Martial artist and action star Jeff Speakman , best known for his role in The Perfect Weapon , showcases his iconic skills in American kenpo on the cover of the January 2007 issue of Black Belt Magazine . Photography by Rick Hustead. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

Most modern martial artists know about muay Thai, the combat sport of Thailand. Most also know about muay boran, its no-nonsense parent art. Few, however, know about pradal serey. This fighting system hails from the same part of the world—namely, Southeast Asia—but its practice isn't nearly as widespread as muay Thai's and its role in history isn't nearly as celebrated as muay boran's. Here is the story of this unsung style. BEGINNINGS Pradal Serey (also spelled bradal serey) traces its origins to the Khmer Empire, which lasted from 802 to 1431. Khmer territories encompassed parts of modern-day Vietnam, Thailand, Laos, and Myanmar. During that period, the system was known as Khmer boran and kun boran. Roughly translated, those terms meant “ancient Cambodian fighting arts.” Physical evidence of pradal serey can be found in the form of carvings in Banteay Chhmar Temple, which was constructed in the late 12th century. On its walls, bas-relief artwork depicts figures engaged in combat using instantly recognizable knee and elbow strikes. Modern martial scholars have identified Khmer influences in several Southeast Asian styles, mostly in the form of technical similarities between pradal serey and Thai and Burmese boxing. That’s led them to postulate that pradal serey, also called Khmer kickboxing, was the primary precursor to muay boran as well as muay Thai—and possibly other arts. DETAILS These days in Cambodia, pradal serey is usually translated as “free-style fighting.” The moniker reflects the limited-rules and high-intensity nature of the art, especially in competition. In its early form, strikes that used any part of the hands, feet, shins, knees, and elbows were legal. But that’s not all. Head butts also were allowed, and they often brought spectacular results. To spice up the striking game of pradal serey practitioners, clinch fighting also was permitted— as were tripping techniques, sweeps, and takedowns, many of which were executed from the tie-up position. And in true PRIDE fashion, kicking a downed opponent was not only legal but also encouraged. In its heyday, practitioners of pradal serey wrapped their hands with coarse rope. They would then coat the rope with glue or tree sap, to which they affixed seashell shards. The bloody bouts that ensued technically could go for five rounds, but few lasted past the first. To mark the duration of a match, a standard stick of incense was burned. The smell of the incense—coupled with stifling heat and traditional music played on drums, reed flutes, and finger chimes—served to amp up the furor at fights. VENUES Pradal serey warriors fought in large pits dug into the earth. There were no referees to intervene when the going got tough. However, a monk was usually stationed nearby to give the Buddhist equivalent of last rites in case a death occurred—which was not unheard of in those days. Reportedly, they also positioned a coffin at ringside. Strengthening the somber nature of the full-contact bouts, the combatants would enter the ring while funeral music played. The dirges signified that these might be the final acts of the fighters. In essence, their ritualized walk into the pit was both their entrance and their funeral in the event of death in battle. This macabre atmosphere did not go unnoticed for long. When Cambodia became part of the Indochinese Union in the late 19th century, the French viewed pradal serey matches as highly entertaining but barbaric and unnecessarily dangerous. Unlike colonial powers in other countries, however, the French didn’t seek to outlaw the art. They implemented standardized rules, rounds, and weight classes, and they made sure bouts took place in a Western boxing ring. They also required athletes to wear Western boxing gloves. Thus, pradal serey, once a deadly fighting art, became Cambodian boxing, modern combat sport. LOSSES During the upheaval of the Vietnam War (1955-1975), Cambodia succumbed to its own civil war. On April 17, 1975, the communist Khmer Rouge led by Pol Pot overthrew the Khmer Republic. Thirteen days later, Saigon fell, officially ending the Vietnam War, yet the killings in Cambodia continued. In fact, they accelerated. To prevent his people from potentially organizing a revolt against the Khmer Rouge, Pol Pot ordered executions for all who were educated—doctors, lawyers, teachers, and so on—as well as those who had ties to the prior government. Essentially, anyone who could read or who might, possibly, oppose the Khmer Rouge was killed. A casualty of Pol Pot's war was that all martial arts were outlawed. Not just outlawed. All pradal serey practitioners, fighters, and trainers would be put to death. No one knows how many lost their lives between 1975 and 1979, when the regime murdered an estimated 2.5 million people in the infamous “killing fields.” Many of those who managed to escape this death sentence perished in work camps. Not until the Vietnamese overthrew the Khmer Rouge in 1979 did Cambodia begin the slow, painful process of recovering from the atrocities. SAVIOR From 1963 to 1975, perhaps the most dominant pradal serey champion in Cambodia was Oumry Ban. His first professional fight—there was no such thing as an amateur division back then—took place in 1960 when he was 16. He went on to amass a record of 309 fights, with 278 victories and 200 knockouts. His masterful use of the clinch, in combination with his brutal knee and elbow techniques, were the stuff of legend. Ban proved so talented he wound up competing in three weight classes: bantamweight, lightweight, and welterweight. He won the championship belt in the lightweight and welterweight divisions. Ban didn't hesitate when he was asked to try his luck in heavier weight classes because, being a practical man, he knew the purses were larger. He also knew that many fighters his size were unwilling to step into the ring with the legendary Ban. When the Khmer Rouge rose to power, Ban knew he'd be targeted for execution because of his fame in the ring, which stemmed from having so many of his matches broadcast on the radio. Many fans knew of his prowess as a prizefighter, but few knew his face. That visual anonymity afforded him the time he needed to avoid capture and eventually escape Cambodia in 1978. His mother, sister, and two brothers weren't so fortunate. As he would later learn, they lost their lives to the Khmer Rouge. After escaping a refugee camp in Vietnam and spending some time in the Philippines, Ban made his way to the United States in 1987. He took up residence in Long Beach, California, and opened the gym he still runs. Trivia note: not only was it the first pradal serey school in the United States, but it also predated the first Muay Thai gym in America by four months. TECHNIQUES Ban is forthcoming when asked about the techniques of pradal serey. He explains that the art teaches eight “doors,” each of which represents a part of a limb, and that each of those has eight techniques associated with it. Furthermore, each punch, elbow, kick, and knee strike in the system has eight possible angles of attack—which makes for incredible variety, especially when a fighter starts thinking about combinations. Pradal serey and muay Thai have much in common, Ban says. Both arts use kicking and punching, in addition to knees and elbows. The clinch is heavily used in both arts, too. So what makes pradal serey different from other forms of Southeast Asian kickboxing? While there are many nuances and subtleties unique to the art, what really sets Cambodian boxing apart is its focus on fighting from the inside at close range and its implementation of the clinch, Ban says. In contrast, Thai boxing focuses more on kicking and the outside range. It's less concerned with the inside range than Cambodian boxing is. “In a Thai gym, you learn to kick first,” Ban says, “but in a Cambodian gym, you learn to punch and elbow first.” Elbows play a prominent role in pradal serey, and they're always used to inflict maximum damage. An elbow strike can fly in from virtually any angle. One of the most common is the vertical elbow strike, which travels from 12 o'clock to 6 o'clock. The targets include the face, head, and collarbone, which is known to break under the power of the pradal serey elbow. The horizontal elbow is thrown in the same manner as a punch—with a twist of the hips to maximize power. “In a fight, I don't want to just cut my opponent with my elbows,” Ban says. “I want to cut them and knock them out!” ROUND KICK Another unique facet of pradal serey is the way practitioners execute the round kick. They keep their knee bent throughout the technique and make contact with their shin. This creates a tremendous amount of force because of the rotation of the hip, which is augmented by the rotation of the body. Together, they generate more power than would result from simply snapping the leg out to full extension. Because the leg remains bent, the round kick can more easily target an opponent to the front. The power of the technique is projected forward through that opponent, as opposed to traveling in from the side. This ensures greater penetration and a more destructive move, Ban says. The final advantage of the pradal serey round kick results from the bent knee permitting the technique to strike a much closer opponent. That means the kick can be used to bridge the gap from kicking range to clinch range, where pradal serey rules the roost. In some styles of kickboxing, practitioners drop one or both hands when they kick because they think of the leg as a long-range weapon. Needless to say, that can be problematic. Pradal serey avoids this pitfall by teaching students to keep both hands up—to protect against their own art's round kick as well as any other art's hand and elbow moves. Fringe benefit: when you keep both hands up, those hands are closer to your opponent's head and neck. That allows them to be used more quickly and effectively in the clinch, Ban says. WHAT-IFS Clearly, pradal serey is a unique, effective, and beautiful art. One can only guess how popular it would be if more practitioners had survived the Khmer Rouge butchery. If Cambodian martial artists had spread this piece of their culture to the world. If the voices, teachings, and wisdom of the art's champions and trainers had not been silenced. This sad fact makes the knowledge of teachers like Oumry Ban even more valuable—and more sought after. Ban's unofficial status as a living legend of the Cambodian martial arts and a man who's overcome tremendous adversity in his life yet continues to give back to society makes him a treasure. People like him make the martial arts world a better place. Written by Marcus Anderson, LaDell Elliott and Tim Becherer The authors would like to thank Oumry Ban for his help with this article and Dan Inosanto for introducing them to Ban and his art.

Roger Greene remembers the first time he walked into a martial arts class in California way back in 1964. Having always held an interest in combat sports like boxing and wrestling, he was intrigued when a friend invited him to a school that taught a Korean fighting style called kang duk won. “They would make you hold a low horse stance for an hour,” Greene said. “In those days, the hardcore schools would give you something difficult like that to see if you could take it. And if you could, then they’d let you train there.” The reaction to that kind of testing differs depending on the person, Greene said. “Some people are not interested. Some people just get hooked.” That was 53 years ago, and Greene is still active in the arts. I guess you could say he was one of the ones who got hooked. After earning his kang duk won black belt under Bob Babich, Greene began training in kenpo under Al Tracy, the martial art legend considered the father of the modern franchise system of martial arts schools. Greene eventually received a black belt from Tracy, too, and he was offered a chance to open a Tracy franchise in Oklahoma. “Grandmaster Tracy realized there were a lot of young men that loved martial arts but didn’t have the business acumen to open a successful school,” Greene said. “Knowing about things like location and advertising is crucial. Grandmaster Tracy said, ‘We’ll help you with that.’ He was the first to do this for people.” While operating his facility, Greene got an opportunity to study with full-contact karate champ Joe Lewis, who was national karate director for the Tracy organization. “I got professional help in running my school, and I got the world heavyweight champion as a guide in my training,” Greene recalled. “I remember thinking that was a pretty good deal.” Lewis promoted him to third degree after a year of evaluation. Thus, Roger Greene became the first person to receive a black belt from Joe Lewis. History was made. Greene went on to become one of Lewis’ most successful and loyal students. Under the champ’s guidance, Greene accumulated a string of tournament victories and was ranked No. 1 at various times throughout the 1970s. He’s quick to credit Lewis for much of his success. “Joe was amazing in the tournament competitions,” Greene said. “I trained to get ready for Joe’s next visit. He had incredible initial speed and power. I remember the time I managed to catch him with a technique I’d used successfully against a number of competitors.” Greene said the technique earned him a grudging growl of approval, then Lewis sidestepped and threw his famous side kick. “We were on a 16 ½-foot mat with 8 feet of space behind that. I went flying off the mat,” Greene said. Fortunately for Greene, Lewis also was a master of control and distance. “In all the years we trained with high intensity, I was never injured while working out with the Black Belt Hall of Famer due to his incredible control,” Greene said. “He once threw a cut kick, which is like a roundhouse kick that comes downward, and it swatted a drop of sweat off the tip of my nose without actually hitting me,” Greene said. “But I couldn’t take my eyes off him when that kick came at me.” The respect that developed between the two martial artists was mutual—which is why Lewis promoted Greene to ninth-degree black belt in 2010 and the board of Joe Lewis Fighting System elevated him to 10th degree in 2015. Tracy also promoted Greene to 10th degree in kenpo, and Chul Hee Park awarded him a ninth dan in kang duk won taekwondo during a visit to Oklahoma. Those promotions speak volumes about Greene’s character and skill level. Roger Greene’s interest in competition eventually led him away from the open-tournament circuit, which focused on flashy, competitive technique. Instead, he veered toward the more traditional style of competition that was promoted by the Amateur Athletic Union and the USA Karate Federation. Greene became a coach, training athletes in a more structured competitive environment. He still occasionally makes appearances at open tournaments, and he’s no less critical of the way those events unfold. “When you do a weapons kata, it should be with real martial arts weapons, not toys,” Greene said. “There needs to be focus that clearly demonstrates dangerous intensity.” Although he stopped running his commercial school in 2000, Greene continues to teach small classes in a private dojo on his Oklahoma ranch. Despite having trained a number of his own tournament champions over the years, he’s leery of taking too much credit for their achievements. “Martial arts should never become an ego manifestation for the teacher,” he said. “The teacher [just] reveals truth and functions as a guide for the student to grow. “The most important thing is really to just teach a young person to be all they can be. The ability to defend and protect oneself and one’s family is a byproduct.”

Karate Master Fumio Demura , renowned for his expertise and contributions to martial arts, strikes powerfully on the cover of the April 1970 issue of Karate Illustrated . Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

The Climate Pledge Arena was on fire as UFC Fight Night: Cejudo vs. Song delivered an unforgettable night of action on February 22, 2025. With an electric crowd of 18,287 fans and a staggering live gate revenue of $3,841,751, this event had it all—technical warfare, brutal knockouts, and edge-of-your-seat drama. Main Event: Yadong Song Tops Henry Cejudo via Technical Decision (Eye Poke) The main event between Yadong Song and Henry Cejudo ended in controversy, but not before we witnessed high-level action. Song’s crisp striking and pinpoint accuracy gave him the edge over the former two-division champion. Unfortunately, an accidental eye poke in the third round forced an early decision, with the judges scoring the fight in favor of Song. While the ending left some fans wanting more, Song’s performance solidified his elite status in the bantamweight division. Will a rematch be in the cards? Co-Main Event: Anthony Hernandez Outworks Brendan Allen for a Unanimous Decision Win Anthony "Fluffy" Hernandez put on a clinic, dominating Brendan Allen over three grueling rounds. His relentless pace, sharp striking, and powerful grappling left Allen struggling to keep up. With this victory, Hernandez is knocking on the door of a top-10 ranking, proving he's a serious threat in the middleweight division. Main Card Results: 140 Lbs: Rob Font Scrapes Past Jean Matsumoto via Split Decision In a razor-thin contest, Rob Font edged out a split decision win over Jean Matsumoto. Matsumoto’s speed and precision kept Font guessing, but Font’s experience and well-placed shots made the difference. 145 Lbs: Jean Silva Annihilates Melsik Baghdasaryan via KO/TKO (Straight Right to Ground Strikes) at 4:15, Round 1 Jean Silva continued his meteoric rise, dropping Baghdasaryan with a thunderous right hand before sealing the deal with ground strikes. The featherweight division has a new knockout artist on the rise! 205 Lbs: Alonzo Menifield Wins War Against Julius Walker via Split Decision Menifield and Walker left it all in the Octagon, with three rounds of pure grit and determination. Menifield’s power and precise striking edged out the decision in a fight that had fans roaring. This banger rightfully earned Fight of the Night honors! Preliminary Card Results: 205 Lbs: Ion Cutelaba Smashes Ibo Aslan via Submission (Arm Triangle Choke) at 2:51, Round 1 Cutelaba wasted no time, locking in a tight arm triangle and putting Aslan to sleep in dominant fashion. 145 Lbs: Melquizael Costa Submits Andre Fili via Guillotine Choke at 4:30, Round 1 Costa made a statement by forcing longtime UFC veteran Andre Fili to tap in the very first round. 185 Lbs: Mansur Abdul-Malik Blasts Nick Klein via KO/TKO (Strikes Against the Cage) at 3:24, Round 2 Abdul-Malik showcased devastating power, finishing Klein with a relentless barrage of strikes. 135 Lbs: Ricky Simón Crushes Javid Basharat via KO/TKO (Straight Right) at 3:58, Round 1 In front of his hometown crowd, Simón delivered a picture-perfect knockout that sent Basharat to the canvas in a heap! 175 Lbs: Austin Vanderford Pummels Nikolay Veretennikov via KO/TKO (Ground and Pound) at 4:13, Round 2 Vanderford’s superior grappling led to a brutal ground-and-pound stoppage. 185 Lbs: Nursulton Ruziboev Floors Eric McConico via KO/TKO (Right Hook) at 0:33, Round 2 It took just 33 seconds in the second round for Ruziboev to end the fight with a vicious right hook. 205 Lbs: Modestas Bukauskas Drops Raffael Cerqueira via KO/TKO (Combination Punches) at 2:12, Round 1 Bukauskas came out swinging and landed a clean combination that put Cerqueira out cold. Fight of the Night: Alonzo Menifield vs. Julius Walker Menifield and Walker delivered a three-round thriller that had fans on their feet. Walker’s relentless wrestling clashed with Menifield’s explosive striking, making this battle one for the books. Performance of the Night Bonuses: Ricky Simón: The hometown hero delivered an electrifying knockout that had the Seattle crowd erupting in celebration. Jean Silva: Another highlight-reel knockout for Silva, cementing him as a rising featherweight phenom. UFC Fight Night: Cejudo vs. Song had it all—jaw-dropping knockouts, technical masterclasses, and an unfortunate main event controversy. While Song walked away with the win over Cejudo, the outcome left many calling for a rematch. Meanwhile, Hernandez, Silva, and Simón made massive statements with dominant performances. The UFC landscape just got a whole lot more interesting, and fans are already buzzing about what’s next!

UFC makes its return to Climate Pledge Arena in Seattle for the first time since 2013 with an impressive lineup featuring former champions, top contenders, and emerging talents. In the main event, former UFC flyweight and bantamweight champion and current No. 7 ranked bantamweight contender Henry Cejudo steps back into the octagon against No. 8 ranked Song Yadong . UFC FIGHT NIGHT: CEJUDO vs SONG is set for Saturday, February 22 at Climate Pledge Arena in Seattle, Wash. The entire event will stream exclusively on ESPN+ in both English and Spanish, starting with the prelims at 6 pm ET / 3 pm PT, followed by the main card at 9 pm ET / 6 pm PT. The main event is scheduled for five rounds, while all other matches are set for three rounds. UFC Fight Night: Cejudo vs Song Official Weigh-In Results: MAIN CARD Main Event - Bantamweight Bout: Henry Cejudo (135) vs Song Yadong (136) Co-Main Event - Middleweight Bout: Brendan Allen (186) vs Anthony Hernandez (186)  Catchweight (140-lbs) Bout: Rob Font (138) vs Jean Matsumoto (139)   Featherweight Bout: Jean Silva (145.5) vs Melsik Baghdasaryan (145) Light Heavyweight Bout: Alonzo Menifield (205) vs Julius Walker (205) PRELIMS Light Heavyweight Bout: Ion Cutelaba (205) vs Ibo Aslan (205)   Featherweight Bout: Andre Fili (145) vs Melquizael Costa (145)   Middleweight Bout: Mansur Abdul-Malik (186) vs Nick Klein (186)  Bantamweight Bout: Ricky Simon (135) vs Javid Basharat (136)  Catchweight (175-lbs) Bout: Nikolay Veretennikov (175) vs Austin Vanderford (174) Middleweight Bout: Nursulton Ruziboev (184) vs Eric McConico (184) Light Heavyweight Bout: Modestas Bukauskas (203) vs Rafael Cerqueira (204)

Olympic Judo Champion and mat innovator Mike Swain graces the cover of the May 2005 issue of Black Belt Magazine . Photography by Rick Hustead. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

It’s been widely observed that training in the martial arts is ultimately limited by human physiology. As Bruce Lee said, as long as we all have two arms and two legs, there can be only one way of fighting. Success is determined not so much by the nuances of technique as by how technique is taught and practiced. It’s precisely this search for a superior approach that’s garnered the Russian martial art of Systema so much attention. With roots stretching back to the fighting traditions of the ancient Cossacks, Systema was born and nurtured in a climate of diversity and adversity. The expansiveness of Russia required a style that was adaptable and functional. A history of invasion and occupation solidified this mindset, forging a martial tradition that contrasts sharply with the rote memorization and specificity of techniques found in some arts. In the 20th century, the Soviet government re-engineered those Slavic folk traditions into a hybrid that emphasizes a scientific approach to biomechanics, psychology, and performance enhancement. This article focuses on a critical portion of Systema’s performance-enhancement arsenal: breathwork. To grasp it, there are six principles you need to consider. 1) Control of Intake In principle : As with many other martial arts and health practices, Systema advocates inhaling through the nose and exhaling through the mouth. It teaches that many people suffer from over-breathing. In other words, they attempt to inhale more air before they’ve fully processed the oxygen they just breathed in and the carbon dioxide they have yet to breathe out. To better understand this, consider: Over-breathing is like trying to take a bite of food before you swallow what you just put in your mouth. Hyperventilation during a crisis is an exaggeration of this state of physical confusion, with fresh air attempting to enter already full lungs. Many people routinely operate in a milder version of this state, sabotaging not only their performance but also their long-term health. Inhaling through the nose permits greater control of the breathing process by limiting the intake of fresh air. Similarly, exhaling through the mouth allows a fuller and quicker expulsion of air, which makes room for subsequent breaths. In practice : Begin by simply breathing. Focus your awareness on inhaling through your nose and exhaling through your mouth. Feel the path of the air, making a conscious effort to breathe deep into your abdomen. Avoid chest breathing, which induces tension in the upper body. If your shoulders rise and fall as you breathe, you’re doing it wrong. In practice : Most people think breathing has two phases: inhalation and exhalation. In reality, it’s composed of four equally important phases: inhalation, fullness, exhalation, and emptiness. You need to practice them. To prepare your body for peak performance, do sets of “square breaths.” Take three seconds to inhale, hold your lungs full for three seconds, exhale for three seconds, and keep your lungs empty for three seconds. It’s essential to breathe in continuously for all three seconds at an even rate, without triggering panic or building tension in your body. Similarly, holding your lungs full and empty should be comfortable. Exhaling should occur naturally. Forceful inhalation will bring pressure to your body and face, and it will make holding your breath more difficult. Forceful exhalation will bring pressure to your sternum, heart, lungs, and throat, and it will make keeping your lungs empty more difficult. In general, three to four full cycles, spanning 36 to 48 seconds, will be sufficient to calm your body and improve your awareness. After a few repetitions, you will take ownership of your breathing pattern, customizing each “side” to a comfortable length. Your square may transition into more of a rectangle, with longer inhalations and exhalations and shorter holds—or even an inverted triangle, with a three- to four-second inhalation, full hold and exhalation, and only a very brief empty hold. The key is to identify what shape works best for you. 2) Independence In principle : A look around most fitness clubs will reveal plenty of incorrect breathing. The signs are obvious: bloated cheeks, temples and eyes; bulging veins; reddened skin; and lots of grunting. People often imagine that correct breathing means exhaling when they exert themselves. Although this certainly can be a component of correct breathing, as a combat athlete, you need to develop a greater degree of independence and freedom. Consider this example: You’re engaged in a casual sparring match. You and your training partner move in and out of stances, stalking each other as you search for openings. You start getting tense, so you consciously perform a long, slow exhale. Seeing this, your opponent charges. You find yourself inhaling suddenly out of fear, but there’s no room for the air (see principle no. 1). For an instant, you freeze, and the opening is all he needs to take you down. Here’s another scenario: you’re on the bottom in a grappling match, and you feel crushed under your opponent’s weight. Every time you try to sit up or slip out, he pushes you back down and re-establishes the pin. You realize you’re quickly running out of breath and losing the will to fight. The reason for both responses is the same: you’re suffering from a habit that has you exert yourself only while exhaling. Yes, it can be argued that exhalation better prepares the body for exertion—or steels the body against impact. The difficulty, however, is that within a dynamic as complex as combat, more factors are involved than simply delivering and receiving force. In both examples, your opponent has observed your breathing pattern and intercepted it. In the stand-up engagement, he closed the gap the moment you completed your long exhalation. A skilled fighter will use sighs and tired exhalations, along with gestures like shaking or dropping the hands, to “infect” you with the reflex to mimic them. (Yawning is an example of how contagious gestures can be.) An experienced martial artist may use such a reflex to bait an enemy into breathing, after which he intercepts the opponent during that moment of distraction. In the second example, the fighter on top is simply using your breathing pattern to predict when you’ll attempt your escape. This allows him to resist precisely when necessary and conserve his energy until you exhaust yourself. In practice : Select any throw, then perform the movement slowly and smoothly. For the first 10 reps, inhale as you enter and exhale as you execute the throw. For your second set, exhale as you enter and inhale as you execute. For your third set, begin inhaling while standing still. In the middle of your inhalation, shoot in and attempt to finish the throw. This type of work, called “stretching the breath,” also can be performed on the exhale, on fullness and on emptiness. It can be reinforced while doing push-ups, passing the guard, or striking. 3) Breath Length In principle : Systema emphasizes two types of breathing. Long breaths are comfortable and deep, ordinarily associated with relaxation. You’re probably long-breathing right now. Burst breaths are short and focused, used to rejuvenate fatigued muscles or regain control of the mind and body when tension and panic are rising. A burst breath is effected by sniffing the air—as if you had a runny nose—and then exhaling through your mouth with your lips pursed. The exhalation should generate a sharp, almost whistling sound, the kind you might make after swallowing something spicy. In most circumstances, you should strive to maintain long, even, controlled breaths. Naturally, there will be exceptions—perhaps because of exhaustion, injury, impact, or panic. In such situations, use a quick succession of burst breaths to regain control and return to long breathing. Simply put, long-breathe when you can and burst-breathe when you must. In practice : Assume a static push-up position or a 90-degree wall squat. Concentrate on maintaining long, controlled breaths. When exhaustion creeps into your mind, use burst breaths to reassert control. Try to visualize yourself grabbing the discomfort at its point of origin and then exhaling it out of your body. In practice : While grappling, vow not to stop or rest. Constantly move and slide, adjust and escape. Do this for five to 10 minutes, and you’ll find yourself exhausted—and liberated. Not only will your body be purged of tension, but you’ll also have a better understanding of the value of long breathing while holding in reserve burst breathing for times when you need to restore your vitality. 4) Compression and Compartmentalization In principle : A major weapon in combat is the compression of your opponent’s body under your weight or via your muscles. Even for a well-trained practitioner, particularly when injured or caught off-guard, this can cause panic, tension, and hesitation. A key to countering the effects of compression is educating yourself so you can “compartmentalize” your respiration into different sections of your body. In practice : From a push-up position, drop your hips to the ground into the position known as the “cobra.” To minimize strain, avoid bending your wrists sharply by keeping your elbows slightly bent and placed behind your wrists. Fan out your fingers and screw your hands outward as if you’re trying to open (or close) a large jar. Roll your shoulders backward to release the pressure on them. From this position, become aware of the stretch in your abdomen. By breathing deeply and naturally, you’ll feel your stomach stretch. Don’t try to keep your abs contracted. Feel how this position creates a line of tension along the center of your stomach area, “rerouting” breath to your lower back. It should feel as if you’re breathing in and out directly from the kidneys. In practice : Assume the same position with a partner, which puts you in a cross-body pin. Try to match your partner’s breathing pattern. One way is to breathe in a complementary fashion, inhaling as he exhales and vice versa. As he expands his stomach to inhale, you make room for it by exhaling and collapsing your own stomach. Another way is to breathe antagonistically, inhaling at the same time as your partner so your stomach presses against his. This teaches you how to breathe under stress and shows you how to reroute your breath to other areas of your body. Variations of these drills also can be practiced. One method is to mirror your partner’s breath, then suddenly change your rhythm to see if he follows suit. Or create a delay, which in a conflict would give you an opening to attack. Pay attention to how he reacts. 5) Pain and Discomfort In principle : We’ve seen that compression can cause discomfort. Elongations and contortions similarly can lead to discomfort. It’s crucial to be able to distinguish between such superficial pain, which is largely a byproduct of panic and unfamiliarity, and true pain, which alerts you to impending injury. In practice : Lie on your back and breathe naturally. Have a partner “walk” the length of your body on his fists. Those fists should be cautiously placed on muscle tissue rather than joints or vital areas. The partner should proceed slowly to allow you time to adjust to the weight. The goal is to learn how to relax under added weight and dissipate the discomfort of compression while you breathe. You’ll find the skill useful the next time you’re pinned under a knee or elbow. In practice : Again, lie down. Have your partner slowly roll over the length of your body. This exercise provides a more general compression, but it can be overwhelming to some people. Concentrate on relaxing and breathing as the human rolling pin moves over your body. In practice : Have a partner slowly twist, elongate, and compress your joints. To ensure safety, constantly communicate what you’re feeling. It’s better to ask for more pressure than to have to tell your partner he’s gone too far. An example of tolerable pain would be an Achilles lock. Generally, the pain delivered by this joint lock can be endured and won’t lead to serious injury. In contrast, a heel hook is dangerous because it targets ligaments and tendons on the inside of the knee. It’s never advisable to endure this type of pain for training purposes. This practical exercise lets you work on selectively contracting segments of your body to insulate and support an area that’s being targeted. Returning to the Achilles lock: you can curl your toes back to make the tendon more resistant to the pressure while focusing on relaxing the remainder of your body and breathing. 6) Lea d ing In principle : Often in grappling, you need to perform sudden movements against resistance. Systema teaches you how to power up for such explosive moves by beginning your breath slightly before your movement. It’s like a rocket taking off: the engine fires, sending up plumes of smoke and flame as it builds power. Finally, it lifts off the launch pad. In practice : Select virtually any exercise— for example, the push-up. Begin by taking in about 10 to 15 percent of a normal breath, then slowly lower your body. Complete your inhalation when you arrive at the ground. Next, let out 10 to 15 percent of the air in your lungs before you push up. This gives your body time to activate all the involved muscles while allowing your mind to focus on a clear objective. In practice : Have a partner assume the mount. At first, he just uses his weight as a weapon and tries to hold on while you move. Inhale 10 to 15 percent of the air you need and start maneuvering. You also should try exhaling the same amount and maneuvering. Remember the principle of independence described earlier and perform the drills with long inhalations and long exhalations. Naturally, this can apply to any counter, throw, or sweep that involves a prolonged period of exertion. In practice : Assume a seated or standing position with your partner holding you in a rear waist clinch. The clinch need not be tight. Begin breathing before you begin moving, then scramble to take your partner’s back. Another way in which you can lead your motion with breathing entails consciously exploding into a chain of burst breaths until you take your opponent's back. Then immediately return to long breathing. This can be repeated as one continuous flow set. Maintaining conscious control of your breath in this way helps you stay ahead of your body’s breathing pattern. Staying ahead is far better than lagging behind, trying to catch your breath. While Systema is a total method of health, conditioning, and defense, it’s not necessary to practice it exclusively. This introduction to the art's breathwork outlines numerous benefits that can be integrated into any self-defense system. Remember that when you practice breathing, you’re retraining your reflexes. It’s therefore essential to proceed slowly so you ingrain the correct habits through repetition and awareness.

This Saturday, the UFC makes its electrifying return to Seattle after over a decade, and trust us – this fight night will have you on the edge of your seat! Climate Pledge Arena will be the battleground where legends, contenders, and hungry newcomers collide in bouts that promise non-stop action. How to Watch UFC Seattle 2025 Location:  Climate Pledge Arena, Seattle, WA Date:  Saturday, February 22, 2025 How to Watch:  Prelims at 6 PM ET/3 PM PT, Main Card at 9 PM ET/6 PM PT live on ESPN+ Main Event: Henry Cejudo vs. Song Yadong Can Cejudo, the former champ, reclaim his glory, or will Song Yadong cement his place as the division’s next big thing? This high-stakes bantamweight showdown promises fireworks, with both fighters desperate for victory. Co-Main Event: Brendan Allen vs. Anthony Hernandez Allen wants revenge. Hernandez wants dominance. This isn’t just another fight – it’s a grudge match that could reshape the middleweight landscape. Main Card Thrillers: Jean Silva vs. Melsik Baghdasaryan:  A featherweight clash guaranteed to deliver highlight-reel moments. Rob Font vs. Jean Matsumoto:  Will Font’s experience outshine Matsumoto’s undefeated streak? Alonzo Menifield vs. Julius Walker:  Power meets potential in this electrifying light heavyweight battle. Prelims Packed with Talent: Andre Fili vs. Melquizael Costa:  A must-watch for featherweight fans. Ion Cutelaba vs. Ibo Aslan:  Explosive power and relentless aggression on full display. Adam Fugitt vs. Billy Ray Goff:  Expect heart, grit, and thrilling exchanges. Nursulton Ruziboev vs. Eric McConico:  A middleweight showdown with future implications. Ricky Simón vs. Javid Basharat:  Bantamweight fireworks guaranteed. Mansur Abdul-Malik vs. Nick Klein:  Watch out for these rising stars. Modestas Bukauskas vs. Rafael Cerqueira:  The perfect curtain-raiser for a night of unforgettable action. Don’t just hear about it after – be part of the adrenaline, the drama, and the glory. Tune in to ESPN+ this Saturday and witness UFC history unfold live in Seattle!

“If you define success by achieving specific things on a rigid path, then you set yourself up for disappointment. True success is process-oriented, goal-focused.” – Herb Perez In this episode of The Black Belt Podcast, host Harinder Singh sits down with Olympic gold medalist, martial artist, and strategist Herb Perez to uncover the mindset and philosophy behind true success. Herb shares insights from his new book, One Champion’s Pathway: A Guide to Personal Success, detailing the non-linear journey to mastery. Herb’s wisdom is drawn from years of competition at the highest levels, his experience as a coach, and his deep understanding of strategy in martial arts and life. Whether you're an athlete, entrepreneur, or martial artist, this episode is packed with insights to help you cultivate focus, perform under pressure, and play the long game! Click the link below to listen now on your favorite platform: Apple Podcasts: https://apple.co/3t227s4 Spotify: https://spoti.fi/3KvsIDy Google Podcasts: https://bit.ly/3Kxcg5D Main Directory: https://theblackbeltpodcast.buzzsprout.com/

The July 1970 cover of Karate Illustrated   featured Chuck Norris , already a rising martial arts star. He would go on to win a total of six world karate championships, solidifying his place in martial arts history before becoming a Hollywood legend with Walker, Texas Ranger . Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

As the 19th century rolled over to the 20th century, opinions regarding which fighting method was better—English boxing or boxe Francaise—were all over the map. Arguments often boiled down to pure bias, or occasionally which side of the channel one resided on. Among unbiased observers today, there's little doubt that both pursuits can be entertaining for spectators and have contributed greatly to the advancement of ring strategies and tactics. That historical contention did, however, motivate me to research the subject, and that led to my discovery of a martial artist who competed at the top tier in boxing and boxe Francaise. His name was Georges Carpentier, aka "The Orchid Man" or "The Orchid Kid." At the aforementioned turn of the century, Carpentier was a noted boxe Francaise competitor who went on to win the French championship in 1907. The sport was in its heyday at the time, so we can assume that Carpentier was forced to face some of the best fighters the field had to offer. But English boxing was making great inroads, and the allure of bigger paychecks was hard to ignore. With expanded economic horizons in his mind, Carpentier opted to try his hand at boxing. Georges Carpentier Carpentier boxed with a smooth, precise style and fleet footwork that belied his boxe Francaise origins. He rapidly moved up in the ranks, taking the European welterweight, middleweight, and heavyweight titles. In an effort to annex the light-heavyweight title in the States, he found himself facing a fine champion called Battling Levinsky, a boxer noted less for his power than for his excellent ring generalship. Levinsky had taken on some of the best brawlers his division had to offer, and he always comported himself well. The two pugilists faced off on October 12, 1920. Carpentier wound up taking the honors and the win, if not the title. But it was this fight that brought the well-regarded, dapper Orchid Man to the attention of Jack Dempsey's flamboyant manager, a man named Jack Kearns. Kearns was able to use the subsequent meeting of two seemingly contrasting personalities—the urbane Carpentier and the rough-and-ready Dempsey—to launch what would become the golden era of boxing. Jack Dempsey, ready to box Kearns parlayed this bout between the genteel and the brutal into the first million-dollar gate ($1,789,238 to be exact). It took place in a specially built outdoor arena that could accommodate 80,000 people. Carpentier was the lighter fighter, but many thought his sharpshooting right hand and seemingly effortless footwork would nullify the Manassa Mauler's brawling style, particularly if he could stretch the match into the later rounds. The billed "Battle of the Century" took place July 2, 1921, with the first round pretty much going how Dempsey enthusiasts thought it would. It was in the second round when Orchid Man fired an overhand that rocked the previously unrockable champ and kept him on the move. The crowd responded accordingly—and watched intently to see if history was going to be made. By round three, Dempsey had returned to form, pummeling and cornering his lighter foe. In round four, he dropped Carpentier with a hook to the body, and the man stayed down until the count of nine. The boxe Francaise fighter valiantly regained his feet—and was promptly dropped again thanks to a punishing shot to the jaw. The blow left him stretched out and unable to move a muscle until the count of eight. At that point, Carpentier was unable to regain his feet, and Dempsey reigned supreme. Despite the official outcome, there's little doubt Carpentier and boxe Francaise earned a great deal of respect that day. After all, he was the smaller man, and he used his skills to put a feared and formidable champ, who was in his prime, in trouble in the second round. In any era, that's no small feat for any man or for any martial art.