same name, was a success the following year. Breaker! Breaker! is a different movie from TheWay of the Dragon , and it put Chuck Norris in a setting that American audiences could identify with (He’s looking for his missing brother in a corrupt town, ala The Dukes of Hazzard , which would debut a few years later) and highlight the one major difference that Norris could supply: Chuck Norris kicking ass. Norris’ moves are crisp and they’re head and shoulders above the standard haymakers thrown in typical Hollywood movies at that time. With no special effects to hide mistakes, or wire work to enhance his movement, it is a testimonial to Chuck Norris’ ability that he sells the fights because he is a highly skilled martial artist. Overall, the fights are shot wide and there are no quick cuts. Today’s audiences may not be used to the look, but martial arts aficionados should be able to appreciate the work on the screen. The finale has slow-motion action, ala Sam Peckinpah and it should be noted that the final kick is the same flying kick used to sell his next movie: Good Guys Wear Black . Good Guys Wear Black (1978) The first Chuck Norris movie I ever saw was Good Guys Wear Black . I had never heard of Chuck Norris and didn’t see TheWay of the Dragon until many years later. I remember coming home from school and seeing the TV ads, which featured a guy jumping and kicking through a car windshield. I had to see it. The film wasn’t just my first Chuck Norris movie, but the first movie I had seen with legitimate martial arts, and it made an impression. At the time, America was still reeling from the Vietnam War and Watergate, and there was a general distrust amongst the citizenry of what had previously been unquestioned institutions. The unrest had given birth to a crop of films hinging on elaborate conspiracies, such as The Parallax View(1974) and The Marathon Man(1978). In Good Guys Wear Black , Norris plays, John T. Booker, once a member of an elite commando group called the “Black Tigers.” They were double-crossed on a rescue mission to retrieve POWs, and now someone is bumping them off, and Norris is next. There is a big opening sequence that includes Norris dispensing kicks amid explosions and a firefight. Although the flying kick through the windshield was the selling point for the movie, the fight in the parking lot, later on, is where Chuck Norris shows his martial prowess against three opponents, one of whom is Pat E.Johnson, legendary stunt coordinator and martial arts choreographer on The Karate Kid . Good Guys Wear Black provides the opportunity for Norris to do what his action star competition can’t, and that is to use incredibly quick punches, spinning back knuckles, and precise kicking where the standard, overly telegraphed, hook punches used to go. Because of it, and Norris’ cool-as-a-cucumber demeanor, he carved out a unique position in the genre and established himself as the one to watch. A Force of One (1979) In A Force of One , Chuck Norris plays Matt Logan, a Vietnam veteran, as he did in Good Guys Wear Black , although now he’s fighting professionally and running his own karate school. The film features Bill “Superfoot” Wallace as Logan’s nemesis, “Sparky.” A killer is using martial arts to take out cops investigating drug trafficking, so the police decide to add some martial arts to their training while working the case. Norris’ Logan is enlisted to train the narcotics unit investigating the murders, which provides a chance to see Norris teach self-defense to the officers. As Logan is a fighter, there is more action inside the ring than out of it. The kickboxing bouts are shot in a realistic style that is exciting and effective in getting the point across that Chuck Norris is for real. The fight footage shows Norris’ signature moves of kicking, punching, and throwing. Similarly, Bill Wallace’s character “Sparky” gets a chance to show his distinct style in the ring, and viewers get a taste of 70s kickboxing action. Pat E. Johnson, who wrote the story, makes an appearance as a referee of the first fight in the movie. Norris showcases a variety of techniques in the ring, including spinning back knuckles and reverse crescent kicks to great effect in the match between Norris and Wallace. The match eventually spills out into the street and turns into a fight to the death. A Force of One is my favorite of the three films and rounds out the Chuck Norris movies of the 70s. By making action films with great martial arts, rather than martial arts movies, Norris’ films enabled the viewer to enjoy them without understanding the esoteric nuances of the master-student relationship or other inside references. It broadened the scope of martial art films and made them accessible to a larger audience. For instance, my father had no interest in The Drunken Master (1978) , but he took me to see Good Guys Wear Black because he wanted to see it too. The work Norris put into the 1970s positioned him for the next decade and his next film: The Octagon . We’ll take a look at Norris’ work in the 80s next time. Until then, break out the bell bottoms and turtle necks, and have a screening of these action classics from the legend, and martial arts film icon: Chuck Norris.

An undefeated boxer and kickboxer, Graciela Casillas is the first athlete male or female to hold 2 world championships in martial arts and boxing at the same time. Long time advocate of self defense training for women, Graciela has expertise beyond the ring as a certified NRA weapons instructor, Kali FMA master, and one of the first and few women to graduate the ESI Executive Protection Program. Today she is one of the most sought-after martial arts and tactical trainers in the world teaching self-defense programs with stick blade gun and empty hand to civilian law enforcement and even military personnel around the world. She is also an adjunct professor at Oxnard College with two masters degrees. When you became the first person to hold world titles in kickboxing and boxing, how did you prepare for that? What was the lead up like for tackling two different disciplines at the most elite level? When I first began kickboxing, fights were few and far between since there were so few women in the sport. I trained each day with the hope that I would get a fight. I had to be strong emotionally and mentally. I only trained with men because there were no women to train with and they did not go easy on me. During the 70’s training was not sophisticated. Our workouts were several hours long and incredibly rigorous. Refugio Flores, who led the fighters and eventually became a world champion, worked us to the bone. We sparred hard, hit heavy bags, did focus mitt work, hours of conditioning, and just when we thought the workout was over, we would pile into a car and go to the high school to run the track. I often went home with a busted nose and bruised ego. At the time I was a student at University of California Santa Barbara, so I would drive every evening from the university to Oxnard and back without letting my parents know what I was up to because they would not approve of me fighting. My training paid off and I was winning all my fights, yet the struggle to get fights, equal treatment and respect from the other male fighters and promoters never stopped. I had to focus on preparing for the fights while dealing with rejection and unequitable treatment from a male dominated sport. Nevertheless, I was not going to give up on my dream to be a fighter. I continued to fight whenever possible and once I graduated from UCSB I decided to move to Los Angeles where I could get professional training and hopefully more fights. My kickboxing trainer at the time, Hap Holloway, would take me along with his other fighters to the Hoover Street Boxing gym where trainers worked with our hands. We also had a training session with Arnold Urquidez, brother, and trainer to world kickboxing champion Benny Urquidez. That was the first time I met his sister, Lilly Rodriguez. She was a ferocious fighter and I was impressed by the fact that she was a kickboxer and boxer. After meeting Lilly, I was determined to do the same. I showed up to the Olympic boxing gym where Jimmy Montoya, who I had met previously had the largest boxing stable in the world with many top-rated fighters. I told him I wanted to box professionally and asked if he would train me. Armature boxing did not exist for women at the time. He reluctantly agreed, and my boxing journey began. I initially thought ‘how hard could it possibly be?’ Remarkably hard. I kept telling myself to keep my feet on the ground. I quickly realized that boxing was more mental than physical. The fact that you were within arm’s reach of your opponent vs kickboxing where you could hang in kicking range brought on an entirely different dimension – and set of challenges. With boxing I learned that your opponent primarily targets your head and body whereas, kickboxing allows you to control distance with your legs. I did not belong to a dojo, so I simply trained at the boxing gym. When I needed to train for a kickboxing match, I would train with two professional champions, Howard Jackson, and Steve Fisher, both of whom were a significant influence on my fighting style. You were an early adopter to FMA tell us how that relationship began? In the year 1980, after fighting for several years, my journey took a significant turn. I had achieved victories in my fights, possessed physical strength, and knew how to finish a fight. However, at the end of the fight, one wondered who won the fight. I would leave the ring looking as bad as my opponent. Paul Maslak, editor of Inside Kung Fu and friend was concerned that my lack of lateral movement and footwork posed a threat of potential harm in the long run. He suggested someone who could refine my fighting skills and enhanced my overall performance. That person was none other than Dan Inosanto. Guru Dan Inosanto is a revered figure in the world of Filipino martial arts and Jeet Kune Do. His expertise spans a multitude of disciplines. While my initial goal was to develop lateral movement and footwork, it was the kali that truly captured my attention and passion. Kali, with its rich history, fluid movements, and explosive techniques. What particularly resonated with me was his philosophy of adaptation and progression within martial arts. He emphasized the importance of constantly evolving and adapting techniques to suit individual needs and circumstances, a belief that closely aligned with my own. Now, with over four decades having passed since I began this journey, my appreciation for martial arts continues to grow. As both a student and an instructor, I value the lessons learned under Guru Dan’s tutelage and carry them forward. This interview was taken from portions of a longer interview. For more on Graciela, check out the Black Belt+ exclusives section.

NBA Legend Kareem Abdul Jabbar, forever known for his role in the Game of Death , with his mentor Bruce Lee by M. Uyehara He ducked his head as he walked through the door. When he stood up straight, his head almost touched the ceiling. Everyone in the office paused as the well-known figure nonchalantly strolled into the display room to browse through our books. “He’s tall!” I murmured. “Are you Lew Alcindor?” I asked. He nodded sheepishly. I felt foolish afterward. How could he be anyone else? But then, what else could I have said to start a conversation? I’d seen him many times on television as he led the UCLA basketball team to the NCAA championship, but he didn’t seem awesome until I was face to face with him. (Back then, he was known as Lew Alcindor, but he later changed his name to Kareem Abdul-Jabbar.) The basketball star had just returned to Los Angeles from New York to finish his last year at UCLA. He’d studied aikido in New York from Yoshimitsu Yamada and wanted to continue with the martial arts. “Do you have any book on tai chi?” he asked. “Sorry, we don’t,” I answered. “But if you’d like to know about any Chinese martial arts, I know someone who can help you.” “Who is he?” “Have you heard of Bruce Lee?” I asked. “He was Kato on The Green Hornet TV series.” “No, I’ve never watched those shows,” Abdul-Jabbar responded. THE BALLER Later, during a visit with Lee at his Culver City, California, home, I discovered that the martial artist didn’t know about the basketball player, either. “You mean to say that you haven’t heard of Lew Alcindor?” I asked. “Gosh! Everyone has heard of him. He’s the most sought-after college athlete in the country right now.” “How would I know him?” Lee replied. “I don’t know anything about basketball, baseball or football. The only time I ever got close to an American sport was when I had to walk across a football field when I was attending the University of Washington.” After a long pause, Lee looked at me and asked, “What is so special about this Alcindor guy?” “He’ll be the highest-paid athlete coming out of college,” I replied. “For someone that tall, he’s supposed to be real smooth and quick.” “How tall is he?” “He claims to be 7 feet 2, but many think he’s closer to 7 feet 4.” Suddenly, Lee pulled out a chair and jumped on it. He called his wife Linda to get him the measuring tape. “Hold the end of the tape to the floor,” Lee said as he stretched the tape to 7 feet 2 inches. He dropped the tape but left his extended hand in midair, eyeing the distance from the floor to his hand. “He’s not that tall,” Lee remarked. “I’d like to meet him. I wonder how it feels to spar with a guy that tall. Can you arrange for me to see him?” THE FIGHTER A week later, Kareem Abdul-Jabbar called again, and I informed him that Bruce Lee wanted to meet him. It was the beginning of a friendship that lasted several years. Apparently, imagining a height of 7 feet 2 inches and actually seeing someone of that stature are very different. Lee was so awed by Abdul-Jabbar’s height that he kept muttering, “I never realized anyone could be that tall.” But Lee was not so impressed by Abdul-Jabbar’s sparring ability. “I told him to get into a flying stance and attack me first, but he was too slow,” Lee said. “He could never touch me. Before he could even move, I was gone — out of his reach. “Then I told him to be on the defensive. That guy had such long arms and legs. It was impossible for me to hit his face or body. The only target open was [the] knee and shin of his lead foot. “He’s too slow for me. I would have killed him in an actual fight. I would have first busted his leg, and there’s no way he could have stopped me.” Lee postulated that the only way he would be able to reach Abdul-Jabbar’s body would be with a kick. “If he should stand with his feet together, his stomach and groin area would be exposed,” Lee said. He must have talked Abdul-Jabbar out of tai chi chuan because after their initial meeting, the basketball player seemed to lose all interest in other martial arts except jeet kune do. From that day on, he became Lee’s constant companion and student. THE CONNECTION Abdul-Jabbar amazed Lee with his jumping ability. “For a guy that tall, he sure can leap,” Lee said. “One day, he jumped toward the rim of the basketball hoop and hit it with a front kick. I don’t think there’s anybody in the world who could do that.” Abdul-Jabbar had a keen interest in the history and philosophy of Asia, and Lee’s knowledge of Chinese philosophy made an impact on the young man. From time to time, Lee would take him along to see Chinese or Japanese sword-fighting movies. Eventually, the basketball star became hooked and would sit by himself in a movie house if he couldn’t find a companion. Lee also took him to see karate tournaments, but Abdul-Jabbar never seemed to enjoy them. One problem was the autograph seekers. Whenever he attended an event, his name would be announced and the fans would swarm like angry bees. At the beginning of their relationship, Lee could not understand Abdul-Jabbar’s behavior toward autograph seekers. “I can’t figure him out,” Lee used to tell me. “It doesn’t take but a second to sign his name. I don’t know why he gets so peeved and upset over it. Sometimes, he can get real rude and just refuse them point-blank. “For me, I don’t mind it at all. Actually, I think it’s a pleasure to autograph my name, especially if it’s for the kids.” Lee’s appraisal of the ball player’s attitude changed one day, however. The three of us were going out to lunch. Knowing that Abdul-Jabbar resented being pestered in public, I suggested a Japanese restaurant. I figured few patrons there would recognize him. He seemed pleased with my concern. Lee had an old blue Chevrolet at the time. The paint was turning dull from lack of polish — he apparently never shined it. The car’s only distinctive feature was a sticker on the back window with the inscription, “This Car Is Protected By Green Hornet.” Lee boasted of the sticker because it was so rare. “Only a few hundred were printed,” he said with a smile. “I tried to get more, but even I couldn’t get any.” As I got into the car, I kept wondering how Abdul-Jabbar could squeeze into the front seat, but he had no problem. He just slouched gently and raised both knees over the dashboard. Later, Lee told me that Abdul-Jabbar’s car is unique. “He took out the front seat, and he drives from the back seat. I feel funny when I ride in it because the dashboard is so far away.” The three of us arrived at the Japanese restaurant before the noon crowd. Only a few customers were there. As we entered, however, all eyes turned to us. We sat at an empty table, and Abdul-Jabbar felt quite at ease because no one bothered him while he studied the menu. But his comfort lasted only a minute. As soon as he had placed his order, a daring customer approached our table for an autograph. Then another came, and within minutes a line had formed. Abdul-Jabbar labored on, signing his name on any materials the customers could find in the restaurant — business cards, napkins, matchbook covers. When the food was brought to our table, I expected the customers to have enough sense to leave us alone and return to their tables, but I was mistaken. They kept disturbing him, not giving him a chance to take a bite. Finally, he politely but firmly blurted out, “Can I do it later? I’d like to have my lunch first.” The crowd dispersed instantly, but that exposure sure taught us that being a celebrity has its disadvantages. I thought Abdul-Jabbar kept his cool pretty well through the ordeal. And I think Lee felt sorry for him then. After we had eaten, the customers began to eye our table, but Abdul- Jabbar and Lee left before they could react. As I went to pay the check, one of the Japanese waitresses rushed out of the restaurant after both men, yelling, “Wait, wait, please! I need one more for Stanley!” They kept walking swiftly toward the car, ignoring her. But the waitress was persistent. She ran until she caught up with them at the parking lot a half-block away. Although Abdul-Jabbar gave his autograph, he was furious with her. THE TRAINING Lee had Abdul-Jabbar work out daily during the basketball season. “Lew is really getting into top shape right now,” he commented delightedly. “I have him jog four to five miles a day, lift weights and do our regular workouts when he’s not practicing basketball.” “Does the training help Lew?” I asked. “The shuffling [movement] that I taught him helps him a lot, and he says he’s getting better balance.” After basketball season, Abdul-Jabbar still visited Lee because the ball player wanted to put on more weight. He believed he needed 30 more pounds to compete against big pro basketball players like Wilt Chamberlain. Lee placed him on a special diet and tried to coerce him to lift weights regularly but failed. “After the season, he didn’t want to train at all, especially with barbells,” Lee said. Abdul-Jabbar didn’t want to work out every day he came to visit Lee. Sometimes they would just talk about a topic, but in between they still worked out. Once, when Abdul-Jabbar and Lee came to our office, both were completely drenched with perspiration. “What have you two been doing?” I asked. “I got him to try out my trampoline,” Lee said with a smile. “You what?” I cried out. “I got him jumping on the trampoline,” he repeated. It was hard for me to conceive of a giant like Abdul-Jabbar jumping up and down on that springy equipment without injuring himself. “You just signed a contract over a million dollars, didn’t you?” I asked Abdul-Jabbar. “Yeah,” he said, nodding his head. “What would happen if you had fallen off and got hurt?” “The contract is already signed, so I still get paid,” Abdul-Jabbar said. THE GAME The long friendship between Bruce Lee and Kareem Abdul-Jabbar began to deteriorate during the filming of Game of Death. Abdul-Jabbar was taking a vacation in Asia and was determined to see Lee. By this time, both men were crowned with success. Lee was the biggest movie idol in Hong Kong, and Abdul-Jabbar was the top player in the NBA. When the two friends met, Lee was completing Way of the Dragon (released in the United States as Return of the Dragon ), which he produced almost single-handedly. He did nearly everything —directed, produced, wrote the script and acted. When Abdul-Jabbar dropped in, Lee took advantage of the situation: He convinced his friend to do a movie with him. With only limited time and without a script, Lee began to shoot mostly fighting scenes. For the next two weeks, they spent hours on the set, shooting reel after reel of film. During one segment, Lee and Abdul-Jabbar almost got into a scrap. “Lew got angry because I scraped him while doing a high kick,” Lee said. “He clenched his fists and started to come after me. I just stood my ground and told him that if he wants to fight, it’s OK with me. At this time, the stage hands and all the crew got excited and came to watch. “Lew finally backed down and said, ‘Let’s forget it.’ I told Lew that he must expect to get hit when making a martial arts movie. There’s no way I can prevent hitting him if I want to put realism in the movie. “I guess Lew’s trip to Hong Kong wasn’t so pleasant. At home, Lew is a celebrity, but in Hong Kong, he’s nobody. People here don’t know anything about basketball. When he first came down, my workers, who always made sure to take care of my needs, kind of ignored Lew. I think he felt slighted by their attitude, although I tried to instruct them to take care of Lew, too.” Working with a tall person like Abdul-Jabbar also took its toll on Lee. “I had to take it easy for a full month before I could kick again,” Lee complained. “I was trying to get a perfect kick to Lew’s jaw, and I must have kicked at least 300 times that day. You know how high his chin is? I had to really stretch my legs. Well, I finally pulled a groin muscle.” It’s unfortunate that Game of Death was not completed by Lee.When he died, he left reels of footage but never got to it. After his death, the film project lay dormant until it was finally completed in 1978. This article was published in the August 1979 issue of Fighting Stars, a sister publication of Black Belt. It was written by M. Uyehara, the founder of Black Belt magazine. BRUCE LEE is a registered trademark of Bruce Lee Enterprises LLC. The Bruce Lee name, image and likeness are intellectual property of Bruce Lee Enterprises LLC.

History has a flow; some characters are caught in the currents and carried along, while others fall into an eddy and are soon forgotten. Most karateka will recognize names like Gichin Funakoshi and Choki Motobu. Far fewer know anything about Yasuhiro Konishi — even though he was a pivotal figure in the development of karate in Japan and its evolution as a budo. Konishi (1893-1983) began training in the Muso Ryu of jujitsu at age 6. Shortly thereafter, he joined the Takeuchi Ryu, another school of jujitsu. Seven years later, he began training in kendo. He attended Keio University and became the university club's kendo coach. Konishi was a person who was utterly occupied by budo. One of the kendoka attending Keio University at the same time was Tsuneshige Arakaki, an Okinawan. At a party, he demonstrated a karate kata. Konishi was instantly intrigued. He began learning the art from Arakaki. After graduating , Konishi worked for a company for a short time, but in 1923, he opened his own dojo, called the Ryobu-Kan. There, he taught kendo and judo — and continued to learn karate. This was a fertile period for karate in Japan. In 1922 Funakoshi demonstrated the art at judo's Kodokan, which attracted considerable attention. In 1924 Funakoshi approached Konishi and asked about renting space in the Ryobu-Kan for training. At the same time, two other Okinawan karate experts, Motobu and Kenwa Mabuni, also came to the Ryobu-Kan, using it for their own training. Meanwhile, Konishi pursued his kendo practice, learning under Nakayama Hakudo, one of the luminaries in the sword art. Simultaneously, he worked with aikido founder Morihei Ueshiba, who encouraged him to create a karate kata that emphasized a formal system of footwork. Think about it: The most famous and accomplished martial artists in early 20th-century Japan were either training or teaching at Konishi's dojo — or they were tutoring him. It's fascinating to think about the energy and talent that existed in that small space. Additionally, in the early 1930s, boxer Tsuneo "Piston" Horiguchi came to Konishi to improve his skills. That same year, he won the featherweight boxing championship of Japan. One of Konishi's more interesting contributions to karate's early development had to do with the establishment of the art as a real form of combat. This was a period when karate schools were being encouraged by the Japanese government to formalize their organizations. Karate in Okinawa had always been taught in a very informal manner. The Japanese wanted names and specific curricula to keep things in order. Given the rising militarism and government control in Japan, the urge was to codify everything. In response, Konishi chose the name Shindo Jinen Ryu for his system. Characters for the second word are more commonly pronounced shizen, or "natural." Shindo refers to the "divine path" and was a clever choice by Konishi. Many schools of swordsmanship used this term in their names; it suggests a divine inspiration for the founding of the school and connects it with Shinto. By using it, Konishi implicitly linked his karate with ancient Japanese traditions, making it seem more familiar and worthy of respect. Konishi was also instrumental in gaining official recognition of karate within the influential Dai Nippon Butoku Kai. Using his position as a senior kendo instructor, he convinced the leaders of the Butoku Kai, who controlled all the modern budo in Japan, to include karate in their sponsorship. He was the first karateka to receive, in 1935, a title as a Butoku Kai ranked teacher. Despite the fact that Funakoshi, Mabuni and Motobu were his teachers, they would not receive this title until six years later. One of Konishi's more interesting contributions to karate's early development had to do with the establishment of the art as a real form of combat. Remember: There were hundreds of jujitsu schools all over Japan during the '20s and '30s. They fought among themselves, mostly to establish which school was the "best." Challenges were common and the competition fierce. So you can imagine how these schools reacted to a completely new fighting art coming onto the scene and trying to make a name for itself. When Funakoshi began publicly teaching karate, those challenges were numerous — and serious. Here's how it worked: You came to the dojo and requested a challenge. You would then face a senior student. Beat him and you had the right to face the teacher. Beat the teacher and you took the dojo sign as a trophy. Fortunately for Funakoshi, he had Yasuhiro Konishi and another senior student named Hidenori Otsuka, both of whom were eager to face these challengers. That they were successful did as much to solidify karate's reputation as its official recognition by the Butoku Kai. Finally , Konishi made a less dramatic but equally important contribution. He was an adherent of sekkotsu, a practice similar to chiropractic. He also had a thriving real-estate business. These afforded him the funding to keep up his dojo as a gathering spot for martial artists, and they allowed him to sponsor karate teachers. Motobu, for instance, had little money and did not speak Japanese well. It was Konishi who provided the funds for Motobu to stay in Japan and teach. After he died in 1983, Konishi's son took over the Ryobu-Kan. It remains a small but energetic karate system in Japan and has practitioners and teachers throughout the world. It's useful to look back at what Konishi did and how he did it. He was an accomplished fighter, a successful entrepreneur and a respected senior in the budo community. He's not as famous as other Japanese karateka, but he is a good model for those who want to pursue karate today. 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.

To understand the core of martial arts is to remember the creation of this earth when God created all that is in existence today. Every living creature- be it human, animal, or insect- were all created with the instinct to protect and defend. For example, when the praying mantis is being attacked by another insect, the praying mantis fights for its life. After surviving an encounter, the praying mantis learns to depend on its defensive maneuvers. In martial arts, these survival instincts are brought into play to develop combative techniques to survive a deadly encounter. Over the decades, many systems have become popular for its combatives; such as JKD, BJJ, Akido and many others. One system that is becoming more and more popular for its combat effectiveness is w ushu. Wushu originally was looked upon as a performing art with beautiful kata, weapons and fighting sets. One individual that has taken wushu beyond the performing side is Willie “THE BAM” Johnson. Johnson is a Maryland based wushu instructor with an extensive background in practical wushu techniques. He is America’s first male wushu triple crown champion and graduate of the Beijing Institute of Physical Fitness of China in 1985. For the last four years, Johnson has been teaching and promoting his wushu combat skills through professional law enforcement agencies. His wushu combat skill comes from 23 years of martial arts training and numerous deadly encounters in the streets. His techniques are taken from Kong Duk Kwon, Wing Chun, Judo Northern Shaolin Kung Fu, Street Fighting, Guji Bu, Wushu, Chin Na, boxing, and jail house combat. The techniques are simple but deadly- based on the principle of flowing in harmony with the universe. For example, if one takes you down with a hip throw you go in the open direction of the technique to make the opponent feel less in control and at his weakest point you strike out. This object of pushing when pulled and pulling when pushed. Johnson has survived many street encounters with and without weapons with his physical and mental combat skills. In the streets, the attacker’s only goal is to set and destroy. We must be aware of this. Johnson said "Effective techniques are important, but construction awareness of your surroundings is the first step. This day and age we are like soldiers in a war, so it’s important that we walk our post in a perfect manner always being alert. If you can’t prevent the encounter, then it’s time to have the courage and confidence to come out on top." Techniques are important, but inner spirit is what brings the technique alive. This is important in practice because the way you practice is the way you respond. "What I teach is effective because in my teen years I was the attacker and now I am on the other side as the defender. My wisdom gained through these experiences gives me the attackers mindset, attitude, and techniques." - Johnson This is what Willie “THE BAM” Johnson has brought to the wushu system, and as long as he lives by the 12 principles of his combat wushu system help book of honesty, open mindedness, willingness, patience, consistency, righteousness, unity, charity, sobriety, courage, self-denial and love he will continue to improve his martial way by controlling to prove that it is one of the most effective combat arts around today. Many people on the streets focus on the kill or be killed mindset. They idolize violent people as role models, such as the characters from Scar Face and Rambo . "You see I was one of those kids and thanks to God for my understanding I can teach others these principles to help them survive and become a good person with strong morals. The “killer instinct” can be used to hurt others for unjust reasons or to save our own life. The survival instinct is triggered when under great stress and allows someone untrained in fighting to save their own life in whatever way necessary. Everyone has this instinct of survival, but personal experiences have a lot more to do with the display of the killer instinct ." - Johnson We are all born with animalistic instincts, and if it wasn’t for God, we would be nothing more than animals. I know that many people may find this hard to believe but it’s true, there are many people out there that find joy in killing. Many have no control over what is referred to as the killer instinct... But what is the “killer instinct?” God created all human beings to have control over their lives. It is imperative to remember this. If not, they will use the killer instinct for wrong-doings. You may say what is the killer instinct? What are they talking about? It is an attitude and feeling of determination and confidence. A mindset that continuously feeds the words of never giving up, never give up. When being hit hard, you hit back harder. When being beat down, you stand back up.

Flexibility, range of motion, and mobility are crucial components of martial arts. Stretching is the process of means to achieve flexibility. However, flexibility requires more than just elongating your muscles. It requires a combination of specific techniques to improve your range of motion instantly. And yes, I said instantly! Reciprocal Inhibition Reciprocal Inhibition is a feedback reflex. For example, when your stretch a muscle, if you contract the opposing muscle on the opposite side, it transmits a signal for the stretching muscle to relax. When the muscle relaxes, it enhances the stretch and range of motion without trying to force the muscle to lengthen. For example, if you contract your back, your chest will stretch. Or, if you contract your quads, your hamstrings will stretch. The same goes for your glutes and hip flexors, ankles and calves, and biceps and triceps. How it works? Reciprocal inhibition works by contracting the opposing muscle repetitiously before or during the stretch to enhance the range of motion. Let's take the lunge, for example. When you contract your glute as hard as you can before the stretch a few times, the hip flexor will become more pliable, compiling, and engaging during the stretch. However, you can contact the glute during the stretch too. This is the best option because maintaining the glute contraction during the lunge improves the hip flexor stretch and strengthens hip stability and alignment. And by improving stability and alignment, you optimize the effectiveness of mobility. Reciprocal Breathing Reciprocal breathing involves cycling your breath through a stretching pattern that will gradually adjust and adapt to greater ranges of motion. This technique allows for a deeper level of relaxation. The most important thing to understand about breathing is that inhalation facilitates tension and the contraction of muscles. And exhalation promotes the relaxation and stretch of your muscles. So, inhaling and exhaling using reciprocal breathing reduces stress and tension, enhancing muscular flexibility. As you cycle your breathing throughout the stretch, it increases the relaxation that you feel and see through a greater range of motion. How it works? Begin to stretch. When the lengthening stops, hold the stretch. As you hold the stretch, inhale entirely using nasal diaphragmatic breathing. Hold the stretch and the breath for about 5 seconds. Then after about 5 seconds, as you exhale your air out, you will stretch more. Again, once the stretch stops, hold that position and repeat. You can do it as many times as you want. The result is that you will gain flexibility without forcing your stretch. When you force your stretch, your muscles tighten and restrict your range of motion. Autogenic Inhibition Autogenic Inhibition is simple to understand. For example, when you stretch and cannot go further, simply hold the muscle’s tension for 7-10 seconds. Doing this will cause the muscle to relax and increase the stretch instantly. Try to do it a few times during your stretch. How it works? For example, let's retake the lunge to make it easy. Contract your glute and lunge slowly. When you feel the stretch stop, hold for 7-10 seconds. Don’t force; just hold. After 7-10 seconds, the muscle relaxes, and the stretch increases. Stretch slowly to the next point, and you will increase your range of motion each time. Most people make the mistake of stretching fast. Unfortunately, stretching fast will do the opposite, contract and restrict the muscle by activating the stretch reflex. If the muscle does not stretch, forcing it will keep initiating the stretch reflex to occur. And this is a point where you will create small micro tears that will damage your muscle. There are two proprioceptors called GTO and muscle spindles. When you stretch, GTOs cause the muscle to relax. But when the tension becomes greater than the muscle perceives, the GTO will activate and relax the muscle. So, the GTO's job is to relax tension when it becomes too much for the muscle to handle. This protection mechanism works perfectly when lifting too much weight and to improve flexibility. Remember, don’t force. Instead, go slow and use these principles to create flexibility. Using Resistance- Don’ Isolate Your Stretch Isolated stretching will produce flexibility. However, isolated stretching is not the best either. When you isolate your stretch, your muscles: Become lax. Lose the ability to absorb and produce force. Become less resilient. Can’t contract as forcefully and fast. Increase length but decrease stiffness. As a martial artist, your muscles need to have the capability to stiffen and be springy to be explosive. Static stretching removes this ability. Static stretching doesn’t hurt you, but it will decrease the muscle's force and contractability. Stretching with resistance will help your muscles maintain resiliency and stiffness with the ability to be explosive. In addition, the added resistance makes the muscles absorb force, whereas static stretching dissipates the force. How it works? Using a resistance band works best, or just implement slow eccentric training with isometric pauses. For instance, put a resistance band around your waist and lunge. Or you can do a deadlift with about 70% 1RM. You must be able to handle the resistance you use to control the stretch slowly, or a different mechanism will fire and prevent the stretch. Sometimes using more resistance is more restrictive than using less to be productive. Putting it All Together Before starting your lunge, put a medium or heavy resistance band around your waist. Move away from the anchor point so you can feel the resistance pull you back. Now contract your glute before you begin the stretch. As you stretch, keep the glute contracted the whole time to maintain hip stability. Also, the glute being contracted will reciprocate and cause the abdominals to stabilize too. Now, stretch until you feel the stretching stop. Hold the stretch, and don’t force it. Then, inhale entirely using nasal diaphragmatic breathing to activate your core. Hold your breath and the stretch for 5-7 seconds. Then exhale, and the stretch and range of motion will increase. Repeat the process until the stretch has stopped and no more can be attained. The Best Times to Stretch Stretching this way is best to maintain speed and explosiveness before training and competition. Heavy stretching with resistance for three days a week improves strength, enhances speed, and increases power. Also, it generates greater flexibility and mobility. Dynamic stretching a few days a week will improve flexibility and muscular stiffness. Static stretching has a purpose. Just don’t do it before training or competition because it will diminish your power and explosiveness. To understand more about stretching, stiffness, and springiness, my book, The Balanced Body and Instant Strength , explains them all more thoroughly.

One of the most memorable and meme-able martial arts stars in history is Chuck Norris! Check out our favorite Chuck Norris jokes found across the internet! Chuck Norris' tears cure cancer. Too bad he has never cried. When God said, “Let there be light!” Chuck Norris said, “Say please.” Chuck Norris does not sleep. He waits. There is no chin behind Chuck Norris' beard. There is only another fist. If you want a list of Chuck Norris' enemies, just check the extinct species list. Chuck Norris does not use spell check. If he happens to misspell a word, Oxford will change the spelling. Chuck Norris' calendar goes straight from March 31st to April 2nd, because no one fools Chuck Norris. Once a cobra bit Chuck Norris' leg. After five days of excruciating pain, the cobra died. Champions are the breakfast of Chuck Norris. When the Boogeyman goes to sleep every night, he checks his closet for Chuck Norris. Chuck Norris can kill two stones with one bird. Chuck Norris once punched a man in the soul. Chuck Norris can drown a fish. When police officers approach Chuck Norris they say, "we have the right to remain silent.” When Chuck Norris was born, he drove his mother home from the hospital. Chuck Norris once bowled a perfect game with a marble. Voldemort refers to Chuck Norris as “You Know Who.” When Chuck Norris enters a room, he doesn't turn the lights on, he turns the dark off. The only time Chuck Norris was ever wrong, was when he thought he had made a mistake. Chuck Norris can tie his shoes with his feet. When Chuck Norris does a pushup, he's pushing the Earth down. Chuck Norris is the reason why Waldo is hiding. The Great Wall of China was originally created to keep Chuck Norris out. It didn’t work. The flu gets a Chuck Norris shot every year. Chuck Norris destroyed the periodic table, because Chuck Norris only recognizes the element of surprise. When Chuck Norris was born, the only person who cried was the doctor. Never slap Chuck Norris. Chuck Norris can sneeze with his eyes open. Chuck Norris doesn't breathe, he holds air hostage. Chuck Norris can start a fire with an ice cube. That’s our list. Did we miss any of your favorites? Also, we got some classic Chuck Norris flicks more at Black Belt+ Black Belt+ is the biggest martial arts digital platform in history. From its rich history spanning over 60 years, the platform includes thousands of remastered instructional videos, martial arts movies, documentaries, and, of course, digital issues and articles from the iconic Black Belt Magazine . The new app is available on iOS and Android mobile devices and tablets. Or download and subscribe directly from Black Belt at plus.blackbeltmag.com.

Danial Williams was on his way up in ONE Championship ’s strawweight division. “Mini T” had been exciting in whatever discipline he participated in and was having good results to show for it. But last October, Jeremy Miado derailed his plans with a TKO victory. However, it is not a loss that has deterred Williams. The Aussie will return to action at ONE Fight Night 8 on Prime Video on Friday, March 24, against Rui Butelho. And it is not even close to the biggest obstacle the rising star has had to overcome in life. In a recent interview with ONE , Williams recounted his struggles with social anxiety. “I was a super shy kid. Super shy. I had a group of friends that I was comfortable with, but I just couldn’t, like, try and get a girlfriend. I was petrified of girls. I couldn’t speak to them even if my life depended on it. So it was quite challenging in high school and just making connections like that,” said “Mini T.” Even in class, Williams struggled. He would be so shy that asking for assistance from teachers was a struggle. He admitted that the shyness he suffered from helped to isolate him from his classmates. That isolation was not helped by the comments he would receive due to being half-Thai. “As a kid, I was feeling different as well because I wanted to be this white Australian footy [soccer] player. That’s all my mates were, kind of thing. I guess I’m the different kid at school. There weren’t too many mixed-race people. And I hated the comments on the footy field, even though it wasn’t crazy. But it was just like the racist comments here and there,” said Williams. No matter where Williams went, he felt isolated. When his family would return to Thailand, “Mini T” recounted being stared at by locals whenever they would go out. With his shy personality and social anxiety, Williams hated the attention. Enter martial arts. The Aussie began to feel his confidence grow from training, making him better understand himself. The 29-year-old credited martial arts as a lifesaver by giving him passion and drive. “Why do we fight? Is it because we’re so uncomfortable with ourselves that we like to endure that pain? I don’t know. It’s like saying my fighting style, especially earlier, was that because I was so uncomfortable with myself that I could get hit? I don’t know. Those thoughts crossed my mind. Maybe it was when I was a little bit uncomfortable myself,” said Williams. “And it’s like, I didn’t love myself enough. That was an outlet for me that, just like, one, punish myself, but two, let that frustration out. Because you would be in your head a lot. And I feel like that’s what happens when you’re shy and nervous and anxious all the time. Like, it’s just a lot of built-up frustration, and you just need that release.” Now on the global stage, Williams seems comfortable in the spotlight. As one of the most exciting athletes in the sport today, fans around the world become excited to see him make his way to the Circle to compete. That is why Williams tries to have an impact on anyone training in his gym. “I’m pretty good with just talking about things outside of fighting as well, and I mean, the martial arts and stuff, as well. So maybe saying something about the shirt they’re wearing. Trying to make these small conversations with them and then remember their names when they come in. That was what I always liked,” said Williams. “When people remember you or remember something about you, then that’s a real confidence-building thing. It’s like, ‘Oh, I’m being seen. I’m not in the corner all the time.’” ONE Fight Night 8 airs live at 8 p.m. EST/5 p.m. PST on Friday, March 24, on Prime Video. The event airs for free to all U.S. and Canadian Amazon Prime subscribers. BRUTAL MMA ACTION 😵🔥 Dejdamrong vs. Danial Williams Relive the thrilling firefight between legendary Thai warrior Dejdamrong Sor Amnuaysirichoke and Australian star Danial Williams at ONE: BAD BLOOD! Follow Da...

This is the second of two articles about kickboxing and Muay Thai, and why kickboxers don’t succeed in Muay Thai the same way Thai Boxers succeed in kickboxing. Last time we looked at kickboxers and their lack of success in Muay Thai, in this article we’ll look at why it’s not a two way street. We looked last time at kickboxing, and how the tools and pace of kickboxing doesn’t adequately prepare you for Muay Thai competition. So, what about the Thai boxer, who chooses to swap to kickboxing? Why do they fare so much better, today we have Petpanomrung, Sittichai and Superbon who all left professional Muay Thai to pursue lucrative careers in kickboxing. Being the top fighters in their division with wins over all the best names. Not to mention the great Buakaw, one of the top 5 greatest kickboxers of all time, who did the same thing in the 2000’s. What obstacles to Thai Boxers Face in Kickboxing? Thai Boxers have to adjust to having fewer weapons. While legal in Muay Thai, kickboxing prohibits unlimited clinching and elbows, and the fights are contested in a short span of time. Meaning that fighters such as Muangthai, who rely on clinch and elbow work, are ill fit for kickboxing, which focuses on the striking aspects of Muay Thai those fighters don’t excel at. However, in practise, those clinch and elbow based fighters rarely enter kickboxing competition to begin with. Instead, we get the fighters who excel at kicks, punches and knees entering the sport instead, and they comparatively have to adapt very little in order to succeed in the sport. The main obstacle they have to overcome is adapting to the faster pace of the sport. This doesn’t mean that they have to fight at that quicker pace, but they do need to be aware of it in order to adequately shut down faster fighters. Muay Thai famously starts slow, as gambling was until very recently a very big part of the sports culture. The first two rounds would be contested slowly to allow for gamblers to continue to place their bets. The third and fourth rounds would be where the real fight would start, before the fifth round typically would see the pace slowed. Kickboxing is all action for three short rounds, and Thai Boxers have to be ready to control their opponent for that span of time. Last time we spoke about how kickboxers were ill prepared for longer fighters in Muay Thai, Thai Boxers on the other hand can benefit from the shorter rounds; they already have the cardio for it and are typically technical enough that they do not need to fight at a fast pace in order to win, they can simply shut down their opponent’s quicker work rate. This means Thai boxers are normally quite good at outlasting their opponents and picking up the win later in the fight. While clinching is not strictly speaking legal in kickboxing, all Thai boxers have enough familiarity with the clinch that they are able to tie up their opponents, and land a few legal knees in the time allowed. This has proved controversial in the past, when Petchmorrakot’s win vs. Giorgio Petrosyan was over turned for excessive clinching. Excessive clinching that, while he should have certainly been warned about, and should have seen Petrosyan awarded the decision, still did not warrant a post change in decision. Clinching and kickboxing have long been the source of controversy mind you, with Buakaw able to dominate all his opponents in the clinch, which lead to the clinch being limited to only a few seconds in K-1 (which was carried over by Glory and ONE Championship). Kickboxing:The Difference in Opposition Last time we detailed how Thai Boxers train for twelve sessions a week, not including personal training for their entire lives and how this results in far better trained, more experienced opponents than what you find in kickboxing. This also means that they are far better equipped to enter kickboxing, than kickboxers are to enter Muay Thai – as they will have more experience kicking and punching than the majority of their opponents, with far more ring time under their belts. As their skill set is so easily transferable to the new sport you will usually see the Thai boxer referred to as the more experienced fighter. Kickboxing: Cross Over Into Boxing It’s not just kickboxing, Thai boxers also have a lot of success in Western boxing too. Although they typically fight far worse opposition. We see quite a few prominent Muay Thai boxers competing in professional boxing and actually winning titles, the most famous is of course Samart Payakaroon, but there’s also the brutal Yodsanan Sityodtong, known as the Thai Tyson, who’s fearsome knock out power in Muay Thai, spurred an early career shift to professional boxing where he saw a lot of success. He would make infrequent returns to Muay Thai, where he amusingly enough made more use of his teep than he did his terrifying punching power – showing how smart he really was when it came to Muay Thai. It's easy to read these articles as being particularly negative towards kickboxing, but I don’t’ feel that way. Kickboxing is a brutal sport that needs to be respected – for its athletes are bold, and skilled fighters. There is just an X-Factor to Thailand, however. There are many martial arts that claim to be the ‘best’ or ‘most effective’. Muay Thai never claims it. In truth it doesn’t need to as when it comes to cross style competition, from kickboxing to MMA, it has been consistently proven to be the best.

I'm sure by now you have heard about the hype surrounding the new AI Chatbot called, ChatGPT. Well we took the time to ask it some questions related to martial arts to see what kind of AI answer we can get out of it. Check out the below questions and answers to what we thought was going to get VERY interesting to get feedback from an AI source. What is considered the best martial arts? There is no single "best" martial art, as different disciplines excel in different areas and have unique strengths and weaknesses. Some popular martial arts include Brazilian Jiu-Jitsu, which is known for its effectiveness in grappling and ground fighting; Muay Thai, which is known for its striking and clinching techniques; and wrestling, which is known for its focus on take-downs and control. Ultimately, the best martial art for an individual may depend on their personal goals and preferences. The above seems to be a pretty basic responds, so we asked this follow up question: What do you consider the best martial art? As an AI, I do not have personal preferences or opinions. However, many people consider Brazilian Jiu-Jitsu and Mixed Martial Arts (MMA) to be some of the most effective martial arts for self-defense, as they incorporate techniques from many different styles and also focus on ground fighting and submissions. Other martial arts such as Karate, Tae Kwon Do and Kung Fu are also popular and have their own unique techniques, depending on the style practiced. Ultimately, the effectiveness of a martial art depends on the practitioner's skill level, training, and ability to adapt the techniques to real-world self-defense situations. Ahhh, no you're adding in your AI flare, i see. Okay, let's try something a little bit more in depth. What martial arts is considered the elite art? It's subjective to say which martial art is considered the "elite" as different people have different criteria for what makes a martial art "elite". Some people believe that the martial art that is most effective in real-world self-defense is the elite one, while others might consider the martial art with the most demanding physical training to be elite. Some people might think that the martial art with the most ancient history or the one that is most widely practiced is elite. However, there are some martial arts that are considered as elite by some people due to their effectiveness, physical demands, and historical significance. Some examples of martial arts that are often considered elite are Brazilian Jiu-Jitsu, Judo, Muay Thai, and Krav Maga. These martial arts are known for their effectiveness in real-world self-defense and sport competition, as well as their demanding physical training and deep historical roots. It's important to remember that martial arts are personal and what is elite for one person may not be for another. O.K, now let's just have some fun with a few questions. BJJ or Karate in self defense? Both Brazilian Jiu-Jitsu (BJJ) and Karate can be effective in self-defense, but they have different strengths and techniques. BJJ is a grappling-based martial art that emphasizes ground fighting and submissions. It is known for its effectiveness in real-world self-defense because it teaches practitioners how to control and submit an attacker using leverage and technique, rather than brute strength. BJJ also includes techniques for defending against strikes and weapons, but its primary focus is on grappling. Karate, on the other hand, is a striking-based martial art that emphasizes punches, kicks, and strikes. It also includes grappling and joint locks, but they are not as emphasized as in BJJ. Karate is known for its strong focus on discipline, respect, and personal development. It is also known for its rigorous physical training and its traditional forms or kata. Karate techniques may be more effective for self-defense in situations where the attacker is at a distance and a strike can be used to defend yourself. While both BJJ and Karate have their own unique strengths, BJJ may be more effective in real-world self-defense situations due to its emphasis on ground fighting and submissions. However, it's important to note that no single martial art can prepare you for every possible self-defense scenario, and the effectiveness of a martial art depends on the practitioner's skill level, training, and ability to adapt the techniques to real-world self-defense situations. And one last one because i know we all want to know what an AI bot thinks of this... Bruce Lee or Chuck Norris? It's impossible to say who would win a fight between Bruce Lee and Chuck Norris as it is a hypothetical scenario and they never fought each other. Both Bruce Lee and Chuck Norris were highly skilled martial artists with their own unique strengths and abilities. Bruce Lee was a martial artist, actor, and philosopher, known for his incredible physical conditioning and speed. He developed his own style of martial arts, Jeet Kune Do, which emphasized fluidity and adaptability. He was also a skilled boxer, wrestler, and Wing Chun practitioner, his skills and techniques have influenced many martial artist and have been studied by many. Chuck Norris is a martial artist, actor, and former professional fighter known for his powerful roundhouse kicks and his role in popularizing martial arts in the United States. He is a black belt in several different martial arts, including Tang Soo Do, Brazilian Jiu-Jitsu, and Tae Kwon Do, which he has taught for many years. It's important to remember that a fight is not the only way to measure the skills of a martial artist and both of them have achieved great success in their own respective fields. Bruce Lee is widely considered one of the most influential martial artists of all time and his legacy continues to this day. Chuck Norris, on the other hand, has had a successful career in the entertainment industry and is also known for his philanthropic efforts.

Ahsoka Part 1: Witness the Evolution of Jedi Fights Before Your Eyes By Dr. Craig D. Reid All Photos and Images are Courtesy of Disney/LucasFilm Welcome one and all to another outrageous collection of live-action Star Wars incidences of quantum entanglement and lip-smacking endangerment, all captured within the narratives of the pseudo peace between the Empire and Republic circa 9-ABY, i.e., nine years After the Battle of Yavin when Luke Skywalker destroyed the First Death Star. Enter the Ahsoka (depending on your perspective, the name can mean Without Sorrow or in Japanese romanization, Is that so? ). It’s been years of an uneasy truce. As the misery of the scolded and handicapped Empire supporters increase, so do their secret blossoms of opposing attitudes. Who is the pest to kill the flower and who is the pesticide to kill the pest? It’s blood, sweat and fears, as war is hell on the ecosystems of the galaxies. As Ahsoka (Rosario Dawson) and Mandalorian Sabine (Natasha Liu Bordizzo) search for their lost friend Ezra, only Morgan (Diana Lee Inosanto), an evil witch-to-be, holds the power of a dastardly key to solve the mystery and roiling insanity of the plot to rescue Admiral Thrawn from exile. More on this Shakespearean tragedy in Part 2. I’ve been a lifelong fan of Star Wars since 1977. When I stood by a life-sized cut out poster board of Mark Hamill holding a lightsaber in the lobby of the premiere of The Empire Strikes Back in 1980 Taiwan, I was mistaken for being Hamill as fans asked me for autographs. It’s the epic lightsaber duels that have truly defined the Star Wars movies. It's been noted in the media that the fight sequences and lightsaber duels in the early episodes of Ashoka are weaker than a womp rat on muscle relaxants. No way should the choreography look so convoluted as they did early on. Yet keep going, surprises await. Let's be honest, if you remove the lightsabers' color light effects and the droning, sword-shocking cling-clang clashing sounds, you're left with empty shells of 17-year cicada skins clinging to a tree, where you can't see the color and beauty of the free flying adults. Film buffs know that George Lucas is a fan of early Japanese chambara (sword fighting) movies, Seven Samurai (1954) being his first, and that Star Wars was heavily influenced by Akira Kurosawa's Hidden Fortress (1958). It's also been widely spread that the lightsaber skills, the force and a Jedi Knight's magical fighting abilities are moderately based on kendo, the world of Chi ( ki in Japanese) and samurai cinema, respectively. Let's see how much of this is true by looking into the evolution of the lightsaber fights because as you will see, Ashoka is either unwittingly or purposely doing this. Only Star Wars (1977) tried to cling to its kendo guns as each shot seemingly exuded with the simplicity of basic kendo strikes (slashes and pokes), parries and blocks. Stunt coordinator Peter Diamond, a graduate from London's Royal Academy of Dramatic Arts, oversaw the fight choreography and smartly made some acceptable adjustments. Revisit the first lightsaber duel, Obi-Wan Kanobi v. Darth Vader. Though body postures mimicked the typical few-strike samurai duels by Toshira Mifune ( Sanjuro, 1962), the sword exchanges mirrored the Robin Hood v. Sir Guy duel seen in The Adventures of Robin Hood (1938). Guinnes had sword stage combat experience, so to sell the kendo look, he simply held the lightsaber with two hands. Since tubular lightsabers have no blades, they looked like bamboo shinai swords used by kendo practitioners. For the lightsaber duels between Luke Skywalker v. Darth Vader in The Empire Strikes Back (1980), and Return of the Jedi (1983), Lucas wanted Diamond to add in acrobatics and more detailed choreography. Mark Hamill learned some kendo and during his first fight with Darth in Empire Strikes Back , he often adlibbed during rehearsals using a one-handed grip. When Lucas saw that, he chastised Hamill saying he didn't like it when he took his hand away and insisted that both hands had to always remain on the lightsaber. Empire Strikes Back also introduces Luke's telekinesis skills. Was that really the force? Yes & No. Lucas’ notion of the force originates from Carlos Castanada's book Teachings of Don Juan (1968), where he meets Don Juan Matus, a Yagui Toltec who teaches him shamanism. The Yagui are Arizona-based Native Americans and Toltecs are members of a 10,000-year-old sorcerers guild. Don spoke about a life force saying humans were luminous beings and could use their power for good or evil based on their personality. Any of this sound familiar? Remember Yoda once told Luke, "Luminous beings we are." You can of course guess what the religious saying, "May the Lord be with you," inspired. All Photos and Images are Courtesy of Disney/LucasFilm While the force's philosophy ties in with Native American culture, the force’s combative nature doesn’t. During Jedi duels, the force aligns with Chinese wuxia novels that depict swordsmen using fa jing strikes to send rivals flying backwards without touching them, xi wu da fa abilities to pull foes or objects toward them and ching gong where fighters can leap high, run atop trees and safely land when jumping down from lofty heights. Prior to 1977, Japanese films didn't use these skills and they also don't exist in samurai folklore yet early in Chinese cinema, like The Burning of the Red Lotus Temple (1928), it did. In 1965, Hong Kong (HK) and Taiwan began shooting hundreds of wuxia novel-influenced films using fantastical fights that weren’t available to most Westerners until the 1970s. Look no further than the first three fights of the accessible Chinese film Ghost Sword (1970) that reflects many of the Jedi Knight skills seen in Star Wars movies. Between 1974-2010, I videotaped fight scenes of every kung fu film I could find as to study the choreography. Since HK was a British Colony, it's no stretch that Diamond was aware of these 1970s films that were accessible within the British entertainment circles. How did the fights change in the prequels The Phantom Menace (1999), Attack of the Clones (2002), and Revenge of the Sith (2005)? Tapping into the success of HK's fant-Asia films in the West, Lucas wanted to ramp up the speed, agility and aerial capabilities of the Jedi fights because the films were set during the Jedi Council's heyday where Obi-Wan Kanobi, Obi's master, Yoda, Darth Vader, Count Dooku and other Jedis were at the pinnacle of their fighting abilities. The table for this new look action was set by British stunt coordinator Nick Gillard who intelligently hired legitimate wushu and pole expert Ray Park as Darth Maul, a vicious, fighting machine Sith Warrior who wielded a double-bladed lightsaber. When Gillard added one-handed, figure-eight twirling and body-hugging swordplay to block, parry, and slice, spinning footwork, and aerial cartwheels and flips to the Jedi repertoire, kendo’s influence on the fights became limited. Samurai films from the late 1970s on, became increasingly influenced by Chinese style choreography. Park told me that after flashing fancy whirligig wushu swordplay all he had to do to sell the kendo look was end the swirling with a two-handed sword grip. All Photos and Images are Courtesy of Disney/LucasFilm As the trilogy evolved, there was more one-handed sword work, acrobatics, and HK frenetic paced stylized fights as in Kanobi v. General Grievous and Yoda v. Count Dooku. These fight influences are now all standard in the Jedi fight bible. By the end of the next four films, The Force Awakens (2015), the important honorable mention lesson of Rogue One (2016), The Last Jedi (2017), and The Rise of Skywalker (2019), the directions for weapon fights and fight choreography are now set for life. Weirdly, Force Awakens is Force Asleeps . In Awakens , former Stormtrooper Finn, joins two cocky pilots, a wookie and a droid to save the galaxy from the First Order's world-destroying battle-station, while rescuing the unruly lass Rey from the evil Kylo Ren. Déjà vu… not only had the plot of Star Wars comes full circle but so had the lightsaber duels, except in Force Asleeps there's no new creative choreography and the duels look more like the hackem-whackem sword fights we used to do as kids using tree twigs. They had two novel ideas: Kylo Ren’s lightsaber is a Christian Crusade Medieval sword; and Finn fights a Stormtrooper who brandishes a large tonfa -like taser influenced by the Shaw Brothers film Magic Blade (1976), where Ti Lung wields a slender, machete sword blade with a tonfa swiveling handle, yet Asleeps fights lacked creation and intensity. Critics lauded the filmmakers boasting that the actors trained 4-6 hour/day in preparation. So? Thousands of great sword fights before Awakens have done the same thing and done better. It’s not the actors’ fault, the filmmakers were complacent and lacked ingenuity. The only fight in Rogue One (2016) featured Donnie Yen as Chirrut Imwe, an inciteful blind Guardian of the Whills who with a simple wooden long staff, stole the movie and reinstalled faith into the legions of Star Wars fans that expect thrilling entertaining fights. It was a typical superb Yen fight: unique; dynamic; energy-ridden; and deliciously shot with low angles, wide angle lens while on a dolly, to track his flowing spinning body covering a large area while taking out a ton of stormtroopers constantly shooting at him. The fight choreography in Last Jedi treaded new ground. The best fight is when Kylo Ren and Rey battle Snoke's blood-red armored bodyguards where each guard wields a traditional kung fu weapon that has a glossy space-age sheen. The coolest weapon is a sword length pole that breaks into solid flexible sections so it can be used like a whip to trap an attacker’s weapon. It's modeled after the evolutionary process behind the Chinese nine section whip, which originally was a heavy club-sword that evolved into a whip. The shot of Ren and Rey physically fighting multiple attackers within the same frame, was similar to Yen's Rogue One pole fight, except the dolly is tracking the movements of two fighters in a slight semi-circle to the left as the fight frames right…it’s beautiful. The wide angle allows us to see both actors flowing from one movement to the next. The finale duel between Ren and Luke is akin to when in wuxia novels, two combatants would sit opposite each other, and their spirits would fight. I’ve seen this done once in a film, Yen v. Jet Li in Hero (2002), yet Last Jedi 's astral bout was soul stirring. The evolutionary impact of Chinese wuxia films on Star Wars combat and Chi power aspects of the force depicted on screen had been growing for 47 years, yet it reached shocking new heights that I should have seen coming in The Rise of Skywalker (ROS ). Though Kylo Ren’s opening blood-letting mass sword fight was a so-so version of Jimmy Wong Yu’s Golden Swallow (1968) finale fight, I was soon to be blown away. In the wuxia film, The Burning of the Red Lotus Temple (1963), the hero and villain toss their swords skyward, then controlled its movements using Chi emanating from their hands. Whoever's chi was stronger, the sword would kill the weaker. Ren and Rey did this in ROS andOMG, their tug-of-war wasn’t with a sword…it was a spaceship! Even more mind numbing than the Luke and Ren astral bout, in ROS, Ren, Rey and Princess Leia are using their powerful spiritual forces…from three different planets!! The ultimate way of using Chi in battle is learn little golden bell ( xiao jing zhong ) and big golden bell ( da jing zhong ). They’re not bells, they're Chi Gong skills used to protect one's body; the little bell prevents body damage by physical strikes and big bell protects the body from weapon strikes. Ren and Rey have perfected these force's versions. In wuxia legends, the ultimate and rarely attained power of Chi is using their Chi to heal others. When my wife and I saw Ren using his force to save Rey’s life, it was a cathartic moment for us, this is what we have been doing with our Chi since 1987. We have all finally witnessed the ultimate mastership of the Jedi skills; it's not about using brute force yet simply using the force. May the Chi be with you.

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