Unarmed combat—whether sport-based or street-oriented—is often divided into categories to make specific aspects of fighting easier to discuss. Typically, these are described as “ranges of combat,” arranged from outside to inside. This scheme can seem arbitrary and is often mistakenly based on an outside-in military model. In that model, long-range artillery occupies the outside, while infantry represents the inside. The unarmed version follows a similar logic: kicking on the outside and grappling on the inside. I find the range model lacking because it encourages fighters to equate distance with tool selection. For example: “I’m in kicking range, so I don’t need to worry about this or that.” Big mistake. Or, “We’re grappling now, so striking is off the table.” Another big mistake. Anyone who has spent time in MMA—or even watched closely—knows that strict range models don’t truly apply to blended fighting. Worse, they can actually hinder performance. Admittedly, this may sound like splitting hairs, but range is simply a measure of distance. If what we’re describing isn’t strictly tied to distance, why use that label at all? I’ve settled on the word “element”  to describe the individual aspects of a fight. I chose it deliberately. Elements are distinct entities, yet they can combine with others to form entirely new substances. I consider boxing one element and the clinch another. But as we all know, boxing can be brought into the clinch, and the clinch can be brought into boxing. When we combine them, we create something new—something that should be addressed on its own terms rather than by trying to determine what distance we crossed to move from one “range” to another. With that framework in mind, here are what I see as the six elements of unarmed combat: Boxing I place hand strikes at the top of the list for two reasons. First, it’s intuitive. People with no training naturally try to hit each other with their hands. It’s easier to refine an instinct than to build a counterintuitive skill from scratch. Second, it’s effective. Whether standing or on the ground, statistics consistently show that punches end more fights than any other tool. Boxing-Plus This is your boxing game augmented with knees, elbows, kicks, head-butts, and any other strikes you choose to employ. Rather than separating these into different categories (such as “kicking”), this label emphasizes the primacy of the hands even when other weapons are added. Notice how skilled kickboxers often set up their kicks with punches. Shooting This refers to takedowns initiated without first establishing a clinch. While often aimed at the lower body, it is not exclusively limited to it. The Clinch The clinch is a naturally blended element. It can deliver fight-stopping strikes and set up a wide range of takedowns—particularly upper-body techniques. Despite this versatility, it deserves recognition as its own element because it is neither purely striking nor purely grappling. Mat Work / Wrestling Separate from submissions, this element focuses on control, positioning, and pressure on the ground. While submissions may emerge from this work, the foundation is fluid control and defensive awareness. Overemphasizing submissions while neglecting wrestling fundamentals is like teaching punches without footwork, slipping, or head movement. Submissions Exactly as the name suggests: techniques designed to force an opponent to yield through joint locks or chokes. It’s easy to treat each element as completely separate—and drilling them individually is useful for addressing weaknesses. But we must avoid isolating them for too long, or we’ll fall into the same trap as rigid range thinking. We don’t want fighters who mentally shift gears: “I’m boxing… now I’m clinching… now I’m on the mat.” Instead, we should recognize that a fight is composed of these elements working together. Their true power lies in combination. Hydrogen and oxygen are both essential elements of the universe, but in isolation they don’t sustain life. Combine two parts hydrogen with one part oxygen, however, and you get water—the substance that keeps us alive. Combat works the same way.

If you’ve ever had a conversation with someone who has actually taken the life of another person — even when it was morally and legally justified — you probably know it doesn’t work the way it does in the movies. Violence, especially when it’s close and personal — and even when it isn’t fatal — tends to affect people in a profound way. A thief or attacker confronts a potential victim or alert bystander, and the lawbreaker ends up injured, incapacitated, or dead. We hear about incidents like this in the news all the time. What we generally don’t hear about is how the “good guy” reacts afterward. People who have participated in violent encounters often experience problems, sometimes mild and sometimes severe: sleeplessness, anxiety, nausea, an inability to concentrate. Therapists see symptoms like these constantly, and in some cases they can affect a person for the rest of his or her life. Our image of the samurai is often that of the stereotypical hero — fearless in battle and cold-blooded beyond comprehension. In Japanese tales, his character is described as iwao no mi , “a body and spirit like a rock.” Nothing fazes him. He is completely in control. All that blood and death? He is indifferent. The truth is that the classical warriors of Japan had passions and feelings just like anyone else in any other age. Moreover, given the influence of Buddhism — with its emphasis on nonviolence and strict prohibitions against killing — the samurai’s role would have created deep internal conflict. During periods of warfare especially, they had to confront this dichotomy and live with the consequences of having taken lives. It is safe to say that post-traumatic stress disorder (PTSD) did not originate in the modern era. Samurai faced it much the same way 21st-century veterans do. We know about their struggles primarily through methods preserved in many classical ryu , which address the psychological damage associated with violence and killing. These traditions often included rituals and exercises intended to provide a form of psychological release from guilt. For example, one school taught a technique in which the foot of a fallen enemy was pierced to allow his spirit to depart peacefully. Others used incantations drawn from esoteric Buddhism, chanted to ease the burden of having killed. In at least one tradition, training included kata sequences interspersed with movements that traced a mandala-like pattern on the floor — practitioners physically “drawing” a symbol meant to influence their mental state on both conscious and subconscious levels. Some of these rituals were remarkably sophisticated, generating powerful psychological effects for warriors who believed deeply in protective and healing deities. Most details were kept secret within each ryu , underscoring how important they were. Evidence of this inner conflict also appears in the writings of classical warriors. Miyamoto Musashi (1584–1645), often imagined as an emotionless killing machine, described a method of striking called munen muso  — “no thought, no preconceived plan.” He advised students to “strike from the Void.” Modern scholars interpret this as spontaneity: reacting naturally in combat. But there may be another layer. If there is no conscious intent to kill — if the action simply arises from the Void — then responsibility for the opponent’s death becomes philosophically ambiguous. It becomes something that “just happened,” a natural consequence of events. Of course, Musashi may also have been searching for a way to rationalize his own actions. Similarly, Yagyu Muneyoshi (1529–1606) wrote that once one penetrates the ultimate nature of swordsmanship, “the blade and other weapons will have no place.” This can be read as a moral teaching — but also as a means of reframing violence. It is as if he is saying: I am still on the path toward ultimate understanding; the killing I have done is merely part of that journey. Clearly, rationalization and the search for meaning in violence occupied the minds of Japanese warriors. Of course, we cannot directly compare modern society to that of the samurai. In pre-modern civilizations, brutality was far more commonplace than it is today. During Japan’s centuries of civil war, death and violence were pervasive realities, and members of the warrior class witnessed horrors that are rare in modern life. Nevertheless, martial artists today should think deeply about death, violence, and their implications for training. These are sobering concepts — which is precisely why they deserve honest reflection.

UFC ®  today announced that the classic 2020 fight between strawweights Zhang Weili and Joanna Jedrzejczyk will be inducted into the UFC Hall of Fame’s ‘Fight Wing’ as a part of the class of 2026. This fight will enter the Hall of Fame as the first women’s bout inducted in UFC history. The UFC Hall of Fame Induction Ceremony will take place this summer. “The fight between Joanna Jedrzejczyk and Zhang Weili at UFC 248 is one of the greatest fights I’ve ever seen,” said UFC President & CEO Dana White. “This fight was incredible. You had two talented savages that wanted the strawweight title more than anything and neither one of them backed down during this fight. I knew this was going to be a badass fight and it absolutely delivered. Congrats to Joanna and Weili on a fight that will always be remembered!” As the co-main event of UFC ®  248: ADESANYA vs. ROMERO , which took place on March 7, 2020, at T-Mobile Arena in Las Vegas, both athletes entered the Octagon on winning streaks with the strawweight title on the line.    Zhang entered the Octagon as the strawweight champion on a 20-fight winning streak and an impressive 20-1 record (4-0, UFC), recently defeating former strawweight champion Jessica Andrade  and becoming the first Chinese athlete to capture a UFC title.    Jedrzejczyk entered the bout with a 16-3 record (10-3, UFC) and previous wins over former UFC strawweight champions Carla Esparza  and Jessica Andrade .  A thrilling and competitive fight from the outset where the three judges were unanimous in how they saw just one of the five rounds, Zhang (165) and Jedrzejczyk (186) combined to land 351 significant strikes during their 25-minute instant classic, the most in a women’s UFC contest and the third-most in UFC title fight history. This fight marked the fourth time Jedrzejczyk landed more than 180 significant strikes against her opponent, the second-most in UFC history behind Max Holloway, who has accomplished the feat six times. It also marked the eighth time the Polish standout landed more than 100 significant strikes in a fight, making her one of six fighters in UFC history to accomplish the feat.   After the exhilarating 25-minute battle that culminated in a standing ovation for the combatants and immediate recognition as one of the greatest fights to ever take place inside the Octagon, Zhang emerged victorious, retaining her strawweight title by split decision.  The two would meet in a rematch during UFC ®  275: TEIXEIRA vs. PROCHAZKA , which took place on June 12, 2022, at Singapore Indoor Stadium in Kallang, Singapore, with Zhang securing the victory via KO by spinning backfist in the second round. The fight won several awards, including Fight of the Year  honors from Yahoo! Sports, MMA Junkie, MMA Fighting, The Athletic, BT Sport, CBS Sports, and the Fighters Only World MMA Awards.   To view this fight on UFC FIGHT PASS, please visit:   https://ufcfightpass.com/video/130443 To see a complete list of UFC athletes and fights enshrined in the UFC Hall of Fame, as well as details regarding the UFC Hall of Fame format, please visit UFCHOFFAQ . For additional information, please visit UFC.com .

The United States Postal Service  has released a new Forever stamp honoring Bruce Lee , recognizing the martial artist, actor, and thinker whose influence continues to shape the way martial arts are practiced and understood around the world. The stamp was officially dedicated during a ceremony at Seattle’s Nippon Kan Theatre , a venue with long-standing ties to the city’s Asian American community and to Lee’s early years in Washington. The image depicts Lee executing a flying kick, a moment that reflects the directness and precision that set him apart from other martial arts performers of his era. Addressing attendees at the event, USPS Senior Vice President Ben Kuo spoke about Lee’s impact on both martial arts and popular culture. He noted that Lee’s movement favored efficiency and purpose over exaggerated motion, and that his approach changed how audiences understood combat on screen. Credit USPS Lee’s daughter, Shannon Lee , also spoke during the ceremony, describing the stamp as a meaningful acknowledgment of her father’s work and values. She emphasized that his ideas—discipline, adaptability, and personal growth—continue to resonate across cultures and generations. The ceremony included appearances by former student and close friend Sue Ann Kay, journalist Jeff Chang, and Mimi Gan of the Wing Luke Museum, who served as master of ceremonies. The program also featured a national anthem performance and a formal color guard presentation by American Legion Cathay Post 186. The stamp was designed by USPS art director Antonio Alcalá and is based on an egg tempera painting by Kam Mak. Rendered primarily in black and white, the design includes a single yellow brushstroke referencing The Game of Death . The typography is arranged so that Lee’s kick appears to cut through the words “USA” and “FOREVER,” reinforcing the sense of motion captured in the image. The Bruce Lee stamp is available in panes of 20. As a Forever stamp, it will remain valid for the current First-Class Mail 1-ounce rate, placing one of martial arts’ most influential figures into everyday circulation.

Around fourteen years ago, a 19-year-old Fabio Henrique walked the streets of Sao Paulo with darkness in his heart, depression consuming him, and thoughts of ending his life weighing more heavily with each and every step.  Then he passed a social boxing project – and for some reason, something about it caught his attention, pulling him toward a door he didn't know he needed to walk through. That door would unlock a new world for him and lead him to the global stage. On March 13 at ONE Fight Night 41 in Bangkok, Thailand, the 33-year-old Brazilian will make his ONE Championship debut against South Korea's Lee Seung Cheol in a strawweight MMA clash, carrying a 14-1 record built on a nine-fight winning streak.  Standing just 5-foot-2, he is known as "The Giant" – not for his physical stature, but for the immense spirit required to transform a life that nearly ended into a story that inspires others to keep fighting. Born in Turilandia and raised in Santa Helena, Brazil, before settling in Sao Paulo, his childhood was defined by struggle and separation that came far too early. "My parents were rural workers. My childhood was not easy, but it is what made me strong. My parents then separated, and my mother had to flee to protect us," Henrique reflected, his words hinting at circumstances serious enough that flight became necessary for safety. By the age of 10, while other children were focused on school and play, Fabio was focused on survival. He took to the streets selling pastries and juice, contributing to his family's livelihood in whatever way a child could.  "It was through hardship that I learned to never give up, work hard, and believe that, with effort, it is possible to change your own story," he explained, describing how childhood adversity became the foundation for his future strength. But strength has its limits, and even the most resilient people reach breaking points.  By the time Fabio was 19, the accumulated weight of his difficult childhood, the struggles of young adulthood, and the challenges he faced throughout his young life had created a darkness that threatened to consume him completely.  "I went through a deep depression and even thought about taking my own life. While walking the streets trying to clear my mind, I found a social boxing project. There, I transformed all my pain, anger, and anxiety into training," Henrique shared, his honesty about that dark period demonstrating the courage it takes to acknowledge mental health struggles and the power of finding the right outlet at the right time. That social boxing project didn't just give him a hobby or a distraction. It gave him a reason to wake up, a place to channel the pain that had been consuming him, a community that accepted him, and most importantly, a purpose that extended beyond merely existing.  On the South American MMA scene, "The Giant" built an impressive 14-1 record, his nickname serving as a testament to fighting spirit that transcends physical measurements.  Now comes the opportunity he's been working toward since those early days in the social boxing project. ONE Championship represents the pinnacle of martial arts competition, the stage where the world's best fighters prove themselves.  For Fabio, this isn't just another fight. It's validation of a journey that began in rural poverty, survived childhood hardship, weathered depression, and emerged stronger through martial arts. "What excites me most about my next fight at ONE Championship is the realization of a great dream. I have always had the goal of competing in this event, and now having this opportunity makes me extremely motivated and excited to step into the ring and give my best," Henrique offered.

Few martial artists have crossed into pop culture the way Chuck Norris has. Long before internet memes turned him into a near-mythical figure, Norris had already conquered tournament karate, Hollywood action films and network television. But somewhere along the way, his presence started appearing in places no one expected—from cartoons and video games to internet folklore and late-night infomercials. Looking back, it almost feels like Chuck Norris wasn’t just a martial artist who became famous. For a while there, he was everywhere. Here are some of the wildest places the martial arts legend unexpectedly showed up. 1. A Saturday Morning Cartoon In 1986, Norris starred in the animated mini-series Chuck Norris: Karate Kommandos . The premise was peak ’80s action: Norris led a team of heroes battling a masked villain known as Super Ninja. The cartoon had everything you’d expect—secret bases, martial arts showdowns and high-tech vehicles—but it also had something unique. At the end of each episode, Norris himself appeared in short live-action segments to share a moral lesson with young viewers. For many kids growing up in the mid-1980s, it may have been their first introduction to a real martial artist. 2. Chuck Norris: Video Game Hero During the early days of home video gaming, Norris even had his own title: Chuck Norris Superkicks. Released in 1984 for systems like the Atari 2600 and Commodore 64, the game put players in control of a martial arts hero who battled his way through enemies using flying kicks and punches. It was simple, fast-paced and exactly the kind of over-the-top action fans expected from the Norris name. 3. A Mobile Game Inspired by the Meme Decades later, Norris returned to the gaming world with Chuck Norris: Bring on the Pain. Released during the peak of the Chuck Norris internet joke phenomenon, the game leaned fully into the legend. Players controlled Norris as he battled waves of enemies in exaggerated fashion—essentially turning the famous “Chuck Norris facts” into a playable action game. 4. The Internet’s Most Unstoppable Martial Artist Long before social media dominated the internet, the web discovered a new version of Chuck Norris. The “Chuck Norris Facts” phenomenon transformed him into a superhuman character capable of impossible feats. Lines like “Chuck Norris doesn’t do push-ups—he pushes the Earth down”  spread rapidly through forums, email chains and early websites. What started as a handful of jokes became one of the first viral internet meme movements. In an unexpected way, the jokes introduced Norris to an entirely new generation of fans. 5. The Infomercial Era In the late 1990s and early 2000s, Norris reappeared in living rooms across America as the face of the Total Gym exercise system. Appearing alongside model Christie Brinkley, Norris demonstrated exercises and explained the benefits of the machine. The commercials ran so frequently that they became a pop-culture fixture—proof that even fitness equipment could become part of the Chuck Norris legend. 6. A Marvel Comic Book The Karate Kommandos didn’t just exist on television. The animated series also inspired a short comic run published by Marvel’s Star Comics imprint in 1987. For a brief moment, Chuck Norris existed in the world of comic books as well, battling villains in illustrated form alongside his animated team. 7. The Meme That Refused to Die Internet jokes often fade quickly. The Chuck Norris meme didn’t. Years after the original jokes appeared, new ones still circulate online. The exaggerated one-liners have become part of internet folklore—keeping the martial artist’s larger-than-life toughness alive in digital culture. 8. Toys and Collectibles Like many action heroes of the 1980s, Norris’ animated series eventually produced merchandise, including action figures tied to the Karate Kommandos cartoon. For collectors today, those toys serve as nostalgic reminders of a moment when martial arts icons could appear everywhere—from movie theaters to toy shelves. 9. A Cultural Reference Point By the time the television series Walker, Texas Ranger cemented Norris as a household name, his persona had already become shorthand for martial arts toughness. Comedians, television shows and internet culture all began referencing Norris as the ultimate action hero—the guy you called when every other hero had already lost the fight. 10. The Legend Beyond the Screen All of these appearances—from cartoons to video games to internet mythology—reflect something unusual about Norris’ career. He didn’t just become a martial arts star. Over time, he became a cultural symbol. For martial artists, Norris represents a generation when tournament karate champions crossed into cinema and helped introduce the martial arts to mainstream audiences. For everyone else, he became something even stranger: a larger-than-life figure capable of bending reality with a roundhouse kick. And somehow, the most surprising part of the story might be this—everywhere Chuck Norris showed up, martial arts went with him.

Why Martial Artists Love Martin Kove Among martial artists, villains are judged differently. We don’t just ask: Was he scary? We ask: Did he represent something real? Did he reflect the discipline, philosophy, danger — and responsibility — that come with martial power? That’s why Martin Kove  stands alone. As Sensei John Kreese in The Karate Kid  and later in Cobra Kai , Kove didn’t just play a martial arts villain. He embodied the shadow side of the dojo. And for those of us who live on the mat — who bow in, who tie the belt, who understand that martial arts is about character as much as combat — that’s exactly why we respect him. Here are ten reasons martial artists consider Martin Kove the greatest martial arts bad guy ever — and why his contribution to our world runs deeper than Hollywood. 1. He Represented the Dark Mirror of Martial Arts Every dojo teaches discipline. Every system teaches power. But not every student learns restraint. Kreese is the cautionary tale martial artists understand instinctively. He is what happens when technique outpaces ethics. When “win at all costs” replaces honor. Kove gave the martial arts community something powerful: a living reminder that skill without character is dangerous. That message matters — especially to black belts. 2. He Made Philosophy the Real Weapon “Strike First. Strike Hard. No Mercy.” To non-martial artists, it’s a catchphrase. To us, it’s a doctrine. Kreese didn’t rely on flashy choreography. His true weapon was ideology. He taught mindset before mechanics — something every serious practitioner recognizes as real. Martial arts is mental warfare long before it is physical. Kove understood that. And he played it with conviction. 3. He Elevated the Role of the Sensei Most films focus on students. Kove made the instructor the battlefield. Kreese wasn’t just a villain — he was a teacher shaping the next generation. That hit differently for martial artists. Because we know how much power an instructor holds. He forced audiences to ask an uncomfortable question: What kind of leader are you becoming? That’s not just cinema. That’s dojo culture. 4. He Understood Warrior Psychology In Cobra Kai , Kreese’s Vietnam backstory reframed everything. His harshness wasn’t random — it was forged under fire. Martial artists, especially those who cross-train in combatives or military systems, recognize that survival mentality. Kreese believes mercy gets you killed. That perspective isn’t cartoonish. It’s extreme — but it’s rooted in reality. Kove respected that truth instead of softening it. Photo credit: Karate Kid Sony Pictures 5. He Respected the Physicality of the Art Kove trained. He moved like someone who understood stance and posture. His body language wasn’t theatrical — it was disciplined. The way he stood in the dojo. The way he corrected students.The way he carried himself during confrontations. There’s a difference between an actor pretending to know martial arts and one who commits to the bearing of a martial artist. Practitioners can see it immediately. 6. He Gave Mr. Miyagi a Worthy Philosophical Opponent Martial artists revere Pat Morita ’s Mr. Miyagi because he represents balance, humility, and control. But balance only shines when contrasted with imbalance. Kreese’s aggression amplified Miyagi’s wisdom. His rigidity highlighted fluidity. His “No Mercy” sharpened the meaning of compassion. Without Kove’s intensity, the moral duel at the heart of the story wouldn’t resonate nearly as deeply within the martial arts community. Photo credit: Karate Kid Sony Pictures 7. He Showed the Consequences of Ego Every dojo warns against ego. Kreese lives in it. His downfall isn’t lack of skill — it’s pride. It’s the inability to evolve. Martial artists watching understand the lesson immediately: belts don’t make you invincible. Rank doesn’t equal righteousness. In that way, Kove delivered one of the most important teachings in martial arts — through failure. 8. He Preserved the Edge of Martial Arts Modern portrayals sometimes sanitize combat arts into sport alone. Kreese reminds us martial arts were born from conflict. From survival. From harsh realities. While we may reject his extremism, we recognize the historical truth underneath it: these systems were not created for trophies. Kove kept that edge alive on screen. 9. He Played the Long-Term Discipline Game For four decades, Kove has returned to this role without parodying it. He didn’t wink at the audience. He didn’t dilute Kreese for nostalgia. He doubled down on the character’s conviction. That mirrors martial arts itself: long-term commitment. Refinement over time. Evolution without abandoning core principles. Very few characters age with that kind of continuity. Very few actors protect a role the way a sensei protects a lineage. 10. He Made Us Reflect on Our Own Code Here’s the truth martial artists won’t always say out loud: A small part of us understands Kreese. We understand the drive to dominate in competition.We understand the hunger to win.We understand the edge required in real conflict. Kove didn’t glorify cruelty — he exposed that thin line between discipline and domination. And by doing so, he made us check our own motivations. That is a gift to the martial arts community. What Martin Kove Gave to Martial Arts He gave us a villain who respected the art. He gave instructors a cautionary archetype.He gave students a lesson in the responsibility of power. He gave pop culture a martial arts antagonist grounded in philosophy, not gimmicks. Most importantly, he helped bring martial arts into mainstream culture in a way that preserved its seriousness. For those of us who bow onto the mat, who understand lineage, who believe that character outranks kicks and punches — Martin Kove isn’t just the greatest martial arts bad guy in the world. He’s part of the conversation about what martial arts should be. And that’s why we cheer for him. Happy Birthday, Martin Kove!

If you’re reading this magazine, you already know Al Leong— action-movie legend, perennial big-screen bad guy and evil henchman extraordinaire. He’s menaced his way through more than 100 movies and TV shows, with iconic scenes in Lethal Weapon , Big Trouble in Little China , Kung Fu: The Legend Continues  and The Scorpion King  — more films than we have space to list here. Besides, you already know who Al Leong is. Or do you? Here are eight facts we’re willing to bet you never knew about one of Hollywood’s iconic villains: 1. He grew his hair out after seeing The Beatles  perform on The Ed Sullivan Show  and has kept it long ever since. 2. He was a top kung fu student and instructor under the legendary Ark Yuey Wong (1900–1987). Leong is an expert in ng ga kuen (five families/five animals kung fu) and won multiple martial arts tournaments in the mid-1970s. ln 1980 he came out of retirement to win the World Silver Cup Martial Arts Championship. 3. He’s an accomplished Chinese lion dancer. ln fact, Leong was a founding member of a lion-dance team called the Four Seas, which performed regularly at Chinese New Year celebrations, cultural festivals and restaurant openings. Leong is credited with introducing the guan gung–style, red-faced Cantonese lion to Los Angeles, and he was part of the first two-lion team to dance “the whole length” of LA’s Chinatown— climbing “every pole, every rooftop, over every railing, and all this in one day,” Leong says. Why? Because someone bet them they couldn’t. 4. His nickname is Ka-Bong. lt was given to him by one of his brother’s friends, a man named Chuck Wagner. “l believe [it was] just because it rhymed,” Leong says. “Anyway, it stuck.” 5. Leong has collected stuffed animals all his life. He has more than 150, and all of them have names. His favorite, a stuffed wolf named “Wolfman,” was a member of his wedding party — and even wore a custom-made suit. 6. Leong has ridden motorcycles, both on and off road, for most of his life. Before getting into movies, he worked as a motorcycle mechanic, welder and custom automotive pinstriper. These days, he off-roads in a Rhino UTV (utility terrain vehicle). 7. ln addition to having survived brain cancer (1993) and a stroke (2005), Leong has sustained three broken collarbones, 25 fractured ribs, several torn ligaments in his left ankle, multiple knee surgeries, broken fingers, broken arms, broken legs and one failed marriage. “l haven’t broken my back,” he says, “but then again, life isn’t over yet.” 8. His favorite weapon is the kwan dao, with which he performedat Ed Parker’s Long Beach lnternationals and for the film Bill & Ted’s Excellent Adventure  (in which he played Genghis Khan).

I blame David Carradine, may he rest in peace. If he hadn’t done such a fine job portraying Kwai Chang Caine for three seasons on the Kung Fu  TV series, chances are the Western world — or, at least, America — wouldn’t think that China’s Shaolin Temple is the sole source of Buddhist martial arts in Asia. Back in the mid-1980s, I first heard rumors of a little-known Buddhist fighting art in South Korea. But seeing how that was long before the advent of the Internet, searching for clues proved an arduous task — especially because I was not yet a Black Belt  staffer and therefore had no access to the magazine’s network of contacts. My only option was to fly to South Korea and find out for myself. Once there, I found work as an English teacher and started making connections with local martial artists. Months later, a lead from a martial arts researcher pointed me to a temple called Pomosa (also spelled Beomeosa), where I located a monk who taught a style known as bul mu do , meaning “Buddhist martial way.” I wrote about that encounter in the May 1988 issue of Black Belt . In the ensuing years, I managed to locate a few other temples and hermitages where the Buddhist arts are practiced. I even found a facility in Seoul that teaches a Buddhist martial art called seon mu do  to the public. During a few of those encounters, I was allowed to photograph the monks and students in training. Presented here are some of those images, many of which have never been published. I hope you find them as valuable in your quest to comprehend the vast scope of the Asian martial arts as I did in mine. Life as a Temporary Martial Monk South Korea created its Temple Stay program to help visitors better understand Buddhism. It offers various kinds of practice sessions, such as chanting, sitting meditation and the tea ceremony. Participants strive to find their true self while harmonizing with nature. Since 1992, a temple called Golgulsa has hosted seon mu do  training programs for those who wish to experience Buddhism through one of Korea’s Buddhist martial arts. This is how a typical day in the program unfolded: 4:00 a.m.  Wake-up call  4:30 a.m.  Chanting and sutra reading  5:00 a.m.  Meditation  6:00 a.m.  Jogging or walking 6:50 a.m.  Breakfast  8:30 a.m.  Cleaning temple grounds  9:00 a.m.  Martial arts training  11:00 a.m.  Chanting  11:50 a.m.  Lunch  2:00 p.m.  Work  5:00 p.m.  Break  5:30 p.m.  Dinner  6:00 p.m.  Chanting  7:00 p.m.  Martial arts training  9:00 p.m.  End of the day  9:30 p.m.  Bed Many of the activities have a deeper meaning than their names indicate. For example, food is eaten communally. Known as balwoo gongyang , the practice allows adherents to reflect on themselves and how they have the potential to awaken to a pure life. It’s a form of active Seon (Zen in Japanese) meditation that nurtures the understanding of the need for order, harmony and ultimately respect within the temple. That, in turn, fosters a deeper sense of compassion for the people who’ve made the meal possible. Photography by Robert W. Young

I’d arrived early to meet a friend for dinner, but his class was still in session, so I watched from the viewing area. The students were practicing handgun defense under the tutelage of a senior student — which probably explained why it appeared so casual. I’m sure you’ve seen classes like that one, with mundane repetitions, comfortable surroundings and friendly pairings. You may even have participated in one. But observing that session wound up altering my outlook on gun defense. Why? Because that’s when I realized that the subject is misunderstood by many who lack an in-depth understanding of firearms and ammunition. To the students of ill-informed instructors, a “handgun” is nothing but a plastic or plywood replica of a firearm. As such, it elicits no urgency in training, no appreciation of consequence and no reality. If they knew a bit more about guns and bullets, they wouldn’t be so casual in their training. After arriving at this epiphany, I changed the way I teach to better prepare students for this most serious of self-defense situations. Here, I present the five truths of gun defense so Black Belt readers who aren’t familiar with firearms can fine-tune — and possibly rethink — their skills before they attempt them on the street. Size Matters Firearms come in many shapes and sizes. The type that’s most often used in the commission of crimes is the handgun, and within that category, smaller-framed models are favored because they’re more easily concealed. Grabbing a small handgun during an assault is harder to do. Even worse, it’s harder to leverage such a weapon out of an attacker’s hands, which means you need a higher degree of technical proficiency. The good news is, once you learn how to deal with a small weapon, you can more easily deal with a large one. It’s fine to train with a handgun replica that has a large frame and a 4-inch barrel, but if you wish to be adequately prepared, you should work toward being able to defend against a smaller-framed weapon with a 2-inch barrel — and that’s where you should remain in your practice. If you need to make things more challenging, incorporate environmental stresses into your sessions. Note that this train-for-the-small concept also applies to long guns. You’ll derive more benefit from practicing with a replica of a sawed-off shotgun than you will with a long-barreled hunting shotgun. It Will Go Off A handgun may be a revolver or a semi-automatic pistol. If it’s a semi-auto, it might be single action, a double action or a hybrid. None of that is overly important here. What is important is that you develop the mindset that the firearm, whatever it is, will go off when you try to grab it. Notice that I said it will go off, not it might go off. When it discharges, it will be in or near your hand, and there will be consequences. They likely will be immediate and painful, but if you prepare your mind in training, it can reduce the shock and surprise that occur in a fight for your life. Knowing that the gun will go off makes your training immediately more serious. Yes, a case can be made for the handgun not discharging. Maybe the criminal elected to use a toy gun. Maybe it’s a real weapon that no longer functions as designed. Maybe it’s empty. These circumstances all have occurred and surely will occur again, but do you want to bet your life on it? Do you want to have to even think about this during an encounter? For everyone’s safety, it’s best to behave as if the gun will go off. It Will Be Loud A cartridge has four basic components: the case, the powder, the primer and the projectile (or bullet). When the trigger is pulled, the firing pin hits the primer, causing it to ignite. That, in turn, ignites the powder in the case. As the powder burns, it generates extreme pressure because it’s in an enclosed space. That launches the projectile down the barrel and out the muzzle. As it leaves the muzzle, the projectile travels at high speed, usually emitting an extremely loud crack as it breaks the sound barrier. Even if it’s subsonic, it will be very loud. Without ear protection — which you’re very unlikely to be wearing in a self-defense situation — the sound can be deafening. Making it worse is the concussive force of the powder ignition, which is disorienting and painful if it occurs close to your head or chest. Obviously, you should make sure your defensive response keeps the gun as far from your face as possible. Guns Bite & Buck When you grab a handgun in a manner conducive to self-defense, your hand will cover at least some of the action of the weapon. I’m not talking about the “business end,” which is the muzzle; I’m talking about the parts that house the cartridge and contain the force generated by the burning powder. If the weapon is a revolver, your hand will cover the cylinder. It’s the component that rotates when the trigger is pulled, thus positioning a cartridge between the hammer and the barrel. When the hammer drops, the firing pin strikes the primer, igniting the powder. Hot gases, flames and even tiny metal shavings will escape through the gap that exists between the forward end of the cylinder and barrel entrance, called the “forcing cone.” Your hand is likely to be subjected to this during the grab. If the weapon is a semi-auto, it won’t have burning gasses jetting out the sides because it doesn’t have a cylinder to house the ammunition. Instead, it has a magazine that fits inside the grip and feeds ammo into a firing chamber at the near end of the barrel. All that is enclosed by the slide, which recoils sharply to the rear each time the weapon is fired. When it moves, it vents hot gas, ejects a hot empty case and recocks the weapon while feeding a new cartridge from the magazine. This takes place exactly where your hand is positioned. If you complete the grab and do so firmly enough before the gun discharges, it may jam. If, however, the weapon fires, your hand can be cut by the sharp edges of the rear sight and the ejection port. Either way — whether your defense is directed at a revolver or a semi-auto — there will be consequences that may include serious burns. Furthermore, both will feel like they’re attempting to jump out of your hand at the moment of discharge because of the recoil. Surfaces Are Slippery When Wet If your hand is sliced, gouged or abraded as the result of the weapon firing, it likely will bleed. Before blood coagulates, it’s slippery — as are sweaty, nervous palms, not to mention the oil that’s frequently used on guns. What this means for you: Dealing with slippery surfaces makes disarming a gunman even more difficult, especially when you factor in the perfect grip he probably has on his weapon. In Closing Are these five arguments intended to convince you that gun disarms are a lost cause? Absolutely not. They’re meant to make your training more realistic. As a martial artist, you prepare for the worst-case scenario, and I hope this information contributes to your understanding of how difficult such situations can be. The arguments are also intended to convince you that gun disarms are a last resort. Your chances of emerging unscathed are much greater if you choose running as your first line of defense. If you must make contact, redirection and/or disrupting the balance of the assailant before running is preferred. But when grabbing the gun that’s being pointed at your face is the only option — and sometimes it is — having trained with these five truths in mind can help you understand the dangers and survive.

Most martial artists know that Fred Weintraub served as producer of Enter the Dragon , the 1973 Bruce Lee blockbuster. What few know is that Weintraub, even though he doesn’t regard himself as a martial artist, has a laudable track record in fight filmmaking. He’s produced a slew of other movies, many of which boasted notable Hollywood stars. Here’s a partial list with some of Weintraub’s fondest memories — and comments from Black Belt ’s resident cinema expert. BLACK BELT JONES (1974) This blaxploitation movie features Enter the Dragon  co-star Jim Kelly in his first starring role. Gloria Hendry and Scatman Crothers are also part of the cast. Weintraub served as producer and writer for the action comedy. The filming resulted in plenty of fond memories for Weintraub — even 40 years later — and most of them involved the karate star. “The part at the car wash where Jim Kelly dumps [the bad guys] into the garbage can is a wonderful scene,” Weintraub says. Critical opinion: “Jim Kelly gives more nods to Bruce Lee than a bobblehead doll,” says Dr. Craig D. Reid, author of The Ultimate Guide to Martial Arts Movies of the 1970s . “He fights, walks, creeps, screams and wields escrima sticks and a rubber hose like Lee. It’s an homage to the max.” JAGUAR LIVES! (1979) This actioner stars Joe Lewis, as well as Christopher Lee and Donald Pleasance. Weintraub, who worked as producer, says Lewis was an impressive martial artist. “Joe Lewis was hoping to get the mantle from Bruce Lee,” Weintraub says. “Obviously, that didn’t quite work — no disrespect to Lewis.” Critical opinion: Early American martial arts films tended to cast real champions as the heroes, but that was often problematic because few of them could act well or do convincing film fights, Reid says. THE BIG BRAWL (1980) Also known as Battle Creek Brawl , this motion picture stars Jackie Chan and Jose Ferrer. To date, it’s earned more than $8.5 million. Weintraub served as producer and is credited with providing the story. “Jackie is wonderful,” Weintraub says. “He’s terrific. Whenever I see him, it’s hugs and kisses. The only problem with Jackie is he loves to do the impossible. For one scene in The Big Brawl , Jackie was ready to jump 50 feet into a bunch of boxes — that was before we had [crash] pads. We had to scream for him to come down because we didn’t want him to get hurt. He wanted to do the stunt, but we brought him down to the first level, which made it a 6-foot jump. We put the camera underneath him and got the shot — and it looked the same.” Critical opinion: “[Director Robert] Clouse believed that Jackie could be a Hollywood star if American audiences related to him the way they related to Bruce Lee, but it didn’t work,” Reid says. Eventually, Chan became famous in America by being Jackie Chan, not by trying to mimic Lee, Reid adds. FORCE: FIVE (1981) An ensemble cast of major martial artists — including Lewis, Bong Soo Han, Richard Norton and Benny Urquidez — were on board with Weintraub as producer. “Richard Norton I’ll always remember,” Weintraub says. “He’s a good guy, one of the unsung heroes of martial arts films.” Critical opinion: “The trick to doing a good action film with legitimate martial arts stars is having adversaries who are just as skilled, and when that happens, the fights are more engaging to the audience,” Reid says. “However, the heroes and villains of Force: Five  looked like they were doing another day of training at the dojo.” GYMKATA (1985) Kurt Thomas, Norton and a cast of lesser-known actors teamed up for this film, which attempted to combine martial arts and gymnastics. Weintraub was hired as producer. The movie wound up earning $5.7 million, but production costs exceeded $8 million. “I loved the idea, and it would have worked because everything was good, including the script,” Weintraub says. “And then they hired an Olympic gymnast who did great stunts but who wasn’t an actor. He was a nice kid, but it was impossible to get anything out of him.” Critical opinion: “Considering that great Chinese kung fu films at the time featured stars with strong acrobatic skills, it made sense to cast Kurt Thomas in Gymkata ,” Reid says. “But to specifically craft fight scenes around his gymnastic abilities and handy, gymnastic apparatus that ‘blended in’ with the environment was contrived.” Trivia note: “ Gymkata  is the martial arts film I get the most mail about,” Weintraub says. “I figure in about 25 years, some guy will remake it.” CHINA O’BRIEN and CHINA O’BRIEN II (1990) Back in the 1970s and ’80s, female action stars in Hollywood were unheard of. In Hong Kong, however, an American martial artist named Cynthia Rothrock had carved a name for herself. In 1990 she teamed up with Norton and Keith Cooke for two China O’Brien  films. Once again, Weintraub was producer. “Cynthia was really the first American woman to play the lead in an action movie,” Weintraub says. “We shot the two movies at the same time — we had to do that to save money. I think both of them turned out nice, and they ended up making a bit of money.” Critical opinion: China O’Brien  and China O’Brien II  benefited from the combined Hong Kong martial arts filmmaking experience of Rothrock and Norton, Reid says. “They had the capacity to be good American martial arts films. Rothrock and Norton were impressive in their Hong Kong movies, but they fell short in these films.”

In Japanese, the most common way to politely acknowledge something you’ve been told is wakarimasu : “I understand.” However, this is a word you should never use in the dojo. Chances are good that if you’re reading this, you have at least some kind of intellectual leaning. For you, karate and the other budo aren’t entirely physical. You also want to know about their history and philosophy. You want to grasp them on an intellectual plane, as well as a physical plane. There’s nothing wrong with this. It should be encouraged. I can’t see much of a future for those who have no curiosity about their art or those who don’t want to learn any more than what they might hear their teacher say in the dojo. Wait, you might say. There are plenty of professional ball players who know nothing of the lore of their sport. There are expert plumbers who couldn’t tell you anything about the history of plumbing. True, but budo is not a sport, and it’s not a technical profession. It is, at its fullest, an art. An artist who has no grasp of or appreciation for the past is not much of an artist. The Problem With Intellectualizing There is a serious problem, however, that afflicts those who are intellectually inclined, and it comes when they allow their curiosity, their desire to learn academically, to get out of balance with their commitment to physical effort. Karate, like all budo, is at its core a physical expression of mental volition. It’s realized not through intellectual effort but through action. To forget this, or to minimize it, is to sabotage any effort to master karate as an art. The matter of intellectualizing over physically internalizing is not new or unique to our age. It’s a danger long recognized. In the Asian martial disciplines, we have a legacy handed down to us from two Confucian scholars. Zhu Xi (1130–1200) described the interplay of knowledge and action. He noted that having legs doesn’t allow a person to see, nor does having eyes allow one to walk. Too, knowledge of Something is insufficient for mastering it. One of Zhu Xi’s descendants, Wang Yang-Ming (1472–1529), took this idea further. He postulated that knowing and not being able to actualize that knowing in doing is proof one does not really know at all. “To know and not to act is not yet to know,” Zhu wrote. Wang’s notion should lead to some contemplation, especially for martial artists. If I know what is right, what is moral, what is good, but I do not act on these, then I do not really understand them at all, according to Wang. If we narrow this down to the realm of the dojo, we see that having an intellectual grasp of a front kick is one thing. Being able to do that kick competently is, of course, quite another. “Mouth Warriors” vs. Sincere Students If you’ve been in budo very long, you know a few kuchi bushi, “mouth warriors,” whose lectures and opinions would have you think they're fifth-dan experts at least. These types are certainly examples of those who know but can’t do. However, there are also would-be budoka who don’t want to impress others, who aren’t interested in pontificating and sharing their opinions. They are simply people who really want to understand what they're doing. They are sincere. And so they pose questions: Why do we lift the knee so high when we kick? How important is the snap back? How can I make a high kick as powerful as a low one? The problem isn’t the questions they pose. The problem is they confuse intellectually grasping concepts with the physical ability to realize those concepts. They get things badly out of balance. The student who relies too heavily on his intellectual grasp of karate is apt to believe he’s got it. Unless he can translate that grasp into action, however, he does not. The gap between knowing and doing is apt to become wider unless he addresses this issue — or unless a teacher is there to guide him to a more balanced study. “Do You Understand?” “Do you understand?” is a question a teacher will often ask a student after having given an explanation. I can remember answering this in the affirmative once. “Yes, I understand,” I said. Wakarimasu. “OK,” my teacher said. “Do it.” I could not. My mind knew it, but my body didn't. After trying a couple of times — and failing badly — I felt as stupid as I ever had in the dojo. And that’s saying something. “You understand it up here,” my sensei told me, popping his forefinger against my forehead. “Down here …” — he poked my belly and shook his head. This is why, when discussions of learning come up, one often hears the expression karada de oboeru , “learning with the body.” When you've done something — a kata or a technique — a few times, you'll have some understanding of it. When you've put your body through it a few thousand times, you’ll have a real understanding. I don't know that I have a real understanding of anything in karate in the sense of the word my sensei was indicating. There’s still a long way to go. I have learned, however, that saying “I understand” when my teacher asks is a bad idea.