Ninja have become a staple of action-packed entertainment, offering a unique blend of stealth, deadly combat skills, and mystery. Over the years, several actors have become synonymous with the ninja archetype, bringing these silent warriors to life on the big screen. Here’s a look at nine people who helped bring ninja to life on screen! 1. Sho Kosugi – The King of Ninja Cinema Notable Credits:   Revenge of the Ninja  (1983), Ninja III: The Domination  (1984) Sho Kosugi is often considered the definitive ninja actor. His expertise in martial arts and ninjutsu helped him dominate the 1980s ninja film craze. Kosugi’s performances in iconic movies like Revenge of the Ninja  and Ninja III: The Domination  solidified him as the face of ninja cinema during the era. His grace, intensity, and martial arts precision made him a lasting influence on the portrayal of ninjas in films. 2. Michael Dudikoff – The "American Ninja" Notable Credits:   American Ninja  (1985), American Ninja 2: The Confrontation  (1986) Michael Dudikoff starred as Joe Armstrong in the American Ninja  franchise, a series that made him a household name in the world of action films. His portrayal of an American who is trained in the ways of the ninja was groundbreaking, offering a fresh take on the genre. Though he wasn't a traditional ninja by heritage, Dudikoff’s character used stealth, combat, and advanced weaponry to fight against evil forces, solidifying him as one of the most iconic action heroes of the 1980s. 3. Scott Adkins – The Modern Ninja Notable Credits:   Ninja  (2009), Ninja: Shadow of a Tear  (2013) Scott Adkins is one of the most prominent martial arts stars of the 21st century, known for his incredible athleticism and flawless fight choreography. In Ninja  and Ninja: Shadow of a Tear , Adkins takes on the role of a warrior trained in the ancient art of ninjutsu, fighting to protect his honor and family. His fast-paced, dynamic fighting style makes him one of the best modern-day action actors, combining classic martial arts techniques with the high-energy seen in contemporary films. 4. Mike Stone – The Martial Arts Legend Notable Credits: Enter the Ninja (1981), American Ninja 2: The Confrontation (1987) Recent Black Belt Hall of Famer Mike Stone, a renowned martial artist, also appeared in ninja films during the 1980s. While he didn’t achieve the same iconic status as Sho Kosugi, Stone’s contributions to the genre are significant. A real-life black belt in multiple disciplines, Stone brought a level of authenticity and expertise to his roles that made him a key figure in ninja film history. His work both in front of and behind the camera helped influence the visual language of ninja films during their golden age. 5. Stephen K. Hayes – The Real-Life Ninja Master Notable Credits: Shogun (1980) Stephen K. Hayes is a martial artist who popularized ninjutsu training and helped the idea of the shadow warriors take root in modern times. After studying under one of Japan’s most famous ninja masters, Hatsumi Maasaki, Hayes became a pioneer in introducing the art of ninjutsu to the Western world. Hayes’ influence on the perception of ninja is wide-spread, having contributed to the depiction of ninjas on-screen and presence in pop culture as a whole. 6. Rain – The "Ninja Assassin" Notable Credits:   Ninja Assassin  (2009) Rain, born Jung Ji-hoon, played the protagonist in Ninja Assassin , a film that helped reinvigorate interest in ninja movies in the 2000s. In this high-octane film, Rain portrays a shadowy figure trained in the ways of the ninja, bringing his own unique charisma to the role. The Korean star's portrayal of a silent warrior brought a new level of intensity to the film, making him one of the most memorable "ninja" characters in recent cinema. 7. Chris Casamassa – The Face of Scorpion Notable Films:   Mortal Kombat  (1995) Chris Casamassa brought one of Mortal Kombat's  most iconic characters to life with his portrayal of Scorpion in the 1995 film. A skilled martial artist with a background in karate and kickboxing, Casamassa infused the character with both intensity and authenticity, delivering some of the film’s most memorable fight scenes. Casamassa's portrayal of the vengeful ninja helped cement Scorpion as a fan favorite in the video game-to-film adaptation. The character would later be played in the film's sequel by another great martial artist, who has since transitioned into directing Hollywood hits such as the recently released The Killer's Game , J.J. Perry. 8. Elodie Yung – The Deadly Elektra Notable Films/Shows:   Daredevil  (2015–2018), The Defenders  (2017) Elodie Yung brought the fierce and complex character of Elektra Natchios to life in Daredevil  on Netflix, blending emotional depth with incredible martial arts skill. Known for her striking physicality and dynamic fight choreography, Yung’s portrayal of the skilled assassin made Elektra a fan-favorite, capturing both her lethal combat abilities and her morally ambiguous nature. Her intense and memorable performances across Daredevil  and The Defenders  cemented her as one of the standout characters in the Marvel TV universe. 9. Henry Golding – The Silent Snake Eyes Notable Films:   Snake Eyes  (2021) Henry Golding’s portrayal of Snake Eyes in the 2021 Snake Eyes  film reimagined the iconic G.I. Joe character with a fresh and emotionally charged backstory. Known for his charisma and physicality, Golding brought a nuanced performance to the usually silent ninja, blending intense action sequences with a compelling personal journey. His martial arts training and dedication to the role made his portrayal of Snake Eyes both fierce and authentic, earning praise for his ability to embody the character’s inner turmoil and strength.

UFC 310 delivered a night of electrifying action at the T-Mobile Arena in Las Vegas, Nevada, on Saturday, December 7, 2024. With a live gate revenue of $5,011,650 and an attendance of 18,648, the event showcased 14 thrilling MMA bouts across an exciting fight card. Here are the results of UFC 310. The headliner saw Alexandre Pantoja defend his Flyweight Championship in spectacular fashion against the formidable Kyoji Asakura, cementing his status as one of the most dynamic champions in UFC history. Main Event: UFC Flyweight Championship Alexandre Pantoja defeats Kyoji Asakura via Submission (Rear Naked Choke) at 2:05 of Round 2 Pantoja delivered a clinical performance, demonstrating his grappling prowess against the dangerous Asakura. After an evenly matched opening round, Pantoja capitalized on a scramble in Round 2 to secure a rear-naked choke, forcing Asakura to tap. This marks another successful title defense for the Brazilian, who continues to dominate the flyweight division. Co-Main Event Shavkat Rakhmonov defeats Ian Machado Garry via Unanimous Decision In a tactical welterweight clash, Rakhmonov showcased his versatility, mixing striking and grappling to outpoint Machado Garry. Despite Garry’s solid takedown defense and sharp counterstrikes, Rakhmonov’s relentless pressure and cage control earned him the unanimous decision. Main Card Highlights Ciryl Gane defeats Alexander Volkov via Split Decision In a closely contested rematch, Gane’s technical striking and movement narrowly edged Volkov’s powerful offense. The split decision reflected the competitive nature of the bout, with Gane’s ability to avoid damage and land cleaner strikes making the difference. Bryce Mitchell defeats Kron Gracie via KO/TKO (Elbows From Top) at 0:39 of Round 3 Mitchell dominated Gracie in the grappling exchanges before unleashing brutal elbows from the top position to secure a decisive victory in the final round. Sung Woo Choi defeats Nate Landwehr via KO/TKO (Elbows From Crucifix) at 3:21 of Round 3 Choi displayed his striking mastery and grappling transitions, finishing Landwehr with devastating elbows from a crucifix position late in the third round. Preliminary Card Recap Dominick Reyes defeats Anthony Smith via KO/TKO (Ground and Pound) at 4:46 of Round 2 Reyes returned to form with a dominant win over Smith, landing a barrage of strikes from top position to finish the fight. Vicente Luque defeats Themba Gorimbo via Submission (Anaconda Choke) at 0:52 of Round 1 Luque wasted no time, catching Gorimbo in a slick anaconda choke in the opening minute of the fight. Movsar Evloev defeats Aljamain Sterling via Unanimous Decision Evloev showcased superior striking and wrestling to earn a unanimous decision against former bantamweight champion Sterling. Renato Moicano defeats Randy Brown via Split Decision In a tightly contested bout, Moicano edged Brown with precise striking and effective clinch work. Eryk Anders defeats Chris Weidman via KO/TKO (Ground and Pound) at 4:51 of Round 2 Anders delivered a devastating performance, finishing Weidman with powerful ground-and-pound strikes. Kevin Van defeats Cody Durden via Unanimous Decision Van used his reach and striking to outwork Durden over three rounds for a unanimous decision. Michael Chiesa defeats Max Griffin via Submission (Rear Naked Choke) at 1:56 of Round 3 Chiesa bounced back with an impressive submission victory, sinking in a rear-naked choke after dominating grappling exchanges. Chase Hooper defeats Clay Guida via Submission (Armbar) at 3:41 of Round 1 Hooper made a statement with a quick submission, catching the veteran Guida in an armbar during the first round. Kennedy Nzechukwu defeats Lukasz Brzeski via KO/TKO (Right Hook to Ground Strikes) at 4:51 of Round 1 Nzechukwu closed the prelims with a spectacular finish, dropping Brzeski with a right hook and following up with ground strikes for the TKO. The evening was a showcase of high-level MMA with memorable performances and finishes. From Pantoja’s grappling masterclass in the main event to Reyes’ resurgence and Luque’s lightning-fast submission, UFC 310 left fans buzzing with excitement.

Get ready, Qatar! ONE Championship is bringing the heat once again in early 2025 with an electrifying lineup of world-class martial arts. Mark your calendars for Thursday, February 20, as ONE 171: Qatar  takes over the iconic Lusail Sports Arena , promising a night of unparalleled action and unforgettable moments. In collaboration with Visit Qatar  and Media City Qatar , this event aims to set a new standard for martial arts entertainment in the region. ONE Championship Chairman and CEO Chatri Sityodtong  expressed his excitement: "After a successful event in Qatar last March, we’re thrilled to return to Lusail Sports Arena for another showcase of the world’s best martial arts talent. Expect an explosive card featuring our elite World Champion athletes across all disciplines. We can’t wait to ignite Qatar with hope, strength, dreams, and inspiration once again. A huge thanks to Visit Qatar and Media City Qatar for helping us make history once more." A Historic Return to Lusail ONE made waves in March with ONE 166 , a groundbreaking event that featured three title fights, including Anatoly Malykhin’s historic triumph over Reinier De Ridder to claim the ONE Middleweight MMA World Title, becoming the sport’s first-ever triple-division champion. Now, ONE 171 promises to up the ante with a stacked card featuring multiple World Championship matchups. What to Expect at ONE 171 The event will celebrate the best of martial arts, with heart-pounding action across MMA, Muay Thai, kickboxing , and submission grappling . While the full card is still under wraps, you can count on a lineup of marquee matchups and jaw-dropping talent. Fans who want to be part of the excitement can secure exclusive early bird access  to tickets by signing up at visit.onefc.com/one171 . Details about the global broadcast and general ticket sales will be announced soon, so stay tuned! 2025: The Year of ONE ONE Championship is kicking off 2025 in spectacular fashion, and ONE 171 is shaping up to be an unmissable event for fight fans. Whether you’re a seasoned martial arts enthusiast or new to the sport, this is your chance to witness greatness unfold live. Don’t miss the action—reserve your spot now and get ready for an unforgettable night of martial arts in Qatar!

These days, it’s hard to watch a TV show or movie that includes a dojo scene without spotting a Body Opponent Bag (BOB) in the corner. BOB is ubiquitous for a very good reason: It’s a must-have for every martial arts training center no matter what style is taught. I say that because of the myriad ways you can use BOB to improve your students’ skills. Presented below are some of the martial art training drills used in my school, along with a little background information. First, the background. Like most dojo, ours has a BOB — it happens to be an XL — placed near the heavy bags, pads and shields. I wish we had more than one because everybody loves whaling on it. I remember the first thing I did when I got a chance to try one: crack it with a left hook and an uppercut. If you’re a puncher, it’s hard not to appreciate being about to make contact with a target that’s designed for it, and that’s true no matter how old you are. Over the years, I discovered that the beauty of BOB is it offers users so many options that a heavy bag does not. The first one is what precipitated my initial action when I had my first close encounter: BOB provides a realistic striking surface for the hook and uppercut, which the heavy bag does not. Consequently, students who lack access to a BOB often alter their strikes to adapt to that shortcoming, which leads to bad technique, improper muscle memory and so on. Yes, they can benefit from rounds on a heavy bag, but if they’re training for self-defense, they need to practice their techniques in a realistic fashion, and that’s precisely what BOB is made for. While traveling to other schools, I noticed that most instructors keep their BOB stationary when it’s being used. They fill the base with water to give it mass and keep it from moving when struck — which, incidentally, permits solo workouts, and that can be very convenient. However, keeping BOB loaded isn’t the only option. I often drain the water from mine to make it easy to move around the dojo and quick to maneuver when I want to change the angle of attack to keep students on their toes. The following are some drills I use for “empty BOB.” Teaching child safety is one of the priorities in our dojo. The three rules of our program are don’t be there, don’t get touched and don’t go quietly. BOB helps us ingrain those lessons with these two drills. Hi-BOB Drill:  Have the kids line up in front of BOB while you stand behind it. Addressing one person at a time, tilt BOB forward and downward to touch the student. The student’s job is to shout “Hi” while smashing BOB in the nose with a palm heel before running away. This drill helps kids develop an immediate response to an adult who invades their space. Fringe benefit when teaching the very young: They think of BOB — and not you — as the bad guy. You’re-Not-My-Dad Drill:  Have the students line up several feet away from BOB. Stand behind it with one hand on the base and the other on BOB’s back. Focusing on one child at a time, quickly push BOB around the mat while the student runs away and shouts, “No, you’re not my dad!” The goal, of course, is to prevent child abduction the easiest way possible — by avoiding the threat. In our dojo, I teach group classes as well as private lessons, and many of those sessions revolve around tournament sparring, kicking and fine-tuning the basics. Yeah, I could serve as the target in any of those drills, but I prefer to let BOB absorb the punishment. For sparring drills, BOB usually wears head protection and a chest guard. For the other drills, he’s not geared up. Defensive-Kick Drill:  Have a student square off with BOB at a normal fighting range in the middle of the mat. The student waits for BOB to move forward. The instant BOB advances — once again, you’re pushing it from behind — the student moves back and pops BOB in the midsection with a side kick. Reset and get ready to repeat, but this time, have the student move backward at an angle while nailing BOB in the noodle with an ax kick. Reset and get ready to repeat, but after the student kicks, keep going forward. Chase the defender as he or she responds with whatever foot and hand techniques are appropriate. These drills develop skills, improve endurance and boost body control. They’re a great workout for you, too. Speed and Focus Sparring Drill:  BOB stays stationary this time with you supporting it from behind. The student, who plays the attacker, practices his or her favorite kicks aimed at BOB’s head and body, precisely where they need to land to score in competition. Offer corrections while the student continues for several minutes. For the next round, shift BOB from side to side and forward and backward to make it more difficult to score. Take full advantage of BOB’s ability to adjust to different heights to simulate fighting different-size opponents. Kihon Drills:  (Note that BOB wears no gear during these drills.) These exercises are similar to the sparring and kicking drills, but the student performs your art’s basic techniques. They might include the reverse punch, lead punch, chop, ridgehand and backfist, along with the front kick, roundhouse kick and side kick. When BOB attacks, the student responds with pre-assigned techniques and combinations. Because empty BOB is so mobile, these drills foster dynamic movement without risking injury to a human being who otherwise would be absorbing a lot of contact. BOB is available from   centurymartialarts.com .

Get ready for an electrifying night at BRAVE CF 91 Live, happening in the Kingdom of Bahrain on December 13, 2024! Witness champion Nkosi Ndebele defend his Bantamweight Belt against the formidable Nicholas Hwende in the main event. The co-main event features Bahrain’s own Hamza Kooheji battling Alperen Karabulut. The action-packed card also includes: Mohammad Mokaev vs. Luthando Biko in a thrilling 59KG/130 lbs catchweight bout. Dias Erengaipov taking on Marciano Ferreira in an intense Flyweight matchup. Zagid Gaidarov representing Bahrain against Eliezer Kubanza in a Super Welterweight clash. Sabrina De Sousa from Brazil facing Mariane Mariano from the Philippines in a women’s bout. Mohammad Alsameea vs. Salah Walid in another Flyweight contest. Hussain Al Kurdi opening the night against Seif Shawki from Egypt in a Lightweight battle. Mark your calendars for this unmissable night of MMA action. Stay tuned for fight breakdowns, fighter interviews, and more updates! Here are the Weigh in Results for BRAVE CF 91 Light Heavyweight Super Fight: Ubaidula Tagirov (93.0kg) vs. Abdelliah Azzouzi (93.3kg) Undisputed Bantamweight Championship: Nkosi Ndebele (61.2kg) vs. Nicholas Hwende (61.1kg) Bantamweight:  Hamza Kooheji (62.5kg)*  vs. Alperen Karabulut (61.7kg) Catchweight (60 KG): Muhammad Mokaev (60.0kg) vs. Joevincent So (58.4kg) Flyweight: Dias Erengaipov (57.0kg) vs. Marciano Ferreira (57.1kg) Super Welterweight: Zagid Gaidarov (79.7kg) vs. Eliezer Kubanza (79.6kg) Flyweight:  Sabrina De Souza (58.4kg)*  vs. Mariane Mariano (56.8kg) Flyweight: Mohammed Alsameea (56.9kg) vs. Salah Walid (57.0kg) Lightweight: Hussain Al Kurdi (70.7kg) vs. Seif Shawki (70.7kg) Featherweight:  Kantemir Shibzukhov (68.6kg)*  vs. Adam Khalilov (66.0kg) *Missed weight, will forfeit a portion of purse to opponent

Interested in the first half of this electric conversation? Part 1 of our exclusive Q&A with Tim Tackett can be found here ! In your experience, what is holding back the growth of jeet kune do in the greater martial arts community? Judging from the popularity of Bruce Lee, JKD should be the most popular art in the world. Bob Bremer and I once did a seminar for about 50 people. I asked Bob privately how many JKD guys were in the room. He said, "Three." I said, "Maybe four." And that’s about what it was. We taught the straight lead punch. The next year, we went to the same place for a seminar and asked, "How many people were here last year?" Most of them raised their hands. We started by covering the straight lead again. The following year, the same thing happened. Somebody said, "Sifu, we already know that." I said, "No, you don’t. You recognize it. You have no knockout power with it yet." That shortcoming affects people in a lot of martial arts. Instead of learning things well enough to be able to use them, they have a lot of techniques that could put them in danger. But people generally don’t train like that. It’s even more of an issue in JKD. I have all Bruce Lee’s notes from the Bruce Lee Foundation — big, thick volumes with his workouts up to a month before he passed away. He was doing like four things. All he wanted to be able to do well was just those four things. That’s a different attitude than “I want to learn as much as I can.” I remember Bob Bremer saying, "A guy came in and said he wanted to learn how to do a hook kick, and Bruce said, ‘OK, do it. That’s good. Now do it for 20 minutes without stopping.’" That’s a whole different attitude toward training. Do you think that some people are technique collectors? Yes. Certificate collectors, too. My favorite question is, “How long will it be before I can get a certificate to teach JKD?” I answer with, “Do you play basketball?” "Yeah." “How long would you have to play basketball to be a basketball coach?” Why do you think we’ve gone in that direction in the martial arts? People find prestige in being able to say they’re an instructor. Probably once a week, I’m contacted by some sifu in some part of the world who wants me to come over and teach him — or just send him a certificate and he’ll send me $3,000. I always tell them, “The best way to get certified is to learn the JKD we teach. Come to our training camps and learn it.” For people who may be new to jeet kune do, do you recommend starting with JKD, or first learning a traditional art and then transitioning to JKD? If you have a young child, take them to taekwondo for the discipline. Judo’s good, too, but there aren’t as many judo schools around. From what I understand, people asked Bruce that question, and his answer was to start them in judo and, when they turn 13, to start them in boxing. When they get older, move them to JKD. He didn’t mention any other arts. What are the benefits of Lee’s approach? The kid gets the movement, the grappling, the falling, the roughhousing and the boxing power. They also learn to roll with punches, which is good for when someone is trying to hit them. Are there any fighting arts that make sense for students to cross-train in to improve their JKD? Like boxing? Western fencing for reaction training and speed. Basically, a third of JKD is fencing. The straight lead punch is a thrust in fencing. The hammer principle is also similar to a fencing thrust. I think Brazilian jiu-jitsu would be good, as would catch wrestling. As for stand-up arts, kali is good, as is boxing. And Thai boxing. We do Thai kicks when we train here. You’re officially retired from teaching. When did that happen, and what do you continue to do here in your garage? When I retired from school teaching in 2000, I continued teaching JKD. I would go to Europe for seminars, and I would teach here at our Wednesday Night Group meetings. It got kind of popular, but then I started thinking that I needed a break. In April or May of last year, I did my last U.S. camp. I did my last European seminar in Sicily last November. But you still have class here on Wednesday nights, right? Jeremy Lynch does most of the teaching. Every now and then, I stick my nose in to see how they’re doing. (laughs) How many people are normally here? Six or seven. I bet you’re pretty selective about whom you let in. Oh, yeah. We can afford to be because we don’t charge anything. But we do take donations so we can buy equipment. If you’d never found JKD, where do you think you would be now? And what martial arts-related pursuit would you have been doing for the past few decades? It’s hard to think about that because JKD was so outside of anything I’d ever seen. It was kind of Eastern martial arts but very Western — a third boxing, a third fencing, a third wing chun. There’s a kick from praying mantis, and there’s a technique from choy lay fut, but JKD was never a mixture of 27 different arts like some people claim. That “27 martial arts” thing that’s often said about JKD came from the notes that Bruce left with Dan. There was a list of martial arts: white eyebrow, hsing-i, and others. I looked at it and asked, “What is this?” Dan said, “These are the arts Bruce looked at to see how they entered and what he could do against them if they entered. So he investigated them.” Anyway, somebody got ahold of that list, and it became “what Bruce Lee learned.” It’s a lot of nonsense. I taught hsing-i for years, and I never saw any hsing-i in JKD. In tai chi and hsing-i, there are these heavy-palm hits. You can get power in one of two ways: the snap of a punch or the weight of a punch. The weight of a punch means you can’t recover as fast, so you have to make sure you hit the target. A snappy punch has a faster recovery. In his notes, Bruce talked about this when he said techniques were either crispy or uncrispy. A hook kick is a snappy kick. A Thai kick is a heavy kick, which means it takes longer to recover from. It’s a full-commitment thing. At one point in his notes, Bruce talked about commitment theory. If I’m doing a crispy punch, I’m committing less time to it than when I do an uncrispy punch. And that has, in terms of self-defense, a real meaning. And it’s easy to analyze. That theory changed a lot of what I do because I realized how much time I was committing to different techniques and, therefore, what I was leaving open. What are your thoughts on the dwindling number of first-generation jeet kune do practitioners who are able to pass along the lessons they got directly from Lee? There are very few original students left. Since I was studying for about a year and a half when Bruce was still alive, in a way, I’m an original student. We were doing his curriculum when he was alive. It’s the same with Chris Kent; he was doing it for about three months before Bruce died. I consider myself and Chris one-and-a-half generation. But of the first generation, there’s practically nobody left except Dan Inosanto. And I think Steve Golden is still active. He occasionally shows up on a forum. But we just lost Allen Joe and George Lee, two of the best guys ever. Taky Kimura is still around, but he’s not doing well physically. That’s it for the Oakland guys. There are the Seattle guys, but they’re not doing the same kind of JKD that we are. They’re all good guys, but the JKD of the Chinatown era, as I call it, is different from the JKD of the Seattle era because of the boxing and the footwork of fencing. In Seattle, it was more like modified wing chun. What was going on in Oakland was a lot closer to what we do. Do you think that by its very nature, when it was created, JKD was destined to have a life span that was only as long as the lives of the first generation and generation 1.5? Not necessarily. I know some young people who are still teaching it. In some cases, they’re teaching out of their garages. It’s hard to teach JKD in a commercial school because you end up doing more kickboxing-type stuff. In reality, you need to focus so much on a few things to make it work right. Nowadays, if students don’t leave class with two or three new techniques every time, they don’t think it was a good class. Like I said, they recognize techniques but can’t really do them. Getting good in JKD is not about constantly learning new techniques. It’s about getting rid of techniques. It’s the painter versus the sculptor. That’s hard to do in a commercial school. In the Chinatown school, lots of people dropped out. Even the guys you’ve heard of dropped out after a year or two — until Bruce went to Hong Kong. With respect to your formal JKD training, was most of it with Dan Inosanto? Ninety percent was with Dan Inosanto. I had a chance to work with Jerry Poteet and Dan Lee, too. Dan Lee was really good at boxing and broken rhythm, so I worked with him on that. It was Bob Bremer who made me throw away a lot of what I had learned and changed the way I look at techniques. Is throwing things away the highest level of the martial arts? I think so. Recognizing what to throw away and what to keep, though, is the hard part. You have to be careful not to throw too much away. When you throw something away, do you never practice it again? No. We teach everything because it’s not up to me to decide what gets thrown away by a student. One of the things I noticed is that when I was learning from a certain person who had kept only what worked for him, that was not the best thing for me as a student. For example, a smaller person like Ted Wong would do a lot of moving. In contrast, Bob Bremer said it was “nonsense to do all that dancing around” because he had a different body type. Bruce taught everyone differently. If I had to work with just one teacher, I’d get only what that teacher decided to keep. But it shouldn’t be up to the teacher to decide that for the student. That’s why I try to show my students stuff that worked for Bob Bremer and stuff that worked for Ted Wong. What to keep and what to throw away has to be a decision you make based on your personality, your mind, your movements. So a teacher needs to be proficient in everything in a system … He has to be good enough to at least show it. … And then show everything to all the students before telling them that they should pick what works for them. Yes. I spend 80 percent of my time doing what I would use in a fight and 20 percent of my time on the rest of the system — not high kicks and such because at 77, I don’t do them quite as well as I used to, but the other things. So it would seem that a peculiarity of running a commercial school is that for advancement, students need to be proficient at a bunch of moves that might never work for them because those are part of the art. Yeah. You have to understand it to be able to throw it away. Unless you understand the art, you don’t know what’s valuable and what isn’t. Then is your philosophy to have students do everything — to teach them a technique and then tell them, “Later on, you might find yourself throwing this move away”? They’ll start throwing things away automatically if you teach them right. They’ll spar and find out what works and what doesn’t work. There will be certain things they just go with. Say I was a student here on Wednesday nights and you were teaching the hammer principle. You do it two weeks in a row and then ask me to show it to you the third week. I say, “It doesn’t work for me, so I threw it away.” What would you say? I would say, “You haven’t learned how to do it. Unless you can use it, you can’t throw it away because you don’t know it.” You have to be able to do it to understand when it works and when it doesn’t work. For example, unless you work on intercepting, the hammer principle is meaningless — except the fact that you learned how to get rid of your preparation. You said you’re 77. What do you do now to keep your skills sharp? It’s weird. I’ve found that the stuff I still do — for example, punching like this! — I don’t have to practice. That’s because it’s all about relaxation. I don’t know if that’s normal. I haven’t really lost any of my speed. My conditioning obviously is not what it used to be. I can’t dance around for as long, but I hit just as hard. And I seem to be just as fast. I think that because I’ve done it so many times, the muscle memory’s still there. If you were to find yourself in a fight that was developing out in public, what would be your go-to moves? The leg obstruction and the finger jab to the eyes because they’re just so fast. How would you implement them? I would say, “OK, I don’t mind talking to you, but stay right where you are.” Then if the guy stepped forward, I’d use a leg obstruction and hit him in the eyes. When he steps toward me, all the people watching will see him move first and see him “accidentally” run into my fingers. But I would do the leg obstruction first, as soon as he stepped forward. Please explain the leg obstruction for those who aren’t familiar. As soon as you start to move toward me, I use my foot to hit your lead leg as you step. I keep my shoulders square as it creates a stronger base, and I can have more power in my punches. As soon as your hands go down, I hit you. Are there other targets besides the eyes? The nose is good. If I use a palm strike, I might go for the jaw. Another option would be to use a straight lead punch or a finger jab to intercept him, then follow up from there. So you might use the straight lead punch or the finger jab as a first strike? Yes. They would be particularly good if I had to fight off two or three people. Is first attack taught a lot in JKD? It’s not really desirable, but sometimes it’s necessary. Legally, it’s probably not a good idea to attack first, but sometimes it’s necessary in self-defense. So you have to know how to do it. But what we really focus on is intercepting with power. If your opponent attacks first, he will leave an opening that you can take advantage of. This way, you are always in the right as you are merely responding to being attacked.

Every traditional martial art exists in the present because at one time in the past, it was used successfully in battle. It would have been illogical for warriors to pass down strategies and techniques that failed to function in fights. End of story. In part because of geography, most cultures and classes were pitted against the same enemies, often for long periods of time. Therefore, it can be assumed that most fighting systems developed to neutralize a specific enemy. Case in point: In Japan, jujitsu was created to combat the samurai, with their iconic weaponry and their unique way of fighting. Now, the fact that most members of a given adversarial group probably fought in similar ways, one can argue that this could limit the efficacy of the art that’s being used against said group if it was pitted against a different group. It follows, then, that any art that was battle-tested against two enemy cultures would be more effective than a style that faced only one. And it follows that if an art was forged in three crucibles that resulted from prolonged clashes with three mighty nations, it would have the upper hand. Such a system does exist, and it’s called pekiti tirsia. This form of kali is helmed by Leo T. Gaje Jr., and it’s being used by millions of military men and women around the world for the very reasons mentioned above. Crucible No. 1 Gaje was born in 1938 on the island of Negros in the Philippines. When he was just 6, he began training under his grandfather, Conrado Tortal. The reason the patriarch put his only grandson on the martial path so early was eminently practical. “He said, ‘I will train you so you can protect your property and family,’” Gaje said. “Every family in the Philippines had to be able to take care of themselves.” Historically, a significant part of that mission of protection was to fight against the Spanish, he added. You see, in the aftermath of Ferdinand Magellan’s arrival in 1521, Spain took gradual control of the Philippines. And the Spanish, with their blades, ruled with an iron fist. “Often, one member of a family would go out to observe how the Spaniards used their swords — they were intelligence agents, in a way,” Gaje said. “In my family, my grandfather had three brothers, and they observed the fighting system of the Spaniards. They would report to my grandfather, then do clinics on the type of fighting they saw. Most of it was using the blade from long range.” With the intel, Gaje’s grandfather focused on footwork — specifically, how the family might use close-range methods to defeat their enemies. “My grandfather and his brothers analyzed the footwork of the Spaniards step by step,” Gaje said. “They saw that most of the movement was linear, so they developed a way to open it up, which is the open triangle. From that base, they were able to strategize their methodology. They used diagonal lines because a diagonal line is a protective line when you slash and thrust. They were looking for a way to attack up close that was not counterable, meaning to say there was no way to block the technique.” The brothers determined that there are two ways to fight when blades are involved: with weapon contact and without weapon contact. “If one blade makes contact with another blade while blocking, it takes time to recover,” Gaje said. “So they studied angulation [to avoid that]. If your angle is coming in this way, I go that way. If you go high, I go low. All this was part of a building process — they did it every day. “Whenever they developed a new technique, they would go on a test mission. The brothers would go out and fight with the Spaniards. One hundred percent of the techniques we teach now worked then. That’s why we teach them — and it’s why in pekiti tirsia, we always say that every technique cost lots of lives.” Gaje’s grandfather often talked about the cultural discipline he and his brothers were adding to what the Spanish practiced, Gaje said. “He called it the actual expression of combat. It was about the counter of motion before attack time, which is where [the acronym] COMBAT comes from. “The system they created — pekiti tirsia — had only 12 methods, one for each month of the year. In one month, you had to learn one method. The first three months were for skill development. The next three months were for specialization. The next three were for mastery. And the final three were for testing and building confidence. It all had to be done quickly because they were fighting the Spaniards.” To polish their skills for actual use, the brothers would begin with hardwood sticks, Gaje said. “They would hit water for power development and to feel resistance. They also worked on speed so their actions couldn’t be trapped or easily countered. And, of course, they focused on using footwork to get in close — pekiti tirsia means ‘close-quarters techniques.’ It isn’t designed for long range.” The goal, Gaje reiterated, is to take action before the opponent’s strike comes to fruition because then you don’t need to spend time blocking. “If you give me a slash, I will slash, also,” he said. “Counter of motion before attack time means that as soon as there is one motion from your opponent, you’re there. It can be any first move.” Such combat efficiency came as a result of three centuries of Spanish control of the Philippines, Gaje added. “It enabled us to develop a blade technology that was superior to that of the Spaniards.” Crucible No. 2 “Eventually, eight provinces of the Philippines revolted against Spain,” Leo T. Gaje Jr. recounted. “After the revolution ended, Spain negotiated in the Treaty of Paris of 1898 to sell the Filipinos to the Americans at $3 per head. Imagine that! The Philippines was considered the property of Spain, but why did they have to sell the Filipino people to America? Why not the land?” Initially, the Filipinos celebrated their liberation from Spain, but the reality of American rule quickly soured the victory. “We started fighting the Americans with guerrilla tactics. Our success caused Gen. [John] ‘Black Jack’ Pershing, who served in the Philippines, to tell the War Department, ‘We cannot win the war like this. These Filipinos are so savage.’” In response, Pershing recommended that the U.S. military develop a handgun capable of stopping the Filipinos. “That’s why they created the .45-caliber,” Gaje explained. “At close range, when Filipino fighters came at Marines with their bolo [knives] raised, a .45 was needed to stop them. The .38 didn’t work.” The Philippine-American War persisted until 1935, when the U.S. established a Philippine commonwealth. “That was the only way for the Americans to say they did not lose in the Philippines,” Gaje said. “They said, ‘We’ll give you a commonwealth.’ We said, ‘What are the conditions?’ Among other things, they said, ‘Your men will be in the U.S. Armed Forces under Gen. MacArthur.’” Despite the uneasy truce, relations between the Filipinos and Americans improved until 1941, when Japan invaded the Philippines. With a force of 200,000 troops, supported by battleships, tanks, and planes, the Japanese quickly overtook the archipelago. Crucible No. 3 The war with Japan was a grueling ordeal. During the occupation, Filipinos and the remaining Americans waged relentless resistance. “The Filipinos and the Americans who were left fought back,” Gaje said. “But there was no sign that we were winning because we were outnumbered — and there was no support from the U.S. because it was responding to the Pearl Harbor attack. The Americans in the Philippines were totally dependent on the Filipinos for support. Many Filipinos sacrificed their lives in defense of the Americans.” This period saw countless clashes with the Japanese, who wielded firearms and swords, while the Filipinos often relied on their traditional blades. Looking back, Gaje views this time as an unparalleled crucible for refining Filipino combat techniques. Modern Beneficiaries Today, pekiti tirsia, honed through these three historic conflicts, is a cornerstone of military training in the Philippines. “It’s mandated,” Gaje said. “They start with the stick, which is a training tool. As they progress, they learn the knife. Of course, the stick can be used as a weapon. If you have a hardwood stick, which is very strong and heavy, you can be flexible — you can stop a person without killing him.” The reach of pekiti tirsia extends far beyond the Philippines. “More than 1.2 million people in the Indian military do pekiti tirsia,” Gaje said. “And there’s another 700,000 in Pakistan, Bangladesh, and Sri Lanka. The U.S. Marines learn it, too, as do the militaries of Japan, Singapore, Malaysia, Korea, even China.” Why do so many militaries adopt this art? Gaje provided an answer rooted in practical warfare: “When you’re fighting a war, there’s no kicking or punching. But why do they need the blade? During training in the Philippines, a test mission was sent to fight the Muslim extremists. The Philippine force recon marines, who are trained in pekiti tirsia, learned that in battle, the blade demoralizes the extremists. “Our military is now feared by the extremists because we have a force inequality: If they use a blade to cut the neck of one of our people, we will use the blade to chop them to pieces. The only martial art in the world that is tested every hour of the day is pekiti tirsia, and the military knows this.” Photography by Brandon Snider

This Saturday, the UFC concludes its 2024 season with a return to Amalie Arena in Tampa, Florida, featuring a thrilling welterweight showdown between multiple-time title contender Colby Covington and one of the division's rising stars, Joaquin Buckley. In the co-main event, top featherweights face off as Hall of Famer Cub Swanson takes on Billy Quarantillo. UFC FIGHT NIGHT: COVINGTON vs BUCKLEY is set for Saturday, December 14 at Amalie Arena. The preliminaries will be broadcast simultaneously on ESPNNEWS and ESPN+ in both English and Spanish starting at 7 p.m. ET / 4 p.m. PT. The main card will be aired in English and Spanish on ESPN2 and ESPN+ beginning at 10 p.m. ET / 7 p.m. PT. The entire event will also be available on ESPN Desportes.  The main event is scheduled for five rounds, while all other fights are set for three rounds. UFC Fight Night: Covington vs Buckley Official Weigh-In Results: MAIN CARD Main Event - Welterweight Bout: Colby Covington (171) vs Joaquin Buckley (171) Co-Main Event - Featherweight Bout: Cub Swanson (146) vs Billy Quarantillo (146)  Flyweight Bout: Manel Kape (125) vs Bruno Silva (126) Light Heavyweight Bout: Vitor Petrino (204.5) vs Dustin Jacoby (205.5)    Bantamweight Bout: Adrian Yanez (136) vs Daniel Marcos (136) Light Heavyweight Bout: Navajo Stirling (206) vs Tuco Tokkos (206)   PRELIMS Lightweight Bout: Michael Johnson (156) vs Ottman Azaitar (156)   Lightweight Bout: Joel Alvarez (156) vs Drakkar Klose (156) Featherweight Bout: Sean Woodson (145.5) vs Fernando Padilla (145.5)  Featherweight Bout: Miles Johns (146) vs Felipe Lima (146) Women’s Flyweight Bout: Miranda Maverick (126) vs Jamey Horth (126) Bantamweight Bout: Davey Grant (136) vs Ramon Taveras (136)  Women’s Strawweight Bout: Josefine Knutsson (116) vs Piera Rodriguez (116)

We're counting down the 12 Days with our Must See Holiday Guide for Action and Martial Arts Movies. This curated list took into account the elements of winter, Christmas and serious fighting that will satisfy even the most discerning Black Belt reader. So sit back, relax and enjoy this holiday gift that keeps giving from Black Belt Magazine Force of One The Iceman Cometh Police Story 4 House of Flying Daggers Silent Night Violent Night The Bourne Identity Peppermint Batman Returns Die Hard 2 Rocky 4 On Her Majesty's Secret Service A Force of One  (1979) Starring: Chuck Norris Best Fight Scene: Ending battle against Bill Wallace A Force of One  combines holiday atmosphere with raw action, making it a standout with Chuck Norris in his prime, set against a backdrop of Christmas in Southern California. The film follows Matt Logan (Norris), a karate champion recruited by law enforcement to stop a mysterious killer targeting undercover narcotics officers. As the holiday season unfolds, the tension builds between festive moments and the high-stakes investigation, culminating in a battle of discipline and skill. The film’s climactic showdown is a Christmas treat for action fans, as Logan faces off against Bill “Superfoot” Wallace in a pulse-pounding final duel. Wallace, playing the assassin, matches Norris with impressive martial arts, creating a dynamic fight filled with powerful strikes and swift kicks. Their brutal, high-energy confrontation highlights Norris's karate prowess, capping the film with a memorable display of martial arts mastery. The Iceman Cometh  (1989) Starring: Yuen Biao and Maggie Cheung Best Fight Scene: Final fight featuring Yuen Biao vs. Wah Yuen In classic 80s Hong Kong tradition, when Golden Harvest ruled the land, this thrilling blend of martial arts, time-travel adventure, and wintery spectacle, stars the legendary Yuen Biao . Known for his acrobatic prowess and flawless martial arts choreography, Biao shines as a Ming Dynasty warrior frozen in an icy prison for centuries. Thawed out in modern-day Hong Kong, he must adapt to a world of skyscrapers, neon lights, and holiday cheer—all while pursuing his treacherous rival, who has also been resurrected to wreak havoc. Set against the backdrop of the festive season, the film blends intense action with moments of comedic culture clash as Biao’s character navigates the glimmering, wintry cityscape, juxtaposing his ancient values with the modern world’s chaos and charm. One unforgettable sequence sees Biao battling his foe in a snow-covered plaza adorned with Christmas lights, turning the festive backdrop into a stage for a jaw-dropping duel of blades and fists. Already renowned for his roles in classics like Project A  and Dragons Forever , Biao delivers one of his most memorable performances, combining martial arts mastery with heartfelt heroism. The Iceman Cometh  is an exhilarating holiday-themed martial arts spectacle that offers action, humor, and a frosty twist to the genre. Jackie Chan’s First Strike (1996) Starring: Jackie Chan Best Fight Scene: Jackie vs. Bodyguard (scaffolding scene) Jackie Chan's First Strike, also known as Police Story IV: First Strike, is a thrilling action-comedy that stands out as one of Jackie Chan ’s most visually unique films, set largely in icy, snow-covered landscapes. The movie follows Chan as a Hong Kong police officer caught in a globe-trotting espionage mission that leads him from sunlit cities to the frozen wilderness. The film's winter backdrop plays a key role, with several scenes utilizing the cold, snowy environment to enhance its inventive action sequences. The holiday season adds a subtle festive layer, contrasting the high-stakes chases and fights with the serene, frosty beauty of its settings. Among the standout winter-themed action sequences is a breathtaking chase across snow-covered mountains, where Chan hilariously fends off enemies on skis, blending slapstick humor with his signature martial arts skills. The icy setting also sets the stage for an exhilarating underwater fight beneath the frozen surface of a lake, showcasing Chan’s creativity in adapting his stunts to the harsh, cold environment. Combining holiday charm, spectacular wintry visuals, and Chan’s one-of-a-kind choreography, First Strike delivers an adrenaline-fueled adventure that embraces its frosty atmosphere to create a unique entry in Jackie Chan’s legendary career. House of Flying Daggers (2004) Starring: Andy Lau Best Fight Scene: Final showdown between Andy Lau and Takeshi Kaneshiro House of Flying Daggers climaxes in a visually stunning and emotionally charged battle set against a wintry wonderland, where icy winds heighten the tension and underscore the characters' emotional stakes. The mix of martial arts, winter elements, and emotional depth makes this snowy battle one of the most memorable in martial arts cinema history. The snowy setting plays a critical role in elevating the drama, mirroring the characters' inner turmoil as the cold, unforgiving landscape becomes the stage for their final reckoning. Zhang Yimou ’s mastery of visual storytelling shines through, with the swirling snow adding an ethereal quality to the fight. Every step and clash of blades feels heightened, culminating in a shocking twist that leaves a lasting impression. Silent Night (2023) Starring: Joel Kinnaman Best Fight Scene: Bar room knock down drag out fight Directed by action maestro John Woo , Silent Night reinvents the holiday action genre with a vengeance, blending a Christmas backdrop with heart-pounding thrills and martial arts intensity. Joel Kinnaman stars as a grieving father on a silent but deadly quest for justice after tragedy strikes his family. The snowy, festive streets provide a sharp contrast to the film’s relentless action, turning Christmas cheer into a gritty battleground. Woo’s signature style is on full display, with dynamic choreography and breathtaking stunts amplifying the tension. The martial arts elements take center stage during visceral, high-impact fight sequences, where Kinnaman’s character channels raw emotion into every strike and movement. The snow-covered settings and twinkling holiday lights heighten the visual spectacle, transforming ordinary objects into improvised weapons in Woo’s trademark style. Silent Night captures the spirit of vengeance and redemption, blending emotional depth with jaw-dropping action to create a uniquely thrilling Christmas tale. Violent Night (2022) Starring: David Harbour Best Fight Scene: Santa Vs. the Kill Squad Violent Night takes the holiday season to new extremes by blending Christmas cheer with brutal action in a thrilling, darkly comedic setting. Santa Claus, played by Stranger Things star David Harbour , finds himself in the midst of a violent hostage situation when a group of mercenaries take over a wealthy family’s estate. Harbour trained in jiu-jitsu and Greco-Roman wrestling to prepare for the role. What follows is a wild, action-packed rescue mission where Santa fights back with surprising martial arts precision, using his combat skills to dismantle the criminals in brutal, yet creative ways. The fight scenes are a blend of raw physicality and holiday humor, turning Santa into an unexpected action hero. Throughout the film, Santa’s combat moves combine elements of traditional martial arts with his own unique, improvised style. One standout scene features him taking down armed thugs with a mix of quick strikes, grappling, and using Christmas-themed weapons like tree ornaments and even a candy cane. The holiday atmosphere, filled with decorations and festive lights, heightens the absurdity of the intense fight scenes, making the film a one-of-a-kind holiday action thriller that offers a fresh twist on both the Christmas movie and martial arts genres. The Bourne Identity (2002) Starring: Matt Damon Best Fight Scene: Pen vs. Knife The Bourne Identity weaves a tense, gripping narrative of espionage and self-discovery, with Matt Damon starring as Jason Bourne, a man with amnesia and a deadly skill set. The film’s chilly European setting, with snow-covered streets and festive lights evokes a subtle winter holiday atmosphere. Bourne’s journey to uncover his identity takes him through a cold, foreboding landscape, where the contrast between the season’s peaceful backdrop and his violent, high-stakes mission amplifies the tension. Martial arts play a pivotal role in defining Bourne’s character and the film’s pulse-pounding action. Utilizing techniques such as Krav Maga and Filipino Kali, designed and influenced by Black Belt Hall of Famer Jeff Imada . Damon’s Bourne is a master of brutal, efficient combat. A standout scene involves an intense apartment fight where Bourne improvises weapons, including a pen, showcasing both his martial arts prowess and resourcefulness. These close-quarters fights, set against the frosty European winter, heighten the visceral nature of the story, creating a thriller that blends action, intrigue, and a touch of seasonal atmosphere. Peppermint (2018) Starring: Jennifer Garner Best Fight Scene: Car Fight and Party Store Peppermint showcases Jennifer Garner ’s transformation into a fierce action hero as Riley North, a grieving mother who seeks vengeance after her family is brutally murdered. While not directly a Christmas film, the movie features a wintery urban backdrop that evokes the holiday season, with Riley’s crusade for justice unfolding in cold, desolate streets decorated with festive lights. The juxtaposition of Christmas cheer against the dark, brutal story of revenge gives the film a unique atmosphere, highlighting Riley’s fight to reclaim hope amidst the bleakness. Jennifer Garner’s background in Elektra brings a sharp edge to her performance, with martial arts playing a significant role in Riley’s transformation into a lethal force. Using a mix of Krav Maga, kickboxing, and street fighting techniques, Garner’s action scenes are both raw and precise, emphasizing her physicality and emotional intensity. A memorable fight takes place in a holiday-lit plaza, where Riley dismantles a gang using swift, calculated moves. Peppermint combines martial arts action with a grim yet hopeful story, underscored by its wintry, subtly Christmas-themed setting. Batman Returns (1992) Starring: Danny DeVito, Michelle Pfeiffer, and Michael Keaton Best Fight Scene: Catwoman Vs. Batman Batman Returns is a dark, visually striking Christmas-themed entry in Tim Burton’s Batman franchise, set against a snowy Gotham City during the holiday season. The film centers on the rise of the Penguin ( Danny DeVito ) and Catwoman ( Michelle Pfeiffer ) as they challenge Batman ( Michael Keaton ). A key moment in the film is the martial arts-infused fight between Batman and Catwoman. Their showdown takes place amidst the Christmas revelry, making it a striking contrast of festive cheer and fierce combat. Using agility and precision, both characters engage in a physical and emotional battle, with Catwoman’s acrobatic martial arts style contrasting Batman’s disciplined fighting techniques. Real life martial arts champion and Black Belt Hall of Famer Kathy Long helped support the authenticity of the fight scene doubling for Pfeiffer. Die Hard 2 (1990) Starring: Bruce Willis Best Fight Scene: Ending on the airplane wing vs. William Sadler Die Hard 2 is a thrilling action film set during Christmas at a snow-covered airport, where John McClane ( Bruce Willis ) must stop terrorists from taking control of the airport's systems. The holiday setting amplifies the tension, with snowstorms creating a dangerous backdrop for McClane’s desperate battle to save the hostages, including his wife. The festive atmosphere contrasts sharply with the high-stakes action, adding a unique edge to the film’s relentless pace. In the film’s electrifying climax, McClane faces off against Colonel Stuart, played by William Sadler , in a martial arts-infused showdown on the wing of a moving airplane. The fight is a brutal, intense battle, with both men using their combat skills to outmaneuver each other amid the freezing winds. The icy setting and high-altitude danger heighten the stakes, making it one of the most memorable and physically demanding action scenes in the Die Hard franchise. Rocky IV (1985) Starring: Sylvester Stallone and Dolph Lundgren Best Fight Scene: Ending championship fight between Rocky and Drago The film, set against the backdrop of the Cold War, explores themes of national pride, personal redemption, and sacrifice. The most iconic Christmas connection occurs when Rocky prepares for his ultimate showdown with Drago, training in the snowy wilderness of Russia. The climax of the film, where Sylvester Stallone’s iconic Rocky faces off against Drago, played by 2024 Black Belt Magazine  cover star Dolph Lundgren, transcends personal glory to become a powerful symbol of unity and hope, set against the backdrop of Christmas Day. As the fight unfolds, the themes of determination, sacrifice, and overcoming adversity ring true, making the Christmas setting both poignant and integral to the emotional payoff of the film. The contrast between the festive, family-focused holiday and the intense, high-stakes world of boxing adds an emotional layer to the film. On Her Majesty’s Secret Service (1969) Starring: George Lazenby and Diana Rig Best Fight Scene: Hotel scene The Christmas-themed setting and George Lazenby’s lone turn as 007 sees Bond infiltrating an alpine fortress in the Swiss Alps, where the nefarious Blofeld (Telly Savalas) is hatching a plot involving biological warfare. Against the backdrop of snowy peaks and festive cheer, Bond finds love with Tracy di Vicenzo (Diana Rigg) in a rare exploration of the spy’s emotional depth. The Christmas ambiance enhances the charm and poignancy of this distinctive Bond outing. Elements of the film, particularly in its costume design, can later be seen in the more modern film Austin Powers: International Man of Mystery . Lazenby’s performance as Bond emphasizes physicality, with the film featuring some of the series’ best hand-to-hand combat sequences, showcasing his martial arts skills, including karate, boxing, judo and Jujutsu. The action reaches thrilling heights during a daring bobsled chase and intense ski battles down treacherous slopes. Lazenby’s agility and precision bring a raw, visceral energy to the role, standing apart from the suave approach of his predecessor.

Joaquin Buckley has become a name synonymous with explosive knockouts and unrelenting determination. Ahead of his headline fight at UFC Tampa this Saturday, Buckley’s journey from humble beginnings to the top of the UFC ranks is nothing short of inspiring. His rise reflects resilience, growth, and a fighter’s unyielding spirit, capturing the attention of fans and critics alike. The Early Days: Buckley’s Humble Beginnings Born in St. Louis, Missouri, Buckley’s life was shaped by challenges. Growing up in a tough neighborhood, he learned early on the importance of discipline and hard work. Buckley found solace in sports, particularly wrestling, which became his gateway into mixed martial arts. Determined to carve out a better future, he entered the MMA scene with grit and a goal to succeed at the highest level. Starting his professional career in 2014, Buckley displayed promise with a string of wins in regional promotions. His hunger for success and ability to learn from setbacks fueled his early success, setting the foundation for his eventual UFC breakthrough. The Viral Moment That Changed Everything Joaquin Buckley’s entry into the UFC in 2020 was marked by moments of brilliance, but it was one unforgettable highlight that cemented his name in MMA history. At UFC Fight Night: Moraes vs. Sandhagen, Buckley delivered a spinning back kick knockout against Impa Kasanganay. The move went viral instantly, being hailed as one of the greatest knockouts in UFC history. This spectacular finish not only earned him "Performance of the Night" honors but also introduced Buckley to a global audience. It was a defining moment, not just for his career but for the sport itself, as fans replayed the knockout across social media platforms, making Buckley a household name overnight. Climbing the UFC Ranks: A Testament to Hard Work Following his viral knockout, Buckley’s career trajectory saw both challenges and triumphs. Losses to seasoned competitors like Alessio Di Chirico were valuable learning experiences that propelled him to refine his skill set. With a work ethic rooted in humility and persistence, Buckley returned to the Octagon stronger, showcasing improved striking, footwork, and fight IQ. Buckley’s ability to adapt and evolve has been a hallmark of his success. Victories over fighters like Abdul Razak Alhassan and Andre Fialho proved his capability to hang with elite talent. Each fight brought new challenges, but Buckley consistently rose to the occasion, gradually earning his place as one of the most dangerous fighters in his division. A Fighter Driven by Ambition What sets Joaquin Buckley apart is his unrelenting drive to succeed. Known for his intense training sessions and innovative techniques, Buckley pushes himself to the limit to achieve greatness. He has openly spoken about his aspirations to become a UFC champion and his belief in his ability to defeat anyone in his path. Off the mat, Buckley remains grounded, using his platform to inspire others. His story resonates with fans because it’s a testament to what can be achieved through perseverance and self-belief. Buckley’s journey is not just about MMA; it’s about overcoming adversity and striving for excellence in all aspects of life. What to Expect from Buckley in Tampa As he heads into the biggest fight of his career this Saturday, Joaquin Buckley is more prepared than ever. Known for his explosive striking and unpredictability, Buckley brings an arsenal of weapons to the Octagon. His ability to adapt to different opponents and deliver highlight-reel finishes makes him a formidable force. Fans can expect Buckley to put on a show, showcasing the evolution of his game against a seasoned opponent. With the spotlight on him, Buckley aims to prove that his rise to the main event is no accident and that he belongs among the elite in the UFC. The Legacy in the Making Joaquin Buckley’s journey is far from over, but his story so far is one of resilience, hard work, and spectacular achievements. As he steps into the Octagon at UFC Tampa, the world will be watching to see if Buckley can continue his meteoric rise. Regardless of the outcome, one thing is clear: Joaquin Buckley is a star in the making, and his best days are yet to come. This Saturday, the stage is set for Buckley to add another chapter to his incredible story. Whether you’re a longtime fan or a newcomer to MMA, Joaquin Buckley’s rise is a tale worth following—because stars like him come around once in a lifetime.

This Saturday, the Amalie Arena in Tampa, Florida, will host UFC Fight Night, with a thrilling co-main event featuring two seasoned warriors: Cub Swanson vs Billy Quarantillo. Fans are eagerly anticipating this featherweight clash that promises to deliver high-octane action, a showcase of skill, and a potential Fight of the Night contender. Cub Swanson: A Battle-Tested Veteran Cub Swanson, a fan favorite and MMA veteran, boasts a storied career spanning over 17 years. With a professional record of 29-13, Swanson has faced some of the toughest names in the featherweight division. Known for his dynamic striking, slick submissions, and a never-back-down attitude, Swanson has delivered numerous iconic moments in the Octagon. After transitioning to bantamweight in his last bout, Swanson returns to featherweight with renewed focus. While his career has seen ups and downs, the 40-year-old fighter remains a dangerous opponent. Swanson’s ability to adapt, his fight IQ, and his unpredictable striking arsenal make him a constant threat to anyone in the division. Billy Quarantillo: The Relentless Contender Billy “Billy Q” Quarantillo, a product of Dana White’s Contender Series, has steadily climbed the ranks with a record of 17-5. Known for his high-paced fighting style, cardio, and relentless pressure, Quarantillo has built a reputation as a fan-friendly fighter who never fails to bring excitement. Coming off a hard-fought loss earlier this year, Quarantillo is hungry to get back in the win column. At 35 years old, he is in the prime of his career and has the tools to challenge anyone in the featherweight division. This bout against Swanson presents a pivotal opportunity for Quarantillo to solidify his place as a top contender. The Build-Up This fight has all the makings of a classic. Swanson’s experience and technical brilliance meet Quarantillo’s youthful energy and tenacity. While there is no bad blood between the two, the mutual respect they’ve expressed for each other adds to the intrigue. Both fighters understand the stakes, as a win here could propel them closer to a top-10 ranking in the featherweight division. Swanson has emphasized his desire to prove he still belongs among the elite, while Quarantillo sees this as a golden chance to defeat a respected veteran and elevate his own standing. The stylistic matchup—Swanson’s creativity against Quarantillo’s relentless forward pressure—has fans and analysts buzzing. What To Expect Fans can expect a back-and-forth battle filled with drama and action. Swanson’s striking creativity will be tested against Quarantillo’s relentless pace and volume. Swanson’s fight IQ and ability to counter will likely play a significant role in how he handles Quarantillo’s aggressive approach. For Quarantillo, the key will be to pressure Swanson early, utilizing his cardio to overwhelm the veteran. If the fight goes the distance, his ability to maintain a high output could sway the judges. However, Swanson’s history of finishing fights—both via strikes and submissions—means that Quarantillo must tread carefully. Predictions and Stakes With both fighters coming off losses, the stakes are high. A victory could rejuvenate Swanson’s career or catapult Quarantillo closer to title contention. The fight is expected to be a striking-heavy affair, with moments of grappling brilliance sprinkled in. Swanson’s experience and versatility give him a slight edge, but Quarantillo’s hunger and pace could tilt the scales in his favor. Tune in this Saturday to witness a potential classic in the making. Will the veteran Swanson turn back the clock, or will the relentless Quarantillo seize his moment?

There is a moment, in some rituals of the tea ceremony, that calls for the kettle to be lifted from the charcoal brazier that heats it. When lifted, it can leave a dusting of burned charcoal on the side of the brazier, and to brush this away, the host uses a fan, called a hakobi , made from a single tail feather, usually of a hawk. The brushing movement, like everything else in the ceremony, is done according to strict form. As the hakobi is lifted with one hand, for instance, the host places a finger of the other on the far end of the feather. It’s a gesture of respect for the fan. The fan comes in two types. If you look at a bird’s tail feathers, you’ll see that those from the left side of the tail have the spine of the feather (it’s called a rachis) slightly offset. There is more “feather” on the left side than on the right. On the opposite side of the tail, this is reversed. So there are clearly left and right tail feathers, and there are hakobi made from them both. The Kata of the Tea Ceremony The kata  of the tea ceremony are called temae . Meaning “hands in front,” it refers to both the motions and the act of learning them. One watches his teacher’s hands in front of him and copies the movements. In those ceremonies that involve a hakobi, when it’s not in use, it sits at the side of the host, who is kneeling on the mat. Here’s where a distinction comes in: If the tea room is set up so the guests are to the right of the host, he will use a left-style hakobi, with the bigger part of the feather closest to the guests. If they’re on the left, he will use the opposite hakobi. And if the hakobi is reversed, if a right hakobi is used when the guests are seated to the host’s right? If just this tiny, apparently insignificant break in form is made, it’s an indication. It’s a sign the host is giving to his guests. It’s a message. I’m serving you tea. We’re observing social niceties. But I do not trust you. I do not know what your real intentions are. I do not necessarily wish you harm, but know that I have reservations about our relationship. The Martial Context of Japanese Etiquette If you want to understand feudal Japan, you must understand that the country, from the 15th century until the 17th century, endured constant civil war. That’s where its martial arts came from. Not just fighting on the battlefield but also methods of conducting oneself in virtually every social interaction were martial in nature. Sliding on or off a floor cushion had a classical etiquette — and it was, at its heart, a safe way to do it, to move without exposing oneself to potential danger. Picking up a pair of chopsticks had its own etiquette. In all but the most informal — and, therefore, trusted — environments, the chopsticks were lifted using both hands and with the palms turned outward while the chopsticks rested in them to show to others that the hands were empty of weapons. In addition to this etiquette, social symbolism became developed to an almost fantastic degree. Communication was made through this. I was once at an exhibition of flower arranging, or ikebana , with a senior teacher of a very old ryu  of the art. As we came to one large arrangement, I heard her suck in her breath and mutter. I knew enough to pursue it. The arrangement included big strips of bamboo that had been split and curved dramatically. “The bamboo’s torn to split it lengthwise,” she told me. “That would indicate the practitioner’s clan was going to war. It should have been sawn smoothly, not roughly split, to indicate a peaceful intent.” Understanding Symbols and Etiquette Much of this symbolism seems almost absurd to us today. However, you must place it in context. When societies develop in a closed way, the sharing of symbols is easy. Japan had a closed culture. It was a closed country for hundreds of years. Every Japanese shared the same history, the same society. Compare this to our multicultural history and society. We do not have the same volume of shared symbols; the whole concept is foreign to us. Gestures or manners that might be a sign of openness in one context could be interpreted as “pushy” in another. If I brought flowers cut from my garden to a female neighbor, her husband might interpret it as a genuine sign of friendship — or he might be angry at my “forwardness.” But in ancient Japan, there was a mutuality of understanding and a shared perspective. The Martial Arts Connection I haven’t addressed the martial arts yet, but can you see the connection? The American sits in the dojo in seiza , on his knees. His Japanese, or Japanese-trained, teacher tells him his hands are too low when they’re resting on his thighs. His shoulders are too high. His knees are too far apart. The teacher finds half a dozen corrections — just in the way he’s sitting. I was watching a video of a karate demonstration together with a Japanese budo  teacher. As it began, the participants bowed to one another. The teacher snorted. “They can’t bow,” he said. And I knew that no matter how good the technique might be, the teacher would not take it seriously. Again, this is difficult for us to understand, but it is not entirely foreign. If you come to a job interview wearing a checkered tie with a checkered shirt, in some companies, you will have seriously compromised your chances of getting the job. Learning the rules, learning the symbols and their use, is part of living in society. Yes, in our society, things are much more relaxed. Good thing, I suppose. The next time you think that your teacher in the dojo is being overly critical, that he’s nitpicking your every move, remember the hakobi fan in the tea room. And remember how in Japanese society, little things can say a lot.