The wrestler — having quickly disposed of his first four judomen — stood before the fifth opponent, glaring like a wild animal about to pounce on his prey. “Boo!” the crowds jeered! “That’s not judo!” “Do judo, not wrestling!” shouted another. A woman spectator sitting near by commented, "Why do they let those guys in the tournament anyway? They don’t have any technique.” By this time the spectators in the stands were becoming indignant over what was happening on the contest area. A wrestler wearing a judogi had just beaten four men and was still going strong. Myron Miller stood before his fifth opponent, ready to go. The opposition looked gingerly across the mat at Myron and started to shake with fright. Myron was glaring at his opponent like a wild animal about to pounce. He was crouching his 200- pound, 5'7" frame, his hands in front of him extended as if to wrestle, his teeth gritting with one dark spot where a tooth had been knocked out. And the look in Myron’s eyes spelled only one thing: Kill! As both men bowed and met in the center, Myron took a vice-like grip on his opponent and proceeded to bodily lift him in the air. Myron’s opponent had a horrified expression on his face as he saw Myron’s hairy, sweaty chest being pasted to his own. Moreover, he was up in the air being held there against his will. Prior to the match, Myron had been instructed that if he were to bodily lift his opponent above his shoulders he would receive a full point. He had done just that as he had one arm wrapped around the opponent’s neck and the other between the opponent’s crotch. Still holding his kicking and squirming opponent, Myron turned towards the referee to claim his point. The referee, however, didn’t quite think the opponent was being held high enough. Myron by this time had had enough of this referee’s indecision and started to descend like a dive- bomber — bamm! Ugh! Ippon was finally called. When Myron Miller had finally finished, he had beaten ten white belts and tied with the eleventh one. The total time: 17 minutes and 45 seconds. In spite of Myron’s great feat the feelings of the crowd were not with Myron. To the judo spectators it was as if they had been slapped in the face and told that strength had won out over skill. If the crowd had known, however, that Myron had only worked out in judo once prior to the match, they would have really booed him. It was quite apparent that Myron had very little judo training. His gi was crossed over the wrong way and his belt was also tied wrong. Rough House Tactics Renzo Shibata, 1964 National 154-pound champion, upon seeing some of the techniques, kept repeating “That shouldn’t work . .. that shouldn’t work.” But they did. He was also very impressed by Myron’s strength. Between every “that shouldn’t work” statement he would add “chikara tsuoi ne!’ which means “He sure is strong.” One spectator remarked, “Just wait until those guys (wrestlers) learn some technique. It’s going to be like a whole army of trained Baby Huey’s.” Myron’s case is similar to those of his teammates and also of other wrestlers who try their hands at judo. Wrestlers are often times ostracized and looked upon as crude. The crowds’ displeasure comes from their allegiance to the aesthetic beauty of the flowing techniques of judo as opposed to the seemingly rough-house tactics of wrestling. In the minds of the spectator, the one thought which prevails is “which is better — wrestling or judo?” To the wrestler, however, the main thought is of the sport; to win! Only the most astute of judomen have been able to see the enormous possibilities that lay waiting to be cultivated from the field of wrestling. Here can be found men who are dedicated to a physical-contact sport; men who have been conditioned and strengthened in the best of physical ways and inner- motivated to do what is asked by all coaches of all sports — win! win! win! The only thing left to do is to channel their energies into accepted judo ways and techniques. Kenneth Kuniyuki has this to say of wrestlers. “They are physically strong and will probably make fine judomen once they learn technique. Both wrestling and judo have their fine points. Wrestlers entering judo should try to learn them. I think the fear that most judo men (coaches) as well as wrestling coaches have is that a third type of sport may be born of the combination of the two.” In viewing the controversy which has resulted from wrestlers entering judo, there are certain questions which seem to arise: Is is good or bad that wrestlers are coming into judo? If it is good, why is it good? If it is bad, why is it bad? In the estimation of this author the entry of wrestlers into judo is the shot in the arm which has been long overdue. The following pages are devoted not to see which one is the better of the two sports, but rather to better understand the differences in both and to see how we might be able to benefit from each one. As Hal Simonek, head wrestling coach at Cerritos Junior College so aptly put it when asked which one was the better, wrestling or judo, “I don’t think one can really say which of the two would prevail. They both have their likenesses and, yet, they both have their differences. In a match situation it would depend on whose rules you were going to play by and the condition of the two contestants. But the important thing is not to see which one is better, but rather to see how they can compliment each other.” Grading System Once a judo man was asked what degree he thought a sumo wrestler should receive if he were to transfer over to judo. His answer was, “If he is in the top ranks (maku-uchi) he should receive no less than a fourth degree black belt. Moreover, it wouldn’t even be out of place if some sumo wrestlers received a sixth degree to start out with.” As ridiculous as one might think this statement is, it has a lot of sense to it. It would be hard to picture a big, burly, rugged, 250-pound sumo man in a judogi wearing a white belt! Furthermore, it would look a bit conspicuous as he started up the line beating all the white, brown and black belts. As much as many would hate to admit that anything could win over their respective sports, most judo men are no match for a professional sumo man, even if the judo man is a black belt of world com- petition caliber. With respect to wrestling and judo, a similar situation occurs. Wrestlers of national contest caliber in their own sport are given white belts and are told to compete against other white belts who have had no wrestling experience, let alone very much judo experience. Naturally, against white belts and even some brown and black belts, a wrestler who has had five to 10 years of wrestling experience has the advantage. With the joint cooperation of the Cerritos College wrestling team, headed by Hal Simonek, and the Hollywood Welcome Mat Dojo, headed by Mickey Crouch, a program was commenced on March 23, 1969 to test the adaptability of wrestlers entering into judo. The win-loss chart, below, illustrates the successfulness of the program : WIN-LOSS RECORD Name Wins Losse s Draws Number of Tourneys Number of Practices JIM WEST 30 3 5 7 About 60 MYRON MILLER 14 0 3 2 6 BOB SHEPPARD 11 0 3 3 30 BILL STROVE 11 1 2 3 3 KATSUJI NERIO 5 0 2 3 4 Years BEN OHAI 2 1 0 1 3 DENNIS SNELL 1 0 0 1 1 STACY CODY 1 0 1 1 3 RON KENWORTHY 1 1 0 1 None BILL RICHARDSON 1 1 1 0 1 3 Months GLENN KUBOTA 0 0 1 1 5 allen Albright 0 0 1 1 3 TOTALS 77 7 18 This chart is from a six months’ study of the adaptability of wrestlers entering into judo. The program began in March 1969 and ended in August. Within this six months’ period (the project that was carried on in Nanka — Southern California Judo Federation), three wrestlers did exceptionally well: MYRON MILLER , who in his first team tournament wore a white belt and literally chased a second degree black belt all over the mat area only to end up with a tie, was the 1967 regional Olympic trial runner-up as well as an all-American rugby player. He has a master’s degree in physical education with a a straight “A” record. BOB SHEPPARD , who is probably the best-skilled of the three, is constantly doing uchikomis in an effort to become, as he puts it, “slick". After his fourth month in judo, he won the Gerrie Merit Trophy, which is awarded to the best technician in the Nanka-sponsored tournaments, as well as his third degree brown belt. He won the Big Eight collegiate championship in 1961 while in school and is presently a graduate student at California State College at Los Angeles. JIM WEST , who is the most spirited of the three as he never ceases to talk, eat and sleep wrestling and judo, has done well as a wrestler, winning the Southern California wrestling championship and also placing third in the 1967 regional Olympic trial. He is still a student at California State College at Los Angeles and is constantly on the dean’s list. As for his prowess in judo, he has been raised to second degree brown belt (nikkyu) within a five-month period. (See chart below.) BATSUGUN (EXCEPTIONAL PERFORMANCE PROMOTION) Name Wins Draws Losses Time in Judo Tournament Date Promoted To MYRON MILLER 10 1 0 1-tourney experience; never practiced judo before. Seinan Invitational 4/13/69 Sankyu (3rd Brown) JIM WEST 5 1 0 2 Months Sawtelle Invitational 5/18/69 Sankyu (3rd Brown) BOB SHEPPARD 7 1 0 3 Months Oxnard 8/03/69 Municipal Games Sankyu (3rd Brown) JIM WEST 7 1 0 5 Months Oxnard 8/03/69 Municipal Games Nikkyu (2nd Brown) It is most probable these three wrestlers and any others who might enter judo would find themselves black belts within two years, possibly a year. Wrestlers undoubtedly have proven themselves physically, and also possess the mentality and ability to lessen the cultural gap. Japanese American Cultural Conservatism A visitor from Japan once remarked, “It is amazing to see how well the Japanese culture is being kept here in the United States. Whereas Japanese in Japan are becoming Westernized, Japanese in America are proud of their heritage, and religiously try to maintain old cultural habits. I find many first and second-generation Japanese in the United States are more Japanese than are the Japanese in Japan.” The statement made by the visitor from Japan can also be applied to the present situation in American judo. While Japanese in Japan have forged ahead and modernized their judo, Japanese Americans have become stagnant, trying to maintain the traditional judo of Kano’s time. Although it is important and necessary to maintain those traditions which aid us in being better people it is also important to revise or discard those ideas which would hinder the progress of judo. In Japanese judo, changes in training practices have occurred to revolutionize the art. Weight training and sambo are com- mon words to a Japanese judoman today, but American judo- men show little interest in either weight training or sambo. Oddly enough, it was an American who first introduced the use of weights as a means of bettering one’s tournament record. It was his contention that a strong big man, having more muscle power, would win over a strong small man. The credit for weight training and the inclusion of a special room for this inside the Kodokan goes to Donn Draeger. American judomen’s first knowledge of Russian sambo comes from another American who wrote of the incredible agility and adaptability of sambomen to judo. Andy Adams in the February 1967 issue of Black Belt explains how Japan was almost beaten by a group of Russian sambo men. The Japanese were quick to see sambo’s merits, and now even Japan has a sambo federation with judo men participating in the sport and doing quite well. Nobuyuki Sato, world light heavyweight judo champion, 1967, is a good example. In America, unfortunately, neither weight training nor sambo are used extensively to supplement one’s judo training. Some dojos frown upon weight training and scorn sambo or wrestling, saying “That’s not a part of judo.” In the plight for the maintenance of traditional ways, judo in America is slowly losing its place in world standings. Major Philip Porter recently announced that U.S. judo has dropped  from the sixth-rated judo nation to a ninth rating. This was evidenced at the world championships where none of the U.S. competitors placed in any of the six weight categories. Perhaps it’s time to get some help from somewhere. Borrowed Ideas The idea of borrowing techniques from other sports is not anything new. Professor Kano was constantly borrowing ideas from other sports and adding them to judo. Robert Smith in his book A Complete Guide to Judo writes of how Kano studied wrestling and successfully used kataguruma on his opponent. Kataguruma in wrestling is known as the “firemen’s carry.” Most likely, many other techniques such as “morote-gari” (double leg dive) and “usiro-goshi" (suplex) and others were incorporated into judo. Unlike the traditional American counterpart, Kano’s judo is an ever-changing sport. Professor Kano, being an educator, was constantly looking for ways of improving his sport by borrowing the good points from other sports. Perhaps that is why he sent 10th degrees Mifune and Nagaoka to Uyeshiba sensei to study aikido so they might have a wider understanding of the martial arts. Also in 1933, Kano persuaded Kotani sensei, now a ninth degree, to learn wrestling and compete in the 1933 Olympic Games. Kotani sensei placed sixth in the games after one month’s training with Pop Moore and his two sons, Roy and Mel Bruno, two wrestler-judo men. Professor Kano also borrowed ideas from Professor Funakoshi Gichin, and invited him to demonstrate and teach karate to students at the Kodokan. It is little wonder judo has been able to grow as it has. With the ability to accept rather than go against, Kano took all the useful parts of the other martial arts. If Kano were alive today he would probably still be borrowing ideas from other sports. It takes a big man to say “I want to leam from you,” especially if your name happens to be “Kano.” But, then, he was a big man with big ideas. Psychological Differences Wrestlers entering into judo are also big men, champions in their own right, and yet they have the courage to try out their prowess and learn, even at the expense of being booed, hissed and jeered at. Some of the reasons for the displeasure and incompatibility of the wrestlers and the spectators come from the psychological differences. As a judo man, a wrestler is confronted with many differences in thought patterns. In wrestling, the techniques are not praised on their aesthetic appeal but, rather, on their pragmatic uses. A case of one champion wrestler illustrates this point: Jeff Smith, when asked how he had won his last match, replied “I’m not sure, but I think someone called it a ‘hair-gosh’ or something!” The technique Jeff was referring to was a harai-goshi. If a judo man were to have won a major tournament with a beautiful throw you could be sure he would find out the name of that throw and cherish it along with the memory of the throw itself. Although everyone in the auditorium praised the aesthetic beauty of his last throw, Jeff couldn’t care less. All he knew was he had won. One famous American judo man also shared Jeff’s belief when he said, “I don’t care if I win by default or by any other means. Twenty years from now you can be sure that the loser’s name isn’t going to be on the records. And people won’t ask you how you won. The only thing they’ll know is that you did win.” Frank Lloyd Wright once said “Very early in life, I had to choose between hypocritical humility and honest arrogance.” Like Cassius Clay, he chose to be honestly arrogant. Wrestlers in a sense are the same way. They will boast of their wins and say “I beat him.” A judo man, contrary to this procedure, learns early in his judo life to remain silent and not to speak of his victories unless questioned about them, this attitude coming from the Oriental thought that “Those who speak don’t know; those who know don’t speak.” Of course the latter attitude of a victorious, but humble, person is one which is culturally more palatable. Nonetheless, deep down inside ourselves we sometimes live vicariously those lives which we ourselves want to live and are unable to live. Perhaps it’s like criticizing the Presidency and saying “If I were President, I would do such and such!” It’s hard to say which is the better way of thinking, but in sports most of the better athletes tend to adopt Theodore Roosevelt’s policy, “Walk softly and carry a big stick!” The biggest difference between judo and wrestling comes from their philosophies. Both are derivatives of a combative-type program. But whereas wrestling was devised as a means of combat with its ultimate aim in winning, judo was devised by an educator with the purpose of benefitting oneself through practice of an art. The words which come to mind at this time are, “Mada ningen ga dekitenai,” which means literally, “As of yet, he is not a human,” which can be interpreted by Western minds as, “He has not yet attained the character of a perfect being.” In the Orient, a lot of emphasis is placed on a person’s perfection of character, and Kano developed this concept for judo, believing man should strive toward: 1. Self-perfection 2. Mutual welfare and benefit 3. Maximum efficiency with minimum effort Physical Differences On the American scene wrestlers are usually far better conditioned than are judo men. Dale O. Thomas, a great American wrestler, states there are four areas that need to be developed in wrestling: muscular strength, muscular endurance, circular-respiratory endurance and neuromuscular condition. To develop these areas, Coach Thomas uses every available method at his disposal: running, running bleachers, interval training, wrestling and weight training. In American judo, how many of these methods are used? If a survey were taken of methods of training for contest judo in local tournaments, there would be very few dojos using any of the above mentioned methods to supplement their art. It isn’t hard to see why wrestlers out- muscle their judo opponents. The only saving grace in American judo is in the upper divisions of the black belts: it becomes increasingly harder for good wrestlers to win without knowledge of good judo techniques. Most good judo men will supplement their own, personal workouts with running, weight training and even wrestling. The lower white and brown belt divisions usually do not go to the trouble of training to really win as do the upper degrees of top notch competitive black belts. If judo in America is to progress, there is a need to understand and accept those parts of other sports that are applicable to our own. Let us not forget judo is for everyone, and that includes wrestlers from whom we have so much to learn.

We’re honoring the matriarchs of martial arts. Sometimes, the most powerful warrior in the story we see never throws a punch—she raises the one who does. In the world of martial arts, there is often a mom who waited through long practices, wiped away tears after tough losses, and never stopped believing, even when the road got rough.  From film icons to world champions, every fighter has a story—and many of those stories start with a mother’s strength.  Today, we shine a light on the women who helped turn discipline into greatness, one small act of love at a time. 1. Bow-sim Mark – The Grand master Behind Donnie Yen When people talk about Donnie Yen’s precision and power, they often forget where it started: at home, under the tutelage of his mother, Bow-sim Mark . A grandmaster of Tai Chi and internal martial arts, Bow-sim was one of the first women to bring traditional Chinese martial arts to the West. She emigrated to the U.S. in the 1970s and opened a martial arts school in Boston. She began training Donnie from a very young age, blending rigorous traditional instruction with modern adaptability. Her influence turned him into not only a cinematic force in films like Ip Man  but a true martial artist respected by peers. Donnie Yen once said:  " I was 11 and began witnessing my mother, Grand master Bow Sim Mark, teaching her students in a park in [Hong Kong], then went on to teach Harvard, MIT professors and thousands of students in Boston and across USA. She was truly revolutionary and a true warrior, especially from back then [when] martial arts masters were mostly men " 2. AnnMaria De Mars – The Warrior Who Raised Ronda Rousey AnnMaria De Mars  isn't just the mom of MMA legend Ronda Rousey —she’s a seventh degree black belt and world champion judoka herself. In 1984, she became the first American to win gold at the World Judo Championships. She began coaching Ronda at age 11, instilling a mindset that would later carry her daughter to Olympic bronze in judo and UFC glory. Known for her tough-love parenting, De Mars pushed Ronda to rise above pain and failure, even as they endured personal tragedy and financial hardship. AnnMaria’s advice:  “I really think one of the biggest things, in all seriousness, is learning to give up what you want now for what you want most... that lots of people would like to be a world champion, they'd like to get into NYU, they'd like a lot of things, but they're not willing to give up sitting on the couch watching Vampire Diaries for it.” 3. Grace Ho – The Elegant Anchor Behind Bruce Lee Grace Ho , the mother of Bruce Lee , came from the powerful Ho family in Hong Kong, with ties to business and European-Chinese heritage. Despite her relatively privileged background, she supported Bruce’s early career in the entertainment industry and later, his foray into martial arts under Ip Man. When Bruce was sent to America at age 18, Grace had to let go of her son so he could build something greater abroad—a decision no mother makes lightly. Her quiet support allowed Bruce to transcend cultural barriers and become a global icon. Bruce Lee not only promised his mother to be at his best in the US, but also to return only when he makes money. 4. Lee-lee “Lily” Chan – The Steely Mother of Jackie Chan Lily Chan  faced economic hardship and uncertainty, but her strength held the family together when Jackie was enrolled in the China Drama Academy at age 7. The training was brutal—daily acrobatics, martial arts, and acting drills—but Lily believed in the opportunity it offered. Years later, Jackie would become the world’s most recognized stunt performer and martial arts actor. While he rarely speaks publicly about his early years, his story of resilience began with a mother’s difficult choice and quiet faith. Having lived a turbulent life to reach their love and success, a film was later made about the story behind Lily and her husband, Charles. 5. Malia Bernal – Breaking Barriers with Mark Dacascos Malia Bernal , the mother of Mark Dacascos , made her own mark before her son hit the big screen. In 1974, she became the first woman to grace the cover of Black Belt Magazine , an expert in kung fu and tournament fighting. Malia trained Mark from the age of 6, alongside his father Al Dacascos. That disciplined upbringing turned Mark into a lethal competitor and graceful performer, known for roles in films such as Double Dragon,   Only the Strong,  and John Wick: Chapter 3 . To this day, he praises his mother’s achievements and guidance. Malia once said: “I’ve never babied Mark, even when he was a young boy I trained him hard. I will never forget, he always wanted a six pack and while we were living in Germany, Al and I had to go to Italy in connection with a weekend tournament and Mark was always doing his crunches, crunches, crunches! He wanted a six pack like his mother had.”

Who remembers this iconic cover—the July 1975 issue of Karate Illustrated ? It inspired decades of look-alike poses, emulated by martial arts students everywhere. Behind the powerful image was Mel Wise , a beloved karate instructor who, at the time of this photo, was quietly fighting the greatest battle of his life: leukemia. Dr. Wise passed away 3 years after the cover was published, but his legacy lives on through this timeless image—a symbol of strength, spirit, and perseverance. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

Do you recall this cover...? The September 1978 cover of Black Belt Magazine featured 28-year-old Michael Echanis , an American soldier, martial artist, and soldier of fortune. He served in "C" Company of the 75th Ranger Regiment during the Vietnam War and later made his mark as a writer and martial arts expert. From 1974 to 1976, Echanis was the martial arts editor for Soldier of Fortune magazine, where he shared his unique insights and battlefield experience. Tragically, he lost his life while working as a private security contractor in Nicaragua, but his legacy continues to influence martial artists and military professionals through his books on military style combat. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

Stanley Ketchel, aka “The Michigan Assassin,” was one of the greatest middleweight boxing champs of all time. He was noted for tremendous power in both hands, which he threw often. Most of the descriptions of Ketchel’s punching power penned by sportswriters of the time echo this one from Bert Randolph Sugar: “Like Dempsey, Ketchel’s defense was his offense. A murderous puncher with death at the end of each arm, Ketchel kept exploding six-inch shells in five-ounce gloves until something happened.” Ketchel always fought with murderous intent, whether it was in his unofficial 250-plus barroom fights or while wading through the middleweight division until his untimely death at age 24. He was so confident of his power and conditioning that on five occasions, he fought two men in the same day. Once, he outscored six opponents in one six-round match, taking a fresh fighter for each round. Perhaps the greatest show of Ketchel’s power and conditioning, if not his grit, came when he took a run at the heavyweight crown then held by the formidable Jack Johnson. Some boxing historians insist the fight was fixed. Well, if this is true, somebody forgot to tell Stanley Ketchel. On October 16, 1909, in Colma, California, the middleweight champ met the heavyweight champ. Ketchel gave up height, reach and weight — 35 pounds to be exact (Ketchel was 170 pounds vs. Johnson's 205). In short, Ketchel gave up every advantage there is for a shot at the heavyweight title. We're lucky to have film of this fight because the disparity between the two boxers is almost humorous. Ketchel looked like a child going against Johnson, a child in all things except heart. At the opening bell, Ketchel waded in, looking for his target. The crafty heavyweight champ toyed with him and evaded his blows round after round, perhaps lending credence to the “fix” claim, but Ketchel never stopped swinging in search of that knockout. In the 12th round, Ketchel finally found his mark on his opponent’s jaw, dropping the bigger man. The angered heavyweight soon got to his feet and went after the scrappy middleweight, dropping him with a punch so hard that two of Ketchel’s teeth became embedded in Johnson's glove. Fix discussion aside and even though he lost, Ketchel demonstrated enormous strength and stamina in mustering the power to drop such a big man — a big, formidable man at that, a man used to being hit by the heaviest and best men in the world and weathering those storms just fine. This is one of the reasons so many boxing historians revere Ketchel. Just how did Ketchel build such extraordinary punching power and indomitable stamina? He was noted for running a Spartan training camp with a good work ethic, and for the most part, his training regimen mimicked what you'd find many fighters of the era — and today, for that matter — doing. There was roadwork, bag work, calisthenics and sparring, but there was also an unusual feature that few other champions did. Ketchel threw boulders. We’ll get back to the boulder throwing in a moment. First, let’s consider this: Combat sports — be they boxing, kickboxing, grappling or MMA — all rely more on rotational power than on strict linear power. What I mean by that is strikes, throws, takedowns, sweeps and even submission setups use twisting, turning, torqueing and rotational power more than they do right-angle linear effort. Any strike worth its salt relies on rotational forces that begin at the ball of the foot and move upward through the knees, hips, waist, and finally the shoulders and arms (if the strike is a punch). All strikes and all offensive grappling techniques exist in this rotational domain. With this in mind, let’s consider the domain that the majority of our training takes place in. We do push-ups, squats, pull-ups, dips and other bodyweight exercises, all of which are executed in up-down linear fashion. Back squats, bench presses, barbell rows, kettlebell swings, push presses — again, all are exercises that exist in linear planes and do little to develop the rotational power of combat sports. All the aforementioned exercises are necessary and useful to build overall conditioning, but perhaps it was Ketchel’s adherence to heavy rotational work that allowed him to be valued so highly in his own division and to be as surprising as he was when he was at such a size disadvantage. With that in mind, let’s get back to the boulder tossing. In addition to doing conventional conditioning, Ketchel would spend one hour a day throwing boulders. He didn’t simply clean them, press them, deadlift them; he threw them. He’d pick up a boulder and hurl it as far as he could. Then he’d move on to the next one and rinse, wash and repeat until his hour was up. You can’t help but make the assumption that this diligence and adherence to rotational specificity contributed to Ketchel’s astonishing punching power and stamina. So how might we adapt Ketchel’s methods to our need to build rotational power? Most of us don’t have spare boulders lying around, but if you do, you know what to do. If not, try the following: Grab as many “slam balls” or medicine balls as you can. If you have only one, make sure it’s a heavy one. I like to use four: a 20-pounder, a 30, a 40 and a 50. I place them in a line behind cone A. Then I mark off 10 feet — if you go for more than that, you might lose your “freshness” — and set my timer for 30 minutes. When I’m ready to begin, I pick up the slam balls any way I desire and toss them any way I can: push pass, swing toss, granny toss, overhead toss, whatever. I just make sure to mix them up and get them to cone B 10 feet away. Then I walk over to that line and send them all back to cone A. Because I’m throwing only half the time that Ketchel did, I’ll frequently add a set of 10 penalty burpees for each makeshift boulder that falls short of the 10-foot mark. I find that being honest with penalties helps keep the quality of work high. Whether this turns out to be the key to building Ketchel-esque punching power or not, one thing is certain: It can’t hurt. Well, it can’t hurt beyond the sore muscles.

The May 1988 cover of Karate/Kung Fu Illustrated spotlighted Jean Frenette , a 10-time Canadian kata champion and WAKO World Champion. Widely regarded as one of Canada’s most beloved martial arts champions, the Goju-Ryu stylist was known for his exceptional kicking ability. Frenette later brought his talents to the screen, contributing to numerous films and television shows, including Police Academy 3  and 4 , Highlander , The Score , and The Heist . Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

Heavyweights Rodrigo Nascimento, Oleg Popov, Alexandr Romanov, & Valentin Moldavsky Advance to World Tournament Semifinals Light Heavyweights Sullivan Cauley, Simeon Powell, Antonio Carlos Jr., & Phil Davis Advance to World Tournament Semifinals The PFL Welterweight & Featherweight Semifinals Begin Thursday, June 12 on ESPN+ at Nashville Municipal Auditorium in Nashville The First Round of the 2025 PFL World Tournament concluded tonight at Universal Studios Florida, with four fighters in both the Heavyweight and Light Heavyweight divisions punching their tickets to June's Semifinals.In the Heavyweight Semifinals, Brazil’s Rodrigo Nascimento (12-3) will take on Russia’s Oleg Popov (20-2), while Moldova’s Alexandr Romanov (19-3) is set to face former Interim Bellator Champion, Valentin Moldavsky (14-4). In the Light Heavyweight Semifinals, former Bellator Champion Phil Davis (25-7, 1 NC) is set to face Arizona’s Sullivan Cauley (7-1), while former PFL Europe standout Simeon Powell (11-1) will go head-to-head with 2021 PFL Light Heavyweight Champion Antonio Carlos Jr. (17-6, 2 NC). The main event featured a clash between former Bellator Light Heavyweight Champion Phil Davis and 2022 PFL Light Heavyweight Champion Rob Wilkinson (19-4, 1 NC). After a slow start, “Mr. Wonderful,” an NCAA wrestling champion, came out firing in the second round, overwhelming his Australian opponent with a barrage of strikes that forced the referee to step in. With the emphatic stoppage, Davis secured his spot in the Semifinals. The co-main event featured a showdown between two Russian heavyweights with nearly identical records, former Interim Bellator Champion Valentin Moldavsky and Sergey Bilostenniy (13-4). It’s rare to see heavyweights maintain such a relentless pace, but the former training partners emptied their gas tanks over three grueling rounds. While Bilostenniy landed more volume, Moldavsky controlled the grappling exchanges and delivered the more impactful strikes, earning a well-deserved decision victory.Former Bellator Light Heavyweight No. 1 contender Karl Moore (12-4) squared off against 2021 PFL Light Heavyweight Champion Antonio Carlos Jr. “Shoeface” leaned on his elite jiu-jitsu pedigree to neutralize the power of his Irish opponent for most of the bout. Despite a late flurry from Moore in the final round, Carlos Jr. remained in control and earned the split decision victory, his eighth win in his last nine fights. Kicking off the main card was a clash between two European Light Heavyweights: Karl Albrektsson (14-7) and Simeon Powell. Albrektsson found success early, landing a steady stream of kicks that scored points and wore down the 2023 PFL Europe Light Heavyweight runner-up. However, momentum shifted in the second round when Powell unleashed a flurry of vicious elbows that staggered the Swede and dropped him to the canvas, prompting the referee to step in. With the win, “Smooth” secured his spot in the Semifinals this June. The 2025 PFL World Tournament continues on Thursday, June 12, with the Welterweight & Featherweights Semi Finalists competing live on ESPN+ and DAZN.   2025 PFL World Tournament 4: First Round Main Card: Phil Davis (25-7, 1 NC) def. Rob Wilkinson (19-4,1 NC) via KO (strikes) at :51 of round two Valentin Moldavsky (14-4) def. Sergey Bilostenniy (13-4) via unanimous decision (29-28 x3) Antonio Carlos Jr (17-6, 2 NC) def. Karl Moore (12-4) via split decision (29-28, 28-29, 29-28) Simeon Powell (11-1) def. Karl Albrektsson (14-7) via TKO (strikes) at 2:05 of round two   2025 PFL World Tournament 4: First Round Early Card: Alexandr Romanov (19-3) def. Tim Johnson (18-12) via submission (standing guillotine) at 1:53 of round one Oleg Popov (20-2) def. Karl Williams (10-3) via split decision (29-28, 28-29, 29-28) Sullivan Cauley (7-1) def. Alex Polizzi (11-5) via TKO (strikes) at 1:36 of round one Rodrigo Nascimento (12-3) def. Abraham Bably (5-2) via split decision (29-28, 28-29, 29-28)   Upcoming 2025 PFL World Tournament Schedule: 2025 PFL World Tournament 5: Semifinals - June 12 - Nashville Municipal Auditorium, Nashville 2025 PFL World Tournament 6: Semifinals - June 20 - INTRUST Bank Arena, Wichita 2025 PFL World Tournament 7: Semifinals - June 27 - Wintrust Arena, Chicago 2025 PFL World Tournament 8: Finals - August 1 - Jim Whelan Boardwalk Hall, Atlantic City, NJ 2025 PFL World Tournament 9: Finals - August 15 - Bojangles Coliseum, Charlotte, NC 2025 PFL World Tournament 10: Finals - August 21 - Hard Rock Live at Seminole Hard Rock Hotel & Casino Hollywood, Hollywood, Florida

Who remembers this tae kwon do star? The June 1982 cover of Black Belt Magazine featured five-time cover star Pu Gill Gwon , a tae kwon do master from Southern California. Known for his spectacular kicks and creative movement, he brought dynamic energy to every magazine appearance. In many ways, he was an influencer before the term even existed. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

FRENCH FOOTBALL ICON PATRICE EVRA SET TO MAKE MMA DEBUT AT PFL EUROPE PARIS AT THE ACCOR ARENA ON MAY 23RD Footballing superstar Patrice Evra is set to conquer another sporting endeavour as he makes his MMA debut at PFL Europe Paris at the Accor Arena on 23 May Training in combat since 2016 alongside PFL French superstar Cédric Doumbé, Evra will put on MMA gloves and enter the SmartCage in a Showcase Bout in front of his home crowd Tickets for PFL Europe Paris available via accorarena.com The Professional Fighters League today announced iconic French footballer Patrice Evra  will make his mixed martial arts debut at PFL Europe Paris on 23 May at the Accor Arena. Former captain of “Les Bleus”, Evra will fulfil his new dream of competing in an MMA bout. Starting his combat training in 2016, the legendary left-back has been honing his skillset alongside friend and PFL superstar, Cédric Doumbé . Training camp for Evra’s MMA debut in the SmartCage is underway, with his opponent set to be announced. A world-class athlete, Evra’s natural athleticism and competitive streak will see him take on one of the most unique challenges in his sporting career. “You guys should know by now, I love this game too! I’ve performed on the world’s biggest stages, won every major trophy in football, but PFL Europe Paris will be an incredibly special night for me.” Said   Patrice Evra . “I’ve been training alongside the best in the world for years, and they’ll also tell you I’m ready for this. I’m going to put on a show at the Accor Arena on 23 May, so come watch the spectacle.” “I’m told he loves this game as much as us, and we’ll find out on 23 May! We’re incredibly excited to have the superstar that is Patrice Evra fight under the PFL banner, as we’re all about exciting match-ups and making history. I can’t tell you how excited Patrice has been putting this together, but I think you’re going to see it at the Accor Arena. Paris, we’re coming to put on another historic evening of MMA, don’t miss out.”   Said PFL Chief Executive Officer Pete Murray . PFL Europe Paris will also see some of the best French MMA athletes compete at the Accor Arena on 23 May, with Mansour “Tarzan” Barnaoui  (22-6) and the undefeated Archie “King” Colgan  (11-0) set to fight in a huge Lightweight bout, in a fight where a standout performance could lead to Lightweight Championship contention. The deep card will also feature PFL debutant Taylor “Double Impact” Lapilus  (21-4), fresh off his 6-2 record in the UFC, who will go up against 2024 PFL MENA Bantamweight Champion Ali Taleb  (12-1). Belgian sensation Patrick “The Belgian Bomber” Habirora  (6-0) will also be featured against compatriot Nicolas Di Franco  (10-4-1). Updated PFL Europe Paris Card: The Accor Arena, Paris, FranceDAZN (France) | DAZN (UK & Ireland) Friday, MAY 23RD Lightweight Showcase Bout:   Mansour Barnaoui  (22-6) vs. Archie Colgan  (11-0) Lightweight Showcase Bout:   Patrick Habirora  (6-0) vs. Nicolas Di Franco  (10-4-1) Bantamweight Showcase Bout: Taylor Lapilus  (21-4) vs. Ali Taleb  (12-1) PFL Europe Bantamweight Tournament Bout:   Mahio Campanella  (7-1) vs. Matiss Zaharovs  (7-3) PFL Europe Showcase Bout: Patrice Evra  (0-0) vs. TBA PFL Europe Bantamweight Tournament Bout: Dean Garnett (12-3-1) vs. Alexander Luster  (9-2) PFL Europe Bantamweight Tournament Bout: Anas Azizoun  (5-1) vs. Gustavo Oliveira  (10-2) PFL Europe Bantamweight Tournament Bout:   Julien Lopez  (7-4-1) vs. Jan Ciepłowski  (8-0) PFL Europe Featherweight Showcase Bout:   Adam Meskini  (9-3) vs. Tiziano Ferranti  (10-1) PFL Europe Welterweight Showcase Bout:   Salvo Giudice  (1-0) vs. Brice Belghazi  (1-1)

The first time I saw the jeet kune do leg obstruction in action was in Dan Inosanto's backyard. Bruce Lee had recently left to make movies in Hong Kong, and Inosanto decided to build a private workout area at his home. I felt privileged to have been asked to join his training group when it was done. Near the end of my first class, Inosanto told everyone to prepare for sparring. I was matched with an experienced JKD practitioner named Bob Bremer. We squared off, and after a quick exchange, Bremer nailed me with a leg obstruction. I immediately learned the hard way that when the technique is used properly, the opponent is rendered unable to kick or punch. Furthermore, the opponent can't move forward or backward because as soon as the JKD stylist drives a foot into his shin, the opponent's lead leg is immobilized — or buckled. When the technique was used on me in Inosanto's backyard, I was helpless. At the time, it made me feel terrible because even though I was a kung fu teacher and a karate black belt, I was unable to overcome it. Now, I look back on my inability to overcome it as a sure sign of the leg obstruction's effectiveness as an offensive and defensive weapon. Training Time That day, I became a believer in the JKD leg obstruction. Since then, I've seen plenty of Lee's students use the side kick to effect a similar counterattack — called the stop-kick — while avoiding their opponent's technique. However, the only person I ever saw use the leg obstruction as shown here was Bremer. He's the martial artist who taught it to me. Had he not passed away in 2012, I'd probably still be practicing it under his tutelage. While the stop-kick and the leg obstruction can serve basically the same purpose, my students and I have found that the leg obstruction permits a faster follow-up. See the photos for an example of how it can be used offensively in conjunction with other techniques. How the leg obstruction fits into the JKD puzzle is worth mentioning because it can help you determine when and where to use it. Most martial artists who've trained in jeet kune do know that Lee divided the system's attacks into five categories: single direct attack, attack by combination, progressive indirect attack, hand-immobilization attack (trapping), and attack by drawing. What people often overlook is that some of those attacks are meant to be used against certain types of opponents. Take the single direct attack, for example. To make it work on its own against a worthy adversary, you must be faster than he is or you must catch him off-balance. A better way to use a single direct attack is as a counter. That often means hitting your opponent with a stop-kick or leg obstruction while he's in the middle of his forward movement. If your opponent is as fast or faster than you, this will work only from the fighting measure. The fighting measure, as you may know, is the distance between you and your opponent when you're just out of each other's reach. In other words, if he wants to kick you, he must take a step forward. It's because of that distance and the time it takes him to traverse it that you're able to detect the incoming attack and counter it. (For more information about the fighting measure, the footwork needed to maintain it and drills that will help you master it, see Page 153 of my book Chinatown Jeet Kune Do: Essential Elements of Bruce Lee’s Martial Art. ) After you land a single direct attack in the form of a stop-kick or leg obstruction, you can turn to JKD's other methods to finish your opponent. While trapping can be used for both offense and defense, it's mostly used against an opponent who blocks or parries one of your techniques. Attack by drawing works by deliberately leaving an opening for your opponent to exploit — you “draw” his attack and then take advantage of the opening he gives you. Such is the theory behind the stop-kick and leg obstruction: They work because it's impossible for anyone to effect an attack and not leave an opening. Strategic Fighting Next comes the final strategy, which is the progressive indirect attack. It's designed to work against someone who blocks an attack or uses distance as a primary means of defense. The word “progressive” in this context means moving your offensive weapon closer to the target. This is done by feinting, which enables you to progress toward the target. To better understand how this functions, you should know the difference between a feint and a fake. A fake is an indirect attack intended to open a line by making your opponent react to a false attack. A feint is also an indirect attack intended to make the opponent react, but it doesn't withdraw. Instead, it progresses along the now-open line. The main problem with any fake or feint is that it shouldn’t work against a JKD stylist or any other skilled counterfighter. While almost any technique or tactic will work against an opponent who isn’t very good, the real test is whether it will succeed against a person with training and experience. If your opponent is savvy enough to spot your fake or feint, he might know that it can be intercepted with a stop-kick or a stop-hit. The question then becomes, what will work against an opponent who possesses such knowledge? Enter the defensive leg obstruction. It entails moving from the fighting measure as quickly as possible, with little to no preparation, to create a barrier (the actual obstruction) between you and your opponent. If you can bridge the gap fast enough, he won’t be able to catch you with a stop-kick or stop-hit. If you work on stop-striking enough, you'll quickly learn that if you can keep your opponent just out of reach, it’s easy to intercept him with a leg obstruction anytime he takes a step forward to bridge the gap. JKD students practice this skill by putting on boxing gloves and shinguards and trying to nullify movement whenever the other person is about to attempt a stop-kick or stop-hit. Often, the best response to the opponent’s counter is the leg obstruction. Learning it is essential if you want to avoid being intercepted while you're executing your attack. Leg Obstruction in Action: Questions and Answers Jim Sewell started jeet kune do the second year the Chinatown JKD school was operating and wound up staying for 14 months. Like Tim Tackett, Sewell was heavily influenced by Bob Bremer. You’ve said Bob Bremer is the person who got you interested in JKD. How did the two of you meet?   Bob and I met a long time before we started JKD. He was actually with Ed Parker at that time. I went there and checked that out with him, but it wasn’t for me. I dropped out but still saw Bob regularly — we fished together a lot. Later, I heard Bob talking about JKD, so I went down to the school twice. The second time I signed up. How was the JKD school different from the kenpo school? Ed Parker’s students were guys who liked to rush in and start throwing fists. That didn’t fit me. After working out with Bob a little bit, JKD seemed like the right thing for me. We moved a lot, built our balance and developed fast hands. We usually started off exercising — doing push-ups and sometimes running around the block a couple of times. It was very physical. Did you do much sparring?   Yes, we did a lot. We had these bamboo vests that we wore. They’d split the bamboo and mount the pieces in pockets on the vest. They worked better than what we have today. They allowed us to go at it full contact, and we did. When you were about 65, you got a chance to put your JKD skills to use when you were attacked at a gas station. What happened?   I was in line to get gas. I filled the tank on one side of my truck, then pulled out and backed in so I could fill the tank on the other side. A guy pulled out of line and came squealing around. He said, “What the hell are you doing?” I said, “Filling my tank.” Then he drove away. When I finished pumping the gas, I hung up the handle. He punched me in the face when my back was turned. When I turned to look at who hit me, I saw a young, muscular guy who jumped into a karate fighting stance. He started to kick me with a rear-leg straight kick. Without planning anything, I countered his kick with a leg obstruction to the knee by sliding up, then followed up with a punch to his face. He went down. I remember thinking he was going to get up, so I went over, grabbed his arm, put it over my knee and gave it a crank. His wife came to get him, and he was crying as they walked to their car. Since bystanders just saw an old guy get the better of a young punk, some started to clap. A man came up and handed me my glasses. He said, “Good job.” I guess I had practiced the leg obstruction so many times in the 1960s that I just seemed to do it without thinking about it. Photography by Peter Lueders

Most of us would love to be in movies. Unfortunately, no matter how good we are, most will never get a chance to perform on film. The next best thing to appearing on the silver screen is appearing onstage. Fortunately, that's an area where many martial artists are getting an opportunity to show their abilities, pick up some new skills, and even earn a decent paycheck. “Some of the live-action shows can pay pretty well, especially if they take you out of town to perform,” said Jessie Graff, a martial artist, gymnast and stuntwoman. Graff gained some of her early experience while doing live performances at theme parks in Southern California. “I did a show called Spy Girl  at Six Flags, and they had a wushu world champion doing the choreography,” she said. “Working in that show, I got great training for free.” A Long History of Live Martial Arts Shows Although some traditionalists might turn up their noses at the idea of showcasing their skills in a live show at a theme park, there's a long history of martial artists performing in such spectacles. For hundreds of years, one of the key features of Chinese opera has been breathtaking fights performed by skilled martial artists. In fact, many of the flashy moves found in modern kung fu have their origins not on the battlefield but in these performances. The tradition continues to this day. “Fight scenes play a very large part in our shows,” said Brad Irish, entertainment and events manager at the Six Flags America amusement park in Maryland. “We'll start with a theme like pirates vs. cowboys, and that gives us an excuse for the fighting. We have some exhaustive fight scenes that I create specifically around the actors' strengths. It's definitely a plus if the performer has martial arts experience.” Martial Arts That Shine on Stage Most styles will benefit a person who's trying to land a gig in a live show, but some lend themselves to performance more than others. Graff said that while it's natural to throw short, tight strikes in real encounters because they work better, stage battles require bigger, broader techniques so the audience can follow the action. She said arts like wushu and taekwondo can develop the type of crowd-friendly moves needed in live shows. “For martial artists with a strong foundation in real fighting, stage fighting is almost the opposite,” Graff said. “But training for stage fighting is a chance for you to learn new skills that you might never have gotten to develop otherwise.” Just as fighting on a stage differs from self-defense, it also differs from screen fighting. That's because rather than focusing on making strikes look good for a single camera angle, stage performers must make their moves look believable to an arena full of people. Maximum control is needed to execute a kick or punch and get close enough to the opponent to make the audience, which is not only in front of the action but also to the left and right, buy it. Even more challenging are battles with weapons. Done right, they're crowd-pleasers. Audiences love to watch martial artists fight with staffs, swords and daggers. However, the precision has to be spot on, and with the added weight of the weapons, physical fitness is mandatory. Consider the shows that run at Six Flags. They typically last 20 to 25 minutes with half that time devoted to all-out combat. Each day, three shows take place. Often, they're done five days a week and, because they're outdoors, the martial artists are at the mercy of the weather. Being in top shape is obviously essential. More Than Just Theme Parks Theme parks aren’t the only outlet for martial artists who like to perform. Consider the case of Marco Johnson, son of legendary forms champion and Black Belt Hall of Famer Willie Johnson. A leading tournament competitor in his own right, Marco has developed a unique brand of “kung fu hip-hop” that he and his students regularly perform at venues from car shows to concerts. They've even appeared with rap artist 50 Cent. “They like to have us start off a show and build the crowd, then the artist will come onstage and do their songs,” Marco said. His demo team uses everything from break dancing to a traditional Chinese lion dance to do that. Their routines incorporate empty-hand moves, weapons and choreographed exchanges. Their success has enabled them to put out a highlight reel of their performances. Although it's unlikely that a person can earn a living just from doing independent demos, Marco said other benefits come from appearing in such shows — like recruiting new students for a school or capturing video footage. He's managed to parlay his demo experience into appearances in MTV videos and a starring role in the movie Beast . “You’ve just got to find your market,” Marco said. “Not everyone will fit into the world of hip-hop, but you might want to try something like Christian music and give performances for church audiences. Even performing at local parades can tap into thousands of new people. The more you put yourself out there, the more people will start to bring you in to perform for them.” A Real Career Path For motivated martial artists, opportunities abound in the world of live shows. Employment need not be viewed as just a summer job or a part-time endeavor, Irish said. He started as a performer in a Six Flags show, but he now serves as a shining example of the growth potential in this industry. “I began here onstage in 2008 when they had a Batman  stunt show running,” Irish said. “When that ended, they decided to go in-house and asked me to write and choreograph shows. If you had told me 10 years ago that I'd be in charge of an award-winning stunt production, I'd have laughed at you. Live-action shows can definitely be rewarding in more ways than one.”

Black Belt Magazine would like to extend its deepest condolences to the family and friends of Raymond McCallum a beloved friend and one of the most feared competitors on the national circuit. McCallum stood out as one of the premier fighters of the early 1980s. He emerged making an explosive impact with his highly skilled fighting tactics and an arsenal of kicking techniques that would still impress by today's standards. A gutsy and supremely talented Texan. In a memorable grand championship bout captured by Fighting Stars magazine in 1984, McCallum famously delivered a head kick against the legendary "Nasty" Anderson. Beyond point fighting, McCallum also competed in full-contact events, facing world-class opponents such as Bill Wallace and Branko Cikatić, among others. Raymond McCallum was widely regarded as the most spectacular fighter on the circuit. Martial arts star Keith Vitali once remarked, "Raymond was the most spectacular fighter on our circuit; much more exciting to watch than any of the rest of us. All of the top fighters would stand by his ring every chance we got just to watch him execute some incredible move that would have all of us, his own peers, literally going wild over. He was incredibly electric in the ring and I was one of his greatest fans. We say farewell to our friend—a man who inspired all of us and helped shape Texas karate into the powerhouse it is today.