Paul “Big News” Hughes returns to action in a showcase headline bout against Brazil’s Bruno “Robusto” Miranda for PFL Europe Belfast at The SSE Arena on 10 May Bruno Miranda earns the opportunity to spoil the Paul Hughes homecoming following his victory over Patricky Pitbull in his last outing Tickets for PFL Europe Belfast are on-sale now via ticketmaster.ie The Professional Fighters League (PFL) today announced  Paul “Big News” Hughes’ (13-2) will take on  Bruno “Robusto” Miranda (17-5) in the Lightweight main event showcase bout at PFL Europe Belfast on May 10th at the SSE Arena, with tickets on-sale now via   ticketmaster.ie . The Brazilian Muay Thai specialist is a PFL Challenger Series contract winner who hones his craft in Thailand, which is evident by his aggressive striking style in the SmartCage earning him 9 KO/TKOs in his MMA career. With four wins in the PFL, Miranda’s most recent victory came over former Lightweight Champion Patricky Pitbull in an incredible action-packed fight, with his only two losses in the promotion coming by way of a former Bellator Champion and subsequent PFL Champion, Brent Primus and Olivier Aubin-Mercier respectively. " Robusto” will look to spoil the homecoming party for Paul Hughes, who will fulfil a lifelong dream to main event at The SSE Arena, Belfast’s iconic venue situated a stone’s throw away from his gym. At 27 years of age, Hughes accomplished everything possible on the regional stage before entering free agency, where he was pursued by every major mixed martial arts promotion on the planet before choosing to join PFL. A former Cage Warriors Featherweight Champion before moving up to Lightweight, Hughes has shown his world class level by defeating former Featherweight Champion AJ McKee in October 2024, and narrowly losing a majority decision to current Lightweight Champion Usman Nurmagomedov in a critically acclaimed ‘fight of the year’ contender. Belfast will be the home of PFL Europe’s first tournament fights of 2025, which will see the continent’s top athletes enter a bracket who will have one shot to win three bouts across the year to earn the coveted PFL Europe Championship and a cash prize of $100,000. " Belfast, the PFL is coming to The SSE Arena with some Big News. For our first PFL Europe event of 2025, we knew we had to reward the Fighting Irish fandom with a Paul Hughes homecoming.” Said PFL Chief Executive Officer Pete Murray. "The vocal support for Paul meant this was an easy decision, and I can’t wait to feel the atmosphere of The SSE Arena during the main event. But we plan to stack the card with our PFL Europe Tournament fighters, and a host of athletes who are prepared to lay it all on the line and put on a show. Belfast, get your tickets, we have a feeling this event will go down in history.”

The February 2009 issue of Black Belt Magazine featured   Lyoto Machida, a Brazilian mixed martial artist renowned for his elusive karate-based striking and tactical precision. The former UFC Light Heavyweight Champion seamlessly blended Shotokan Karate with Brazilian Jiu-Jitsu and Muay Thai, making him one of the most challenging fighters to hit. His mastery of counterstriking, combined with exceptional distance control and timing, set him apart in the octagon. Throughout his career, Machida secured impressive victories over legends like Rashad Evans, Randy Couture, and Dan Henderson, often punctuated by his signature front kicks and knockout power. His disciplined approach and unique fighting philosophy have cemented his legacy as one of MMA’s most respected and technical competitors. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

When the scenario is laid out, when you know what attacks will come and how you’re expected to respond, you can be forced to employ techniques you’d otherwise ignore. SPAR TO BECOME A BETTER FIGHTER It’s a mistake — a serious one, even though it is understandable — to dismiss prearranged sparring as a sterile, unnecessary aspect of karate training. I used the word “understandable” because if you don’t have a realistic perspective on the place of prearranged sparring in the dojo, it can seem fake. You bow and take a stance. The attacker issues a strike that you both know is coming, and you respond with a block and counter. Real-life altercations are seldom that neatly arranged. Free sparring seems more spontaneous and natural. There’s no designated attacker or defender, and the participants freely switch roles. It feels more authentic. To be sure, sparring without a script has some advantages. There are also severe limitations. Stresses introduced by the dangers of free exchanges can lead you to narrow the range of your techniques. You tend to focus on moves with which you’re comfortable. You don’t expand your repertoire. In free sparring, you polish what you’re already competent with and ignore your weaknesses. In contrast, when the scenario is laid out, when you know what attacks will come and how you’re expected to respond, you can be forced to employ techniques you’d otherwise ignore. You strengthen and broaden your repertoire. Furthermore, within the structure of prearranged sparring, there’s an opportunity to explore many avenues of karate that normally would be closed. In Japanese, prearranged sparring is called yakusoku kumite. Yakusoku means “agreement.” There are several versions of this, including one-, two- and three-step kumite. An interesting variation is happo kumite. Happo means “eight directions,” but its connotation here is “many.” HAPPO: Place yourself in the middle of multiple attackers — four is a good number. Begin with clear directions: The first opponent will execute a front kick that you must avoid or block, after which you counter. The second opponent proceeds with a face-level punch that you must deal with the same way: block and counter. And so on. Everyone should be clear on the sequence. The attacks are limited. The responses can be anything you, the person in the center, wish. The second attacker doesn’t begin until the first attack and counter are completed. All movements are slow and focused but without power. In a real sense, this is choreography, like rehearsing a movie fight scene. Stop there, at that level, and the benefits of happo kumite are limited. This is only the start, however. Once you have the moves down, speed up the sequences. Attacks should come faster, and the intervals between attacks should become shorter. As soon as you counter the first attack, the second one is launched. You’re forced to respond more quickly. At an even higher level, the attackers choose their own techniques. They also can change up the sequence, varying who attacks first so you can never know from which direction the next assault will come. A benefit of happo kumite isn’t immediately obvious, but it’s important. The attackers, rather than being just mobile punching bags for you, play an essential role because no matter how good you are, you can be overwhelmed by multiple opponents coming from different angles. If the attackers become thoughtless or too aggressive, they’ll force you to flail about — or just cower. At this point, you're learning nothing because you’re not engaging in the training. If, however, the attackers are participating thoughtfully, they can play a constructive role. They need to graduate their strength and power carefully, pressing you without destroying your spirit or compromising your technique. The attackers need to be constantly engaged, evaluating you, pushing you to improve without going too far. In fact, they can learn as much as you can from this kind of training. They learn to observe, to sense your mindset. Even though the roles of attacker and defender seem at odds, both sides are working together, each learning valuable lessons. MAKE YOUR BLOCK MORE THAN A BLOCK Attention! Use extreme caution when attempting this drill. Begin by having your partner step forward with his right foot while aiming a punch at your chest. Step back with your right foot, taking a left-leg-forward stance. While doing that, use your left arm to make a midlevel block that deflects his punch to your right. At the same time, pull your right fist back to your hip. Next, shuffle forward, maintaining a left forward stance, and deliver a right reverse punch to his midsection. If you’ve practiced karate for long, you’ve probably worked this combination a thousand times — perhaps so often that it’s hard-wired into you. You don't normally think about it, but let’s do that for a moment. Why do you step back? What if you step into the attack? When you step back, the distance is such that your left forearm, in the block, strikes your opponent’s attacking limb along the forearm. This is helpful in training. Forearms are relatively tough, and partners can move back and forth across the floor striking and blocking. Beginners may experience some soreness and bruises the next day, but more experienced karateka will be fine. If you step forward to make your block, however, that ideal distance changes. Your vertical forearm will strike your opponent’s elbow. Now, we all know that “blocking” is a misnomer in karate, a poor translation of ukeru, which means “to receive.” Moving forward and striking the elbow with your block does a lot more than redirect your opponent’s attack. It does damage, perhaps severe, to the attacking arm. It’s meant to injure. When you step back to make the receiving movement, the relative distance stays the same. Test this, and you’ll see that you redirect the punch away from you — but you do little to take his balance. This is a serious flaw in teaching movements we describe as blocking. Often, they do little more than redirect the weapon, in this case his fist. But if he has the ability to reorganize, he’ll do so instantly. He can even use the force of your deflection to flow into a new attack. Blocking is a defensive movement. It’s playing catch-up, hoping to find an opening to make a counter. Stepping back reinforces this mindset. When you step in and use your forearm to strike your opponent’s elbow, you're deflecting his attack. You’re also destroying the weapon. Why not teach this? Because it’s dangerous. Introduce it in a typical dojo with 10 pairs of karateka, and very quickly you’ll have elbows broken, dislocated, and sprained. If you’re going to experiment with this, you need to know your opponent’s skill level, his attitude, and his mentality. One of the lamest clichés in the martial arts is “My art is so deadly I can’t even demonstrate it.” No, it isn’t that karate, at a high level, is too deadly. It’s that practitioners, even at a relatively high level, are still too undependable to be able to engage in it at full speed and power without exercising extreme care. CAVEAT:  I’m not suggesting that stepping back in the face of an attack is always inferior. It can be very effective, particularly if you use your hips. Once again, however, unless the training is careful and controlled, someone’s going to get hurt. And once again, blocking, in the sense of using your forearm to deflect the opponent’s strike at his own forearm, is not the intent. When you’re retreating, a blocking movement is better employed as a pulling motion. Think not so much about moving back but about making a hole into which you’re drawing your opponent. He’s extending an attack; you’re encountering it and pulling him — hard. Your forearm slides down from the initial position and brings your hand on top of his wrist, providing the grip you need. Your pull cannot be gentle; it needs to yank him off-balance. It isn’t a straight-line pull; the motion draws his arm so it crosses his own center, further destroying his equilibrium. When a person attacks with full commitment, only to have you suddenly retreat, taking the attacking arm with you and redirecting the force of the punch across his body, it’s like grabbing the handle of a heavy open door, only to have it suddenly slam shut. It jerks you with it in a direction that comes close to taking you off your feet. This movement doesn’t take a lot of power. You can generate terrific force with the sudden movement of your hips as you step back. If you try to yank your opponent with your arm, he can easily feel your energy and adapt to it. Avoid that by making the pull quick and strong, powered by the large muscles in your hips. LEARN WHEN TO STAY ON YOUR TOES Put this one in the “obscure” category of karate techniques. Kicking with the toes is no longer taught in most dojo; in others, it was never part of training. There are a few Japanese karate systems that teach these kicks. Mostly, however, we associate them with Okinawan karate. The obvious question is, Why? Most of us dislike hard contact with the toes. Stubbing a toe isn’t high on anyone’s “like” list. Further, the ball of the foot or the heel offer much more solid, much less potentially painful weapons, just as a closed fist is a safer, more effective way to use your hand compared to striking with the fingertips. But think about the potential of a strike in which all five fingertips are pressed together, making a bird-beak shape. Such a strike delivered to the neck or another soft, nerve-rich target is powerful and penetrating. The same applies to toe kicks. If an opponent is doubled over in front of you as a result of your previous attack, a kick with the toes — especially if you’re wearing shoes — that hits his diaphragm or abdomen can be devastating.  Yes, but isn’t there a big difference between toe kicking while wearing shoes and toe kicking with bare feet? There is. To kick effectively with the toes requires a lot of training. Chances are if you’re an experienced karateka, as soon as you lift your knee to kick forward, your toes curl back, exposing the ball of your foot. A toe kick requires you to keep your toes straight and your entire foot parallel to the ground. Your lower leg doesn’t hinge up from the knee. Instead, it goes straight out, delivering the toes on target in a line rather than a rising arc.  Some Okinawan systems teach kicking with only the big toe. Others involve squeezing the first and second toes together to form a delta-shaped weapon. In either case, the technique requires a lot of training, stretching, and strengthening of the muscles of the foot.  Toe kicks are usually delivered toward the lower half of your opponent’s body, although some karateka chamber their knee high enough to drive their toes into their foe’s ribs or below his sternum. Such techniques can be effective against any target that has nerves close to the surface. For example, grappling locks that extend a captured arm, pulling an opponent so he’s bent over, expose the inside of the upper arm to a toe kick that can temporarily paralyze the entire limb. Toes driven into the inside of the knee or the area just above it can take a person to the ground with a combination of pain and nerve paralysis. Toe kicks directed at the thigh can disrupt normal nerve functions, making a person collapse. There’s something about toe kicks that looks odd to the average karateka. To see such moves implemented by a skilled practitioner, however, with the toes driving into soft flesh with the potential for injury to organs or joints, is to see why one way of describing them in Japanese is ashi-yari, or “foot spear.” HISTORY:  Stories about toe kicks abound in Okinawan karate. Some are almost certainly in the realm of legend, while others have a grounding in historical fact. One of the latter involves Ankichi Arakaki (1899-1927), who was famous for toe kicking. On at least two occasions, he used the technique, once while sparring with his brother and once in a fight with a renowned practitioner of Okinawan wrestling. In the first encounter, Ankichi aimed his kick at his brother’s ankle. In the second, a fight that supposedly took place in a bar and was one Ankichi did his best to avoid, the target was just below the wrestler’s armpit. Both men suffered symptoms that resembled those of an aneurysm. The wrestler actually died within a few days. Hohan Soken (1889-1982) was perhaps the most proficient Okinawan karate expert who used the toe kick. His white-crane system, with soft (looking), flowing moves, still teaches toe kicks. They’re often combined with movements that unbalance the attacker, causing him to drop his guard or perhaps open it, thus allowing penetration with a toe kick. FOCUS ON THE SPIN KICK The spinning heel kick is one of the most artistic martial moves. It looks graceful and generates tremendous power. Recently, some MMA fighters have worked to perfect their spinning kick because it hits like a baseball bat. Opponents are knocked down or completely out when the heel connects. The origin of the spinning heel kick is hard to determine. The move is an extravagance of energy. It requires you to turn your back on your opponent. It’s most effective against the head. All these argue for not including it in the arsenal of a combative art designed primarily for real fighting. It appeared most prominently in taekwondo when the art became popular in the 1960s and ’70s. As the style became more widespread, the spinning kick became more sophisticated. Early free-style percussive arts with open, full-contact matches had little use for the spinning heel kick, mainly for the reasons mentioned above. As those arts continued to grow, however, they began to incorporate the technique. The power it offered was too great to ignore, which is why MMA practitioners have started implementing it.  The spinning heel kick was never in the repertoire of Japanese karate, and it’s important for us to think about why that is. The Japanese combat arts have among their core principles one known as kime. In the dojo, kime is often translated as “focus.” In everyday Japanese, kime (or its indicative form kimeru) means “to decide.”  In a punch, kime is the exact point at which all energy is directed, extended, focused. In an art that involves throwing, kime comes the moment your opponent’s balance has been compromised so completely he cannot resist. Apply focus, and the throw is effected at that very moment. Kime is that crucial point at which the intent of the technique is put into a decisive action.  Techniques like the spinning heel kick do not have kime. The extended leg is rotating; where the heel contacts the target is not precise. For that reason, the kick wasn’t part of traditional Japanese karate. TWO POINTS:  First, to say that the spinning heel kick doesn’t have kime is not to say it’s ineffective. Too often karate practitioners develop an arrogance, a belief that theirs is the ultimate art. To be fair, practitioners of other arts develop the same delusions, but the point is that any fighting art can be effective and dangerous and that you should never judge that potential by applying the standards of your own art. Second, the underlying principles of your art are there for a reason. They give structure. Without that framework, you cannot build your own system. If you have access to a library of karate books, you can see that, back in the early ’80s, some Japanese karate schools began to incorporate the spinning heel kick into their curriculum. I have a text on what was then called “Korean karate” from the late ’60s, and one of the techniques it illustrates is the “hook kick.” The earliest reference I have of a similar kick in Japanese karate was not until the mid-’80s, and the explanation for it is muddled. Clearly, the authors had seen the Korean spinning heel kick, recognized its usefulness, and tried to incorporate it. They couldn’t reconcile its execution, however, with the principles of their art, particularly the principle of kime. Of course, the possibility exists that some dedicated karateka will figure out a way to execute the spinning heel kick so it allows for the proper manipulation of kime. Principles give a fighting art structure, but they shouldn’t squeeze it into a box. That’s why karate is not the closed tradition many believe it to be. It can grow and change, so long as the principles are maintained.

The Arnold Sports Festival once again demonstrated why it is the world’s premier multi-sport and fitness expo, attracting over 200,000 attendees and featuring more than 20,000 athletes competing in 80+ sports and events. Founded by legendary bodybuilder and actor Arnold Schwarzenegger, the festival has grown into the largest event of its kind, bringing together elite competitors, fitness enthusiasts, and industry leaders from around the globe. Martial arts have always been a cornerstone of the event, with the Kumite Classic leading the way as it celebrates its 25th anniversary in Columbus in 2025. The Kumite Classic, one of the nation’s most prestigious martial arts brands, continues to raise the bar for combat sports excellence. Founded in Pittsburgh in 1999, the event has evolved into a premier showcase of martial arts talent, drawing elite competitors from across the world. Established by martial arts visionary Bill Viola Jr. , the Kumite Classic has become synonymous with high-level competition and innovation. Over the years, it has provided a platform for athletes to test their skills in various disciplines, including karate, kickboxing, kung fu, jiu-jitsu, and taekwondo, while also serving as a gateway to internationally recognized tournaments such as WAKO Nationals. The World Association of Kickboxing Organizations (WAKO) is at the forefront of the movement to bring kickboxing to the Olympic Games. As the official governing body for amateur kickboxing worldwide, WAKO has been working tirelessly to achieve full Olympic recognition, paving the way for athletes to compete on the world’s biggest stage. The merger between the Kumite Classic and the Arnold Sports Festival provided a platform to host the WAKO National Championships and expand the league’s footprint for their team trials. WAKO’s journey toward Olympic inclusion took a significant step forward in 2021 when the International Olympic Committee (IOC) granted it full recognition. This milestone positioned kickboxing alongside other combat sports, reinforcing its legitimacy and global appeal. WAKO continues to develop the sport by standardizing rules, ensuring athlete safety, and fostering fair play in international competitions. “The Kumite Classic is more than just a tournament—it’s an experience of martial arts culture, dedication, and athletic excellence,” said Bill Viola Jr. “We take great pride in bringing together competitors, coaches, and fans to experience the best in combat sports while honoring the traditions and values that make martial arts so unique. Adding WAKO into the mix took things to the next level.” Traditionally held in Pittsburgh, the Kumite Classic celebrated its 25-year legacy by merging with the Arnold Sports Festival, expanding the reach of both events. As a result, WAKO hosted its largest nationals to date, with over 1,000 athletes and coaches packing the Lausche Expo Center to compete in sport karate, kickboxing, Chinese kung fu, wushu, taekwondo, tang soo do, and even LED saber competitions. In his role as WAKO Tatami Chairman for the United States and President of the Kumite Classic, Viola Jr. helped bridge the best of both worlds. “The Kumite Classic has been semi-retired since 2017. Only a special opportunity like merging the Arnold and WAKO could entice me to resurrect our signature event. Boy, was it worth it. None of this would have been possible without the Kumite Classic family—we had over 100 full-time volunteers working tirelessly to keep everything running smoothly,” said Viola Jr. Kumite Classic Staff “The Arnold Sports Festival is more than just a competition—it’s a celebration of strength, dedication, and the pursuit of excellence,” said event coordinator Robert Whatule. “Each year, we witness an incredible display of athleticism and passion from both competitors and fans, making this event a truly one-of-a-kind experience.” As the Arnold Sports Festival continues to expand, organizers remain committed to delivering an unparalleled experience that inspires and educates fitness enthusiasts of all levels. With each passing year, the festival solidifies its legacy as the ultimate destination for athletic competition, industry networking, and fitness innovation. This year’s event showcased an impressive range of divisions, including traditional kata, weapons, point fighting, and full-contact kickboxing, drawing renowned martial artists from various disciplines. The competition was fierce, with athletes demonstrating extraordinary technique and tenacity in front of an enthusiastic crowd. Clarissa DeHoyo’s performance of Papuren  and Cameron Klos’s presentation of Ohan Dai  secured victories in the Traditional divisions, earning the coveted “Power Rings.” The duo also won a brand-new Tokaido athletic kata gi, courtesy of Tokaido USA. Charles Bremner, CEO of Budomart, expressed his support for the event: “We are honored to be a part of the Kumite Classic and to support the traditional karate movement. Sensei Bill [Viola Jr.] has a long tradition of attracting top AAU, USANKF, and Shotokan organizations to compete at his events.” Of course, the highlight of the festival was the sparring categories, where elite competitors battled for custom championship belts and the prestigious “MVP” Most Valuable Point Fighter rings. U.S. Army’s Clarissa DeHoyo winner of Traditional Power Ring  The Black Belt Grand Championships (Open Weight) Title Belt Winners:  Adult Male: Brayan Rodriguez - Caracas, Venezuela (Diamond) presented by “DOJO” Adult Female:  Ki’Tana Everett, Minneapolis, Minnesota (Team Paul Mitchell) presented by “Female Fighters Matter Too” Maggie Messina, founder of the nonprofit group SWERV (which empowers at-risk youth to achieve more in their lives), was a major contributor to the weekend by sponsoring the prize money for the women’s grand champion. Her organization is dedicated to helping people change direction and raise awareness through campaigns such as “Female Fighters Matter Too” (FFM2), an equality initiative aimed at ensuring female competitors receive prizes equivalent to those awarded in male divisions for grand champion titles. Messina shared, “The belts were top-shelf, and the big crowd made it exciting! Everything ran smoothly with professional, certified judges. The friendly environment made it a great way to celebrate my birthday.” Maggie Messina awards Adult Open Weight Champion to Team Paul Mitchell’s Ki’Tana Everett  “The Kumite Classic at the Arnold Sports Festival continues to grow in both talent and prestige,” said U.S. Army Head Coach Wesley Lawrence. “It’s incredible to see the dedication and skill of these martial artists as they push the boundaries of their abilities on such a grand stage. I’ve been to the Kumite Classic as a competitor, so I knew adding WAKO would be game-changing—and it did not disappoint. Bill puts the competitors first, and his production is beyond what other promoters do.” U.S. Army Coach Wesley Lawerence (left) pictured with 15-17 year old Open Weight Champion Raian Mayers A highlight of the event was the highly anticipated team trials, where top competitors engaged in high-intensity matches that captivated spectators, all vying for a spot on the official WAKO USA Team. Only gold medal winners earn a place on the adult team, while both gold and silver medalists qualify for the junior squad. The Pan American Kickboxing Championships  for Children, Cadets, and Juniors will take place from August 27 to 31, 2025,  in Punta Cana, Dominican Republic.  The Senior World Championships  are set for November 22 to 29, 2025,  in Abu Dhabi, United Arab Emirates. Beyond competition, the event provided martial arts enthusiasts with the opportunity to engage with industry professionals, attend educational seminars, and explore the latest trends in martial arts training and equipment. Iconic global brands like Tokaido  and Century  were among the weekend’s sponsors. Century President Michael Dillard  was on hand to witness Team USA firsthand. Century awarded “All-American Patches”  to honor the junior team members who medaled in Budapest, Hungary,  last fall. Dillard stated, “We are proud to outfit Team USA for both the Pan Americans and World Championships. I am excited for the upcoming WAKO Century Cups and for building a future with the league.” As WAKO  continues to push for kickboxing’s inclusion in future Olympic Games,  events like the Kumite Classic  and USA Sport Karate  play a crucial role in preparing athletes for international competition. The dedication and perseverance displayed at these events reflect the very spirit of the Olympic movement, ensuring that kickboxing continues to grow and thrive on a global scale. The success of the Kumite Classic  at the Arnold Sports Festival  underscores the collaborative efforts to expand WAKO  and the Olympic movement  in the United States. Next Up for WAKO: The Pennsylvania WAKO State Games  will be held on May 10  at the David L. Lawrence Convention Center  in conjunction with the Pittsburgh Power Expo. For more info, visit: www.kumiteclassic.com

Much Emphasized, Yet Least Discussed One of the most emphasized yet least talked about karate techniques is kata—the dance-like series of stances and moves used to master form, agility, and speed. Recently, kata has been spotlighted by controversy; not as to its intrinsic value, but whether new forms finding their way onto exhibition floors can be considered of serious value to the world of karate. To the spectator, kata is a ballet-like form of shadow boxing that can be rhythmic and as powerful as modern dance. Within the past few years, kata has undergone mutations that have given it a distinctly American flavor. A steady flow of kata competitors has demonstrated a definite trend away from traditional forms. Some practitioners have even gone so far as to use tomahawks and loin cloths to emphasize the Americanization of kata. The Divide Between Traditionalists and Reformers To the karateka steeped in the Oriental genre of kata, these "American pioneers" seem to have taken liberties without fundamental concern for kata, nor with enough karate background to create or originate new forms of this technique. Traditionalists believe these reformers didn’t know enough about kata to begin with, so they had to improvise to avoid looking bad in their students’ eyes. On the other hand, reformers attempting to implant their own systems of kata into the American karate scene argue that their American kata was created for the individual needs of Westerners, taking into account height, weight, arm, and leg reach. The proponents of new kata seem to feel this is the natural course toward the Americanization of any sport, believing the U.S. public cannot assimilate a foreign art without such modifications. The Black Belt Survey Results In a recent exclusive BLACK BELT  survey discussing the value of these "unique" forms of kata, leading sensei polled responded with a three-way split. Of the replying sensei: 30% felt American kata had value and basis in karate 30% stated it definitely had no value nor basis Another 30% qualified their answers with a yes-no response The remaining 10% had "no comment." Voices from the Karate Community Earnest Lieb of the American Karate Association strongly believes American kata holds significant value: "They are designed for individual needs. Since Americans are made up of all sizes, kata should be designed for different individuals, not for the majority with the hope all persons are alike." Lieb adds, "American kata is becoming a reality. After all, why do Korea, Okinawa, and Japan have the right to develop their own when the originality and development took place in China?" Duke City’s Sam Allred aligns himself with this view, saying, "Perhaps no non-American art or sport can survive in America without being somewhat adapted for the cultural, mental, and physical aspects of the American himself. The efforts of many Americans are already being strongly felt insofar as their 'Americanizing' influence on technique and competition are concerned, both in judo and karate. These American karateka with sufficient training, knowledge, experience, and creativity to develop kata will surely make contributions which will properly promote karate as an accepted American activity." Detriment or Contribution? However, Allred emphasizes: “This is not to imply American kata could be generally superior to Oriental kata, which has taken many years to evolve. Kata, developed by sensei to substitute for their lack of knowledge of already-existing kata, seeking to drastically change or eliminate Oriental concepts, can only be a detriment to karate in America.” From Pennsylvania George A. Dillman places himself squarely in the yes column and agrees with Lieb on one point: “I think the most direct comparison would be between the body structure of the American and the Oriental karate player. American kata is based on utilizing the attributes of an average American, i.e. height, weight, arm and leg reach; Oriental kata emphasizes speed and agility.” Prefacing this statement, Dillman explains “I feel the value of American kata is the demonstrated interest and participation the American karate player feels toward the art. America is the only ration outside of the Orient where a determined effort is being made to create new, individually styled American kata. This reflects how great an impression and in-road karate has made on the American public.” New York-based Peter Urban uses a few analogies to agree in concept with Lieb, Allred and Dillman: “Inferior American products are no more insignificant than inferior Oriental products. If it passes the test of time, it is good. In general, it seems an Oriental kata has been improved in America in precisely the same way American and German optic and electronic developments have been improved in Japan. It is the performance of kata by the individual performer that determines the quality and not just the construction of the kata itself. We speak English in America, but it is not the same English spoken in Great Britain. Yet, for all intents and purposes it is the same language and we can communicate. It is the same with kata.” Contrasting the pro arguments, Edward F. McGrath agrees “American kata I have seen has merit in one factor: it is designed for our times and bodies.” However, McGrath disagrees with new forms of kata because timing and individual adjustments to kata “can be accomplished through proper interpretation of the Oriental kata to fit individual physique and moves.” Thoroughly down on the reformists, McGrath feels the new kata forms have no significant value other than a means of self- expression: “Kata brought from the Orient embodies every block, punch or kick which could effectively be utilized against a single or multiple attack. Therefore, I feel any additional kata are redundant and may only stem from an instructor’s need to bolster his ego. We have already lost too much respect and good manners which accompany tradition.” Maung K. Gyi of Millfield, Ohio agrees in principle with McGrath but he emphasizes smooth transition, proper construction and kinetic balance: “I had an opportunity to watch about 30 or 40 kata in numerous karate tournaments which were created by some American instructors. I am sorry to say I was terribly embarrassed. They may be acceptable for beginners up to fourth kyu, but not for advanced black belt holders. “I spotted lack of proper transition from one movement to another and lack of proper construction of techniques — hands and feet, and lack of balance in the kata themselves.” Using a grammatical analogy to define kata, Gyi states: “To me kata is like poetry in motion. Correct syntactic, grammatical, sentence structures, and appropriate words are needed to convey a central theme. American-created kata have too many themes, often represented by inappropriate words and loose transitions. If there is this lack of balance in grammatical composition, sentence and syntactic structure, the reader is quite confused as to its meaning.” Richard Kim, sensei from San Francisco, feels reformed kata may have some value, but: “The only significance, if any, would be of calisthenic value; from that viewpoint, any exercise is better than no exercise at all.” Feeling some American sensei may be presumptuous in their attempts to evolve new kata, Kim reminds them, “Only a meijin can create a kata. A meijin is one who has gone beyond the highest degrees of proficiency in his art. He is one who has achieved kensho. He is more than an expert or a specialist. There are no meijin in America and the last karate meijin was Funakoshi Gichin.” Going up to a metaphysical plane, Kim defines kata as “a unique method of religious practice with the aim of bringing the student to a direct intuitive realization of reality. It is meant for the body to be forged into a total instrument for realization of the ‘Absolute Mind’. Kata is not a manifestation of logical reasoning as Americans have superficially mistaken it to be. Kata brings the student by degrees, by complete transcendence, emancipation, total penetration and identical attainment to ‘Do’ or ‘Tao’. Since the master cannot transmit his kensho, he uses kata to bring the student to the same state of ‘illumination’ he has attained.” In an apparent attempt to counter Kim’s metaphysical phraseology, NYC’s Urban comments, “American instructors utilize systematic logic and creative imagination to produce kata, music, art or technology, the same as other masters. It has been said Western Man cannot achieve nirvana nor satori and Oriental ethnic backgrounds are the best for the martial arts. What archaic nonsense!” Discounting the philosophical argument entirely and dissecting American kata technically, Richard Chun of New York concurs with San Francisco’s Kim on the meijin point especially. “If kata are made-up by qualified masters who can devote a great deal of time to research and create new forms, then they may be useful. But American kata has no depth in their meaning because they are not made up by qualified masters.” Pointing out drawbacks to both traditionalists and reformists, Chun states simply: “Oriental kata is very often too conservative and traditional. There are too many hand techniques and not enough foot techniques in form. But American kata lacks training, speed, balance and gracefulness; often looking like it was made only for combative purposes.” Although many sensei responded with a yes-no answer, in the main they were negative to kata’s embryonic seeds of change. However, Ki Whang Kim of New York and Jhoon Rhee of Washington, D.C. kept an open view to new forms based on sound philosophy and technology. Ki Whang Kim’s definition of kata, in this writer’s opinion, is explicit and exceptional. In Jhoon Rhee’s opinion, “As civilization advances, martial arts have lots of room to improve. So, in the future we may need some improved forms, either by Americans or Orientals. It does not only have to be Orientals. But what I have seen so far has been merely duplication of existing movements with different combinations. Albert Gotay of Queens, New York, feels in some cases kata created by Americans does have significant value: “Although American kata appears to have been created merely for convenience, I have seen others that are outstanding. Kata is not created but merely evolves as the natural product of years of training and experience coupled with dynamic personality and divine enlightenment.” Henry Cho of Karate Institute in New York states he has not seen this “so-called American kata.” From the questionnaire sent to Cho, he does condemn such forms as lacking in originality because American kata must merely be a collection of borrowed techniques. “American kata cannot represent a style or system,” says Cho. “Rather, it must have been devised solely for the purpose of tournament competition,” thus agreeing with Chun. Must Be Kept Legitimate Recently moved from New York to California, Louis Delgado joins the middle-of-the-roaders but agrees in principle with the words of Cho, saying: “It demonstrates Americans’ ability to coordinate advanced moves but has no value from a karate  point of view because kata form must be performed and kept legitimate. It must be kept pure and is one art that will surely lose its value if it were to be changed. What people refer to as American kata form is merely an Oriental kata that has been added to or subtracted from.” Tossing his hat into the ring, Ki Whang Kim takes an open, ready stance of a semanticist, and concisely defines kata as “a sequence of techniques involving defensive and offensive movements, which must of course be systematic and based upon karate punching, kicking, striking and stances. This involves total karate technique and principles. In other words, kata must consist of sequential movements against imaginary opponents, with the student returning to his original position as he finishes. If kata does not stand on this principle, it cannot possibly be construed as kata, but rather a moving form of gymnastics.” Continuing, Kim explains his philosophy: “Karate is kata, and kata is karate, with kata being the essence and life of karate. Now is an excellent time for each instructor to evaluate kata, its being and purpose. If we call kata correct when it is not based on the original principles, then we will be dealing a serious blow to karate and its future. However, karate must progress further and we must therefore receive and accept American originated kata, providing it is based upon the principles of karate. It is more important the quality of kata improves rather than the quantity.”

2025 PFL World Tournament Available Live Across ESPN Platforms in the U.S. and DAZN Internationally NEW YORK – The Professional Fighters League (PFL) has officially revealed the 16 world-class fighters set to compete in the Heavyweight and Light Heavyweight divisions of the 2025 PFL World Tournament.  The PFL 2025 World Tournament kicks off from the backlot of Universal Studios Florida in Orlando on April 3, April 11, April 18, and May 1, with fighters needing to win three consecutive bouts to win the Championship.  The 2025 PFL World Tournament will air live on ESPN platforms in the U.S. Internationally, fans can catch the action live on DAZN. In total, the tournament will be streamed in 190 countries through 20 premium media partners. One shot at greatness. The annual single-elimination tournament will feature brackets at Heavyweight, Light Heavyweight, Middleweight, Welterweight, Lightweight, Featherweight, Bantamweight, and Women’s Flyweight. The PFL World Tournament spans an action packed five months. 64 of the best fighters from around the world will compete to win MMA’s toughest test - win three straight times in five months to become PFL Tournament Champion.  The First Round fights and the Semi-Final fights will be three, five-minute rounds while the Finals are five, five-minute rounds. All events and all fights now allow the use of elbows. The PFL World Tournament will payout over $20 million in total prize money, including a $500,000 bonus for every winner. The completed brackets will be unveiled on March 11 through a special bracket reveal show on YouTube powered by VALR Energy. Here is the full list of Heavyweight and Light Heavyweight competitors.  HEAVYWEIGHT DIVISION (265 lbs) – 2025 PFL WORLD TOURNAMENT ATHLETES Valentin Moldavsky (13-4) - Russia Alexander Romanov   (18-3) - Moldova Oleg Popov (19-2) - Russia Linton Vassell (25-10) - England Sergey Bilostenniy (13-3) - Russia Tim Johnson (18-11) - U.S.A. Pouya Rahmani (4-0) - U.A.E. Abraham Bably (5-1) - England LIGHT HEAVYWEIGHT DIVISION (205 lbs) – 2025 PFL WORLD TOURNAMENT ATHLETES Phil Davis (24-7) - U.S.A. Rob Wilkinson   (19-3) - Australia Karl Moore (12-3) - Ireland Marcelo Nunes (11-2) - Brazil Antonio Carlos Jr. (16-6) - Brazil Simeon Powell (10-1) - England Karl Albrektsson (14-6) - Sweden Sullivan Cauley (6-1) - U.S.A. Alternate - Alex Polizzi (11-4) - U.S.A. Alternate - Rafael Xavier  (13-8) - Germany Upcoming 2025 PFL World Tournament Schedule: April 3, 2025, Universal Studios Florida, Stage 19 - Main Card airs live on ESPN2, ESPN Deportes, and ESPN+ at 10 pm ET April 11, 2025, Universal Studios Florida, Stage 19 - Main Card airs live on ESPN2, ESPN Deportes and ESPN+ at 11:30 pm ET April 18, 2025, Universal Studios Florida, Stage 19 - Main Card airs live on ESPN, ESPN Deportes and ESPN+ at 7 pm ET May 1, 2025, Universal Studios Florida, Stage 19 - Main Card airs live on ESPN2, ESPN Deportes and ESPN+ at 10 pm ET Fans can secure tickets to these exclusive events now on Eventbrite.com . Tickets range from $25 to $125, with limited VIP packages starting at $250.   Tickets can be purchased here: tinyurl.com/PFLWorldTournament

Women’s MMA star Maritza Sanchez will make her return to Combate Global action in the main event of the ‘Combate Female’ all-women’s fight card on Thursday, March 13, live on YouTube. COMBATE GLOBAL ANNOUNCES  COMPLETE SIX FIGHT CARD FOR ‘COMBATE FEMALE’  ON THURSDAY, MARCH 13, LIVE WORLDWIDE ON YOUTUBE IN BOTH ENGLISH AND SPANISH. FROM MIAMI   Catchweight (130 lbs.) Main Event:Maritza Sanchez vs. Kate Bacik    Atomweight (105 lbs.) Co-Main Event: Nicole Geraldo vs. Janet Garcia   Previously Announced Featured Strawweight (115 lbs.) Bout: Kenia Enriquez vs. Hayley Valentine MIAMI – March 4, 2025 – COMBATE GLOBAL today announced a complete, six-fight women’s lineup for ‘Combate Female’, its previously announced, first-ever live YouTube streaming Mixed Martial Arts (MMA) event on Thursday, March 13, at TelevisaUnivision’s studios in Miami.   The all-women’s event will stream live, worldwide, free-of-charge on March 13, beginning at 8 p.m. ET/5 p.m. PT, on both Combate Global’s English language YouTube channel as well as its Spanish language YouTube channel .   “Global interest in women’s sports is exploding, and ‘Combate Female’ is the most explosive version of women in competition,” said COMBATE GLOBAL CEO Campbell McLaren. In a 130-pound catchweight main event, the always electric Maritza Sanchez (6-1) will take on fellow aggressive-minded competitor, Kate “Queen of the South” Bacik (5-2). The 27-year-old Sanchez of Placerville, Calif. is a member of Urijah Faber’s Team Alpha Male and one of the hottest new stars in the women’s field of fighting. Sanchez has been riding a six-fight win streak while showcasing her knockout power along the way since February 2020.   Fighting out of London, England, Bacik is a 31-year-old former undefeated amateur competitor and member of Great Britain Top Team.   Bacik is aiming to rebound from a defeat at the hands of Thalita Soares in December that snapped a five-fight win streak for Bacik. In atomweight (105 pounds) co-main event action and a USA vs. Mexico showdown, undefeated knockout artist Janet Garcia (3-0) will collide with Mexican prodigy Nicole Geraldo (6-1).   Garcia, a 33-year-old Mexican American resident of San Jose, Calif. and member of Javier Mendez’s Team AKA, is a veteran of several dozen Muay Thai fights in addition to being in the middle of a perfect run, to date, in MMA competition.   Garcia’s last COMBATE GLOBAL start saw her score a second round (4:20) TKO on Spain’s Andrea Meneses with a series of elbow and knee strikes on June 22, 2024.   Like Garcia, the 26-year-old Geraldo of Mexico City is coming off a victory in her last effort, a unanimous decision over Solangel Vera on November 1, 2024.   To date, Geraldo has never been knocked out or submitted in either professional or amateur MMA competition.   In a previously announced strawweight (115 pounds) featured matchup, three-time professional boxing champion Kenia Enriquez (0-0 MMA; 28-1, 11 KO’s Boxing) of Tijuana, B.C., Mexico will make her much-anticipated MMA rules debut against undefeated Hayley “Bloody” Valentine (5-0) of Northampton, England.   In other action that was announced today for the ‘Combate Female’ fight card, Yazmin “La Niña Árbol” Najera (4-1) of Mexico City will face off with Wiktoria Wojciechowska (3-2) of Mosina, Poland in a flyweight (125 pounds) bout.   Rising star and unbeaten professional boxer Sayury Cañon (4-1) of Bogota, Colombia will square off at strawweight against veteran and former world championship challenger Nicdali Rivera-Calanoc (10-11) of Boca Raton, Fla.   Kicking off the card will be another strawweight battle between unbeaten upstarts, Sharon Martinez (1-0) of Managua, Nicaragua and Claudia “La Lobita” Pizarro (1-0) of Santiago, Chile.   Last week, COMBATE GLOBAL announced a transition to worldwide distribution of its live, premium Mixed Martial Arts (MMA) events on YouTube, beginning with the ‘Combate Female’ show.    COMBATE GLOBAL will be YouTube’s first premium producer of live MMA programming for global distribution.   The agreement marks the first time in history that COMBATE GLOBAL events, in their entirety, will be distributed live globally and free-of-charge on the same platform in Spanish and English, on the world’s number one streaming video platform.   Additional information about COMBATE GLOBAL and its athletes can be found on www.CombateGlobal.com as well as on YouTube , Facebook and Instagram .

Louis Delgado, who appeared on the December 1970 cover of Karate Illustrated , was one of the greatest fighters ever to emerge from the East Coast. Known for his incredible speed and distinctive fighting style, he became one of the toughest and most respected competitors of his era. His legendary battles against top martial artists of the 1960s Blood and Guts Era of Karate solidified his reputation, as he faced and challenged icons like Joe Lewis and Tom La Puppett. Notably, Delgado holds the distinction of being the last man to defeat Chuck Norris in competition. December 1970 issue of Karate Illustrated , cementing his status as a true karate legend. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

The August 1982 cover of Black Belt Magazine featured Grandmaster Remy Amador Presas (1936–2001), known as the Father of Modern Arnis. He developed modern arnis, a Filipino martial art that systematized traditional arnis techniques, making them more accessible to practitioners worldwide. His students include famed fighter Dan Anderson and weapons innovator Bram Frank. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

The electric thrill of being in the right place at the right time—that’s exactly what UFC Fight Night: Kape vs. Almabayev promises this Saturday, March 1, 2025. UFC’s APEX always delivers high-octane action, but this card is stacked with matchups that could set social media on fire. Knockout artists, relentless wrestlers, and submission specialists are all primed to steal the show. Expect jaw-dropping moments, explosive finishes, and fights that will have fans talking long after the final horn. Let’s break down what’s at stake. Main Event: Manel Kape vs. Asu Almabayev – Flyweight Showdown with Title Implications The UFC’s flyweight division is red hot, and this main event is a crucial stepping stone toward the championship. Manel Kape, a human highlight reel, is coming off a devastating third-round stoppage of Bruno Silva. His explosive striking and relentless finishing instincts make him a serious threat in the division. On the other side of the Octagon, Asu Almabayev is riding a jaw-dropping 17-fight win streak, including four straight UFC victories. His pressure-heavy approach and grappling dominance make him one of the most dangerous rising contenders. This isn’t the fight originally booked for March 1, but when the MMA gods shuffle the deck, sometimes we get magic. Kape’s striking brilliance versus Almabayev’s suffocating attack—who takes the next step toward the title? Expect fireworks from the opening bell. Co-Main Event: Cody Brundage vs. Julian Marquez – A Middleweight War in the Making Two heavy hitters. Two high-stakes careers. One explosive matchup. Cody Brundage’s UFC run has been pure chaos—stoppages, controversial moments, and all-action performances. Julian Marquez, a fan favorite known for his heart and toughness, is desperate to snap his losing skid and get back into the win column. Both fighters bring a forward-pressure style and a kill-or-be-killed mentality. Don’t expect this one to go the distance—someone is getting finished. The only question is: who lands first? Main Card Must-Watch Fights Nasrat Haqparast vs. Esteban Ribovics (Lightweight Showdown)  – Haqparast is on a four-fight tear, but Ribovics is a powerhouse with a knack for explosive finishes. Expect a high-paced war. Austen Lane vs. Mario Pinto (Heavyweight Slugfest)  – Former NFL player Lane faces an undefeated prospect in Pinto in a battle of raw power and finishing ability. Hyder Amil vs. William Gomis (Featherweight Chess Match)  – Amil is an aggressive whirlwind, while Gomis is a precise counter-striker. This stylistic clash could be a sleeper Fight of the Night. Ricardo Ramos vs. Chepe Mariscal (Featherweight Fireworks)  – Both men are coming off big wins, and their all-action styles scream ‘Fight of the Night’ potential. Prelims Packed with Hidden Gems The early fights feature veterans, rising stars, and dark horses ready to steal the spotlight. Keep an eye on these bangers: Douglas Silva de Andrade vs. John Castaneda (Bantamweight Brawl) Two finishers with knockout power collide in what could be an absolute war. Andrea Lee vs. JJ Aldrich (Flyweight Showdown) Both veterans are fighting to re-establish themselves in a stacked division. Danny Barlow vs. Sam Patterson (Welterweight Prospects Battle) Two DWCS standouts looking to make a statement on the big stage. Montana De La Rosa vs. Luana Carolina (Flyweight Clash)   A fight that could shake up the women’s 125-lb rankings. Danny Silva vs. Lucas Almeida (Featherweight Firefight)   Two aggressive finishers—don’t blink, or you’ll miss a knockout. Charles Johnson vs. Ramazan Temirov (Flyweight Opener)   A seasoned veteran meets a hungry newcomer in a bout that promises non-stop action. Why You Can’t Miss UFC Fight Night: Kape vs. Almabayev Every APEX event delivers unexpected moments, and this one is shaping up to be something special. Whether it’s a highlight-reel knockout, a breakout performance, or an all-out war, UFC Fight Night on March 1 has all the ingredients for an unforgettable night of fights. 📅 Date:  Saturday, March 1, 2025📍 Location:  UFC APEX, Las Vegas, NV📺 Watch Live on ESPN+  – Prelims at 4 PM ET | Main Card at 7 PM ET Who will rise? Who will fall? And who will leave fans speechless with a moment for the history books? Get ready for the chaos—because when the cage door locks, anything can happen!

There was a saying in old Japan: Bushi wa kuwanedo taka-yoji.  Roughly translated, it means, “When he’s hungry, the samurai uses a toothpick.” There are layers of meaning to this. Understanding them gives us insight into the warrior culture that's had such a direct effect on the martial arts we practice today. The Changing Identity of the Samurai It’s foolish to talk about samurai as if they were a monolithic, never-changing institution in Japanese history. The samurai class varied widely in its makeup, influence, and behavior. There were periods when they were almost constantly at war and times when they were little more than foppish dilettantes. Clearly, generalizations are impossible. However, over the centuries, a discrete culture began to take form. In part, probably, because of the class stratification that dominated social and political life in Japan, the samurai came to see themselves as different. To be sure, they didn't always live up to their own collective sense of self. It's doubtful they were entirely aware of that sense in any comprehensive way. They did, however, understand that their role in society was unlike that of any other class. How an individual reacted to that, how he embodied it—or perverted it—said much about him. The Toothpick as a Symbol of Pretense To use a toothpick—as if one has just eaten a sumptuous meal, even though one's belly is empty and aching—can imply many things. It can be pretense. Think of the guy who purchases a new luxury car on an already maxed-out credit card and then drives around as if he's financially flourishing even though the creditors are already gathering at his door. There were samurai with toothpicks who absolutely fit this behavior. They would swagger about with their twin swords, arrogant in their position over the commoners who, ironically, were the source of every bite of food that went into their mouth. Yes, the samurai were looked up to by those of the lower castes, to some extent, as exemplars of virtue and selfless bravery. They were also models of contempt, regarded as parasites. They were held up as figures of ridicule, and the toothpick proverb can be interpreted that way. It winds up being about a haughty buffoon pretending to be well-fed and satisfied when in reality, he's nothing but a starving failure. There's another layer of meaning to be found in the image of the hungry samurai with his toothpick, though. Hunger and the Samurai’s Stoicism Japan, through much of its history, has dealt with famine. The last of these occurred in the late 18th century, caused by bad weather and disastrous government policies. Even in good times, hunger was a frequent part of daily life in Japan. Major riots occurred when farmers and other producers objected to high taxes, paid in rice, on dwindling food supplies. (Incidentally, in virtually all these riots, farmers armed with rakes, hoes, and other tools put the samurai to rout.) During periods when hunger plagued Japan, others could grumble and complain. The samurai, however, often projected an air of calm stoicism. Think of an inn of the sort frequently depicted in samurai films. Farmers, merchants, the katsugi men who haul products up and down the highway—they're all complaining about the cost and scarcity of food while longing for a meal that will leave their belly full instead of pinched. And there sits a samurai, toothpick in mouth, saying nothing. His imperturbable self-control has an effect on the crowd. "Look at that samurai,"  they say. "He must be as hungry as we are, but see how he conducts himself." The Samurai as a Model for Strength In this way, we can see how a samurai could be a model for others, displaying coolness, refusing to complain. This is a kind of leadership that came naturally to at least some of the samurai class. They saw themselves as special, as people who needed to serve as exemplars, as men who had a duty to live up to the expectations of their position. If we look at the saying in this light, we can see where a samurai would have pretended to be full when he was actually hungry because he believed behaving in that manner would make others consider their own behavior. Today's martial artists are not samurai, however. Samurai are so far from modern society that it's impossible to think of our being related to them any more than we could identify with a galley slave on a Roman ship. Life is just too different. Nevertheless, it's useful for us to reflect on our own roles, in the dojo and in life. Do we think of our status as black belts, masters, or experts as a sign of how special we are? Do we saunter about the dojo as if we're elitists, possessing some remarkable talents? If so, we can expect that, like the pretentious samurai with the toothpick, there are people who will be quietly ridiculing us. We will be seen as arrogant, grandiose clowns. If, on the other hand, we regard our training as a means to become more honest and to polish our integrity, we should see, as well, that there must be expectations of us. We can set the standard for good, unselfish behavior. We can act in such a way as to make others look up to us. Everyone knows, if not true hunger, at least some level of discomfort in life. How we react to it, like the samurai with his toothpick, says much about the seriousness of our martial arts training.

Martial artist Dan Inosanto , renowned for his expertise in Filipino martial arts and Jeet Kune Do, graced the cover of the May 1970 issue of Karate Illustrated . Known for his versatility and influence, Inosanto is also a key figure in preserving Bruce Lee's legacy. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com