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By Richard Bustillo | Photography by Robert Reiff I received my first exposure to the four gates of wing chun kung fu while studying jeet kune do under Bruce Lee and Dan Inosanto in the late 1960s. They taught me that the gates represent a method for defending against circular strikes such as the hook punch. There are four gates because of where such strikes can originate: the high-right quadrant, the high-left quadrant, the low-right quadrant and the low-left quadrant. Wing chun also includes straight punches and defenses against them, but those techniques aren’t part of the four-gates method. After having trained extensively in boxing and devoted much of my life to Lee’s jeet kune do, I opted to add a fifth gate. It applies to defense against a straight rear-hand punch and a straight lead-hand jab. When studied together, these five defensive methods, which I call the five gates of jeet kune do , constitute an essential component of self-defense. Bruce Lee taught us the importance of being simple, direct and practical in our martial arts training and fighting, and that concept also applies to the five gates. Just because they’re defensive in nature, they should not be considered passive. In fact, nothing in the five-gates method should be viewed as passive blocking. A superior defense consists of a block effected with one hand (or foot) executed simultaneously with a strike from the other hand (or foot). In my comments, I’m not trying to teach a comprehensive lesson on the five gates of jeet kune do or to convey a complete picture. Rather, my intention is to show a few examples of what I’ve found to be effective — to indicate what’s possible when you use this fighting method. The combinations I demonstrate should take a fraction of a second to do, with the exact duration depending on the movements themselves. It’s up to you to grasp the full scope of the techniques, to choose what to take and, if appropriate, what to adapt. The one central principle you should always apply is physical efficiency of speed and power .

Celebrating the legacy of Texas Karate legend Glenn McMorris, one of the most electrifying competitors of the full-contact karate era. A former Professional Karate Association (PKA) Full-Contact Middleweight United States Champion and a proud Sport Karate Hall of Famer, McMorris was known for his explosive power, speed, and fearless fighting spirit.  Featured on the cover of Karate Illustrated July 1979 He also made history as the only fighter to ever knock out Martial Arts Hall of Famer Don "The Dragon" Wilson, a legendary moment in combat sports. McMorris began his competitive journey in sport karate, earning nationwide recognition in point fighting and securing his place in the Sport Karate Hall of Fame. Among his notable bouts was a rare point-fighting loss to Harold “Nature Boy” Roth in New Orleans in 1975. He later claimed the title of 1976 International Shotokan Karate Federation Heavyweight Kumite Champion, further solidifying his elite status. Glenn McMorris passed away on November 21, 2019, but his legacy as a fighter, champion, and martial arts icon lives on. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

Black Belt Magazine  is proud to present Jeet Kune Do for Real-World Combat , an in-depth instructional program led by legendary JKD instructor Paul Vunak , one of the most influential figures in modern Jeet Kune Do and a direct student within Bruce Lee’s lineage. This powerful training series is now available on BlackBeltMag.com  for registered subscribers, alongside over 1,000 hours of elite-level martial arts instruction  from world-class masters across multiple disciplines. Rooted in Bruce Lee’s original vision of Jeet Kune Do, this program focuses on efficient, pressure-tested techniques designed for real-world application —prioritizing timing, economy of motion, and functional combat skill over rigid forms or theory. Why This Training Matters Jeet Kune Do remains one of the most influential combat philosophies in modern martial arts, shaping self-defense training, mixed martial arts, and contemporary fight systems worldwide. Under the instruction of Paul Vunak , a pioneer known for bringing JKD into realistic, pressure-based environments, students gain direct access to authentic methods designed for real confrontations—not choreographed drills . This is JKD as Bruce Lee intended: alive, adaptable, and brutally efficient. Unlimited Access for Black Belt Subscribers This featured program is just one part of the expansive digital training library available to registered Black Belt subscribers , which includes: Over 1,000 hours of instructional video World-class teachers across striking, grappling, weapons, and self-defense Rare archival footage and modern combat-sports instruction From traditional martial arts to cutting-edge combat systems, Black Belt’s video vault represents the largest curated digital training collection in the martial arts world .

The 1997 June Black Belt Magazine cover featured the most unforgettable face in martial arts cinema: Gerald Okamura. You know his face and the weapons he carries! Few martial artists have left a mark on cinema as enduring—and as understated—as Gerald Okamura. Born in 1940 in Hilo, Hawaii, Okamura represents a generation of warriors whose skills were forged long before martial arts became a Hollywood commodity. A 5th-degree black belt. His training included kendo and aikido, and his deep understanding of combat led him to design specialized weaponry of his own. Okamura entered the film industry through stunt work in 1975, earning his first credited role in 1980. Over the decades, he became one of Hollywood’s most recognizable martial presences, appearing in 39 feature films. His work spans cult classics and blockbuster hits alike, including Big Trouble in Little China , Samurai Cop , Ninja Academy , Ring of Fire , Blade , and G.I. Joe: The Rise of Cobra . Beyond film, Okamura became a familiar figure to television audiences as Kai-Ogi in Mighty Morphin Alien Rangers , a sensei in Power Rangers Wild Force , and Chao Chong in VR Troopers . Whether portraying villains, warriors, or mentors, he brought authenticity rooted in real-world skill. Gerald Okamura’s legacy isn’t defined by flashy headlines—it’s defined by decades of disciplined training, hard-earned respect, and a career that helped shape the look and feel of martial arts on screen. A true Black Belt icon, then and now. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

It’s not often that two big-name artists express a willingness to share the spotlight in an article. It’s even less frequent that we see two masters collaborate to create a self-defense system that borrows from each person’s expertise. Because it is so rare, Black Belt  jumped at the chance to corral Dana Abbott and Mark Shuey Sr. — both bona fide weapons experts and Black Belt  Hall of Famers — so the magazine could provide the public with the lowdown on a new system of practical self-defense. The editors chose me to research and write this story because I’ve known both martial artists for quite some time — in Abbott’s case, about three years, and in Shuey’s, more than 20. The Cane Master In the mid-1990s at a tournament in Hawaii, I got my first glimpse of Shuey and his combat cane. He was competing, and I was judging his ring. He seemed a stoic fellow, standing there with his weapon at his side, patiently waiting. When his turn came, he performed flawlessly, demoing a range of ultra-practical cane techniques. I mused at how refreshing it was to watch a skilled black belt wield a weapon with an emphasis on combat rather than flashy maneuvers. Later, I asked Shuey how he made his cane routine look so real. “I just visualize that I’m being attacked and that I’ve got to use life-or-death moves,” he said. “I’m out there breaking bones.” I recount that story because it’s integral to understanding what makes Mark Shuey tick. You see, Shuey developed an entire system based on practical and effective cane fighting. Called American Cane System, it’s propagated through Cane Masters International Association ( canemasters.com ), an entity he founded in 2000. The inspiration for many of the moves that make up ACS come from tang soo do, taekwondo and hapkido, all of which he holds black belts in, as well as various forms of stick fighting. The result is a content-rich eclectic system of cane fighting that includes both linear and circular movements for effectiveness in virtually any self-defense situation. “One-hand and two-hand positioning, close quarters, small circle, fencing — we practice it all because you never know how you’ll be attacked,” Shuey says. “The more you know, the better you’ll be able to win a confrontation.” The Swordsman The first time I saw Abbott in action was at the 2005 Black Belt  Festival of Martial Arts in Los Angeles. He and Frank Shamrock were engaged in a sword-fighting challenge match of sorts using padded weapons. Shamrock gave it his best, but Abbott just toyed with the fish-out-of-water MMA champ. The speed, power and finesse the swordsman displayed left an indelible impression on me. The first time I met Abbott in person was in 2012. We’ve conversed on numerous occasions since then, and I got to spend several days learning his samurai ways while writing “Zero to 60: How Kenjutsu Master Dana Abbott Transformed 3 Martial Artists With Limited Blade Skills Into Efficient Swordsmen!” for the December 2014/January 2015 issue of Black Belt . Abbott has trained in the traditional Japanese sword arts for 40 years. He owns Samurai Sports ( samuraisports.com ), an organization he uses to market his products and services. Much of what he teaches are time-honored bushido tactics and principles that have been passed down in Japan for generations. Such is the background that Abbott contributed to ACS. Tools for Battle Before digging into the meat and potatoes of ACS, it’s worth discussing the system’s weapon of choice. Word to the wise: If you’re going to train for combat with a cane, you’d better make certain you’ve got one that will withstand abuse in the dojo and potentially on the street. “Having an inferior cane can get you hurt,” says Shuey, who produces his own line of weapons. “My canes are at least ½ inch bigger around than most canes. If you hit someone with a chintzy drugstore cane, it’s likely to break. If you whack someone with one of mine, it’s likely to break a bone.” Shuey designs his models with a crook that enables the user to encircle various parts of an opponent’s body — like his arms, legs and neck. “That allows you to use it to crank on someone’s limbs,” he says. Because it can be used to strike as well as to crank, the cane offers a versatility that’s seldom seen in martial arts weaponry. For instance, you can hang onto either end while swinging it, and you also can jab with the tip, apply pressure with the shaft and entangle with the crook. “There are 26 ways to hold one of my canes, offering you a variety of locks, leverages and strikes — including pressure-point strikes,” Shuey says. Holding the cane with one hand lets you strike with more power because you can generate greater speed, which can come in handy if you’re ever facing a thug with a knife, Shuey says. “You can hold the cane behind you with one hand, then instantly swing it up to 200 miles an hour. First, you hit the hand holding the knife, then you smash the head.” In contrast, two-hand grips afford you more control, he says. “You can fight up close, do multiple strikes and even use the crook to rip the skin off an attacker’s neck or other body parts.” Such is the versatility that Shuey brought to this martial partnership. Positioning for Action Interestingly, much of that versatility is of little concern to Abbott when he teaches the ACS curriculum. Like all students of the Japanese sword, he tends to be a minimalist when it comes to technique. It’s why he prefers to adapt the cane to the sword movements he’s burned into muscle memory while keeping the number of variations small. When he wields a cane, Abbott imagines himself with a sword — which is why he always points the weapon at his enemy. As he maneuvers, he can stab at his opponent’s face, neck and chest, or raise the cane overhead before smacking him on the noggin or the hand. Abbott isn’t into cane design; he’s content to leave that to Shuey. Instead, he focuses on grip and positioning. Relax, re-grip, ready position, guard — those four commands are often heard when Abbott teaches ACS. Relax  refers to your state when you’re using the cane as a walking aid or maneuvering it for no particular purpose. You’re normally grasping the crook, Abbott says. Re-grip  refers to the first thing you do when confronting a threat. “Bring both arms down to your sides, loosen your grip on top of the crook and allow your right hand to slide down to where the curve begins,” Abbott says. “Re-grip in this new position.” Ready position  refers to the stance you assume when trouble is unfolding. “Bend your elbows to raise your forearms and the cane,” Abbott says. “Complete the two-hand grip by grasping the shaft with your left hand in front of your right hand, which is close to the crook.” The cane should be held fairly low with the tip aimed at your opponent’s chest. “Guard is your initial line of defense, which establishes your physical perimeter,” Abbott says. “There are two guard positions: the full guard and the half-guard, both of which are executed from the ready position. “In the full guard, your forward arm is parallel to the ground and the tip is pointing toward the aggressor’s throat, keeping him at bay. In the half-guard, your forward arm is bent at the elbow. The half-guard protects your head and shoulders from close-quarters attacks.” In the guard position, you’re poised to attack, defend or maneuver out of harm’s way, Abbott says. Note that you can execute techniques from the ready position, but most are more efficient and effective when done from the guard. Techniques for Combat When using a cane as a sword, Abbott teaches that you have access to techniques that fall into four categories. “A strike is a long-distance tool,” Abbott says. “It’s often done from the upward position, where you lift the cane above your shoulders and bring it downward onto your opponent. Direct strikes can target the head, neck, torso, arms, hands or other boney areas. You can use strikes to hit the attacker or just to keep him out of range. “The jab is for thrusting and stabbing. Target areas are the head, neck, solar plexus and groin. “A rap is a short-distance strike. Speed and power are generated from the center of your body. It strikes or pushes your opponent away. Target areas include the head, neck, torso, arms and hands. “A hook is a short-range tool used like an uppercut — for when someone gets too close or has grabbed you.” It uses the crook to make contact, Abbott says. No matter which of these techniques you use, don’t neglect situational awareness, Shuey says. “Pay attention to your surroundings. Most people who are attacked never see it coming.” If a fight erupts, go all-out, Shuey continues. “When you fight soft, you get hurt. Put out [maximum] effort until the attacker is down and the threat is gone.” Decision Time You’re already an accomplished martial artist. Why should you consider learning ACS for personal defense? The following are among the reasons Shuey suggests: You can carry a cane anywhere. It’s the only weapon you can legally possess on a plane, in a theme park or wherever.  Your cane will always be in your hand and ready to deploy. You never have to pull it out of a pocket or purse.  The cane’s construction enables you to keep an attacker up to 5 feet away — or generate leverage at close range.  With the right training, you can assume a ready position or guard stance with the cane in front of your body, letting the aggressor know he’s facing a martial artist who’s prepared to defend himself. That alone can deter an attack, which, Shuey and Abbott agree, is always preferable to engaging in an actual fight. Photography by Robert Reiff

Here I was, standing in the ring with the greatest karate fighter in history. Not only the greatest karate fighter but also the first heavyweight world-champion kickboxer, I remember thinking. This man had trained with Bruce Lee, performed on The Tonight Show Starring Johnny Carson , even sparred with Muhammad Ali, and here I was about to go three rounds with him. “When the bell rings, should I go out and whack him?” I asked myself. “He’s a legend and he’s over 50 years old — I don’t want to hurt him.” The answer came quickly. The bell sounded, and we both advanced. I noticed that his fighting stance was the same as he’d used in his previous matches. His feet were firmly planted, and he moved with purpose. His right hand was held high, around cheekbone level, and his left hand was positioned near his waist, with his arm at a 90-degree angle. Lewis wasn’t dancing around quite as stealthily as in the YouTube videos I’d watched and the DVDs I’d collected. After all, he was older now, and his sparring strategy had changed slightly. Nevertheless, he was dictating the pace. He was snorting like a bull, but in a rhythmic pattern — as if he were a steam engine, building up energy to finally make that first tug on a long string of railroad cars. Suddenly, my head snapped back. My line of sight, which had been aimed at my opponent’s chest, was racing toward the ceiling. As I refocused on his chest, my mind started working again. I should have blocked with my front hand and countered, I figured. Instead, I’d just gotten nailed with the hardest jab I ever experienced. The punch was lightning fast and possessed the power of a telephone pole being shot out of a cannon, and it had landed squarely on my nose. The switch in my head turned on. This guy may have trained with Bruce Lee and made himself into a legend, I thought, but now I need to hit him hard to keep him from killing me. Such was my introduction to sparring with Joe Lewis. It happened to be my first test while training under him; fortunately, it wasn’t my last. During the many subsequent opportunities I had to work with him before his passing in 2012, I came to realize what a treasure he was. Earning my fifth-, sixth- and seventh-degree black belts from him was an honor and a privilege. MASTER OF ARTS Lewis made fighting sound easy, yet he could take a simple technique like a jab and teach an all-day seminar on its nuances, purposes, variations and history. Often he’d talk and talk, and I’d look at one of my fellow black belts and whisper, “I wish he’d just get to the sparring.” Being a young fighter who regarded sparring as the only way to learn what worked and what didn’t, I sometimes became impatient with what I viewed as overanalysis. Of course, I grew to appreciate the Joe Lewis teaching method. He taught not just lessons for the ring but also lessons for life. Everything he’d learned from his combat tour in Vietnam to the wars he waged in the ring eventually became lessons for those he mentored. When the editor of Black Belt  asked me to winnow all that Lewis had passed to me into an article on the top 10 lessons, I knew it would be challenging. He was such a genius in so many ways that his wisdom could fill a book. However, I vowed to get it done. And as I learned from Lewis, in fighting and in life, there is no “try.” It’s either done or not done. You either win or lose — there’s no gray area. LESSON 1 — FOR LIFE CUM CORDE ET ANIMIS. This Latin verse, which can be found on Lewis’ seal and every black-belt certificate he issued, translates as “with heart and spirit.” Anyone who’s worked with him for more than 60 seconds knows exactly why it’s there. Lewis embodied that notion. He taught all his black belts that we must be intentional about our strategy. We must stand up in the face of adversity, even when the majority wants to head the other way. Lewis preached the importance of executing acts with profound conviction. He believed — and wrote in his training manual — that heart is what you fight to defend and the ego is what you fight to gain. In the many conversations we had, Lewis made it clear that every fighter needs an “attitude technique,” one move that can serve as his or her go-to technique when things aren’t looking good. It should be something that works 99 percent of the time and can change the face of the fight, he’d say, and when you use it, it must be executed with complete conviction and intensity — with heart and spirit. LESSON 2 — FOR THE RING IT ONLY TAKES ONE. Lewis told me more than once that when he competed, he didn’t need an elaborate arsenal. He needed just one technique, and for him, it was the side kick. He agreed with Bruce Lee, who advised us not to fear the man who does 1,000 kicks one time as much as the man who does one kick 1,000 times. This meshes with Lewis’ advice about having an attitude technique. Watching his early fights, you can see that his side kick was unbeatable. In one match, he broke his opponent’s ribs — and then when the guy turned so he could continue fighting, Lewis used the same side kick and reportedly cracked ribs on that side, too. All fighters should develop one technique until it’s unstoppable, Lewis said. Unfortunately, not everyone does because of the time commitment. He made the side kick his attitude technique by following the philosophy of Lee and practicing it up to eight hours a day. LESSON 3 — FOR THE RING RHYTHM IS KING. The man who controls the rhythm wins the match, Lewis would say. He passed along that message in virtually every seminar, touting the importance of head rhythm, body rhythm and foot rhythm. Use head rhythm to fake or feint, he said. Use foot rhythm to draw an opponent in. Use body rhythm to jive and juke, making your opponent fire out of step, after which you counter quickly. Rhythm control must be gained and maintained immediately after the first bell, Lewis taught. As I mentioned in the intro, he even possessed the ability to dictate rhythm using his breath. LESSON 4 — FOR THE RING WHERE THERE’S WEIGHT, THERE’S POWER. Although Lewis’ defensive repertoire included many tools, he always emphasized that you must block in a way that provides the quickest and easiest option for a powerful counter. He’d speak of the need to shift 10 percent of your weight to the front or the rear during a block in preparation for your next technique. That way, you can absorb an incoming blow while minimizing the damage, then immediately shift your weight for the follow-up. Such body shifting not only provides for absorption of energy but also ensures proper balance. Don’t allow an incoming technique to force your feet to reset, Lewis taught. If you have to reset, you can’t immediately fire back with efficiency and power. LESSON 5 — FOR LIFE BE TRUE TO YOURSELF AND YOUR FAMILY. Lewis was known for not sugarcoating things. Whatever he thought, he usually spoke. This could be embarrassing, but often it was profound. He’d always follow those embarrassing moments with that Joe Lewis smile and say, “What’s so funny — what are you laughing at?” He was true to himself regardless of what people thought or the media portrayed. He considered his black belts to be his family. We knew that if we needed him for anything, he’d be there. I remember him telling folks many times to not mess with his black belts, and we respected that. It made us feel good to know that the greatest fighter of all time had our backs. LESSON 6 — FOR THE RING UNDERSTAND THE OPPONENT YOU’RE FACING AND ADJUST YOUR STRATEGY ACCORDINGLY. Whether the action is in the ring or on the street, Lewis advocated separating your adversaries into three categories: those who are more experienced, those who are more powerful and those who are faster. Then, he said, you should break down each one and design a strategy for victory. Within each category are subsets based on whether the opponent’s style is emotional or physical, Lewis said. Physical fighters are easy to detect because they try to dominate with their body instead of their mind. In contrast, emotional fighters act from the heart. They’re more impulsive and unpredictable, and they’re more often in touch with their inner sense of rhythm. LESSON 7 — FOR THE RING FOOTWORK IS IMPORTANT. Lewis taught that there are only two ways to fire a technique: from a position or from movement. For both, footwork is crucial. A voracious student of fight films, Lewis owned a vast library of videos from around the world, including boxing, kickboxing and MMA bouts. He spoke often of how he and Bruce Lee would study films of Muhammad Ali. At many of his seminars, Lewis lectured on how Ali was a master of footwork and movement and, therefore, was able to keep his opponents off-balance. Footwork is a versatile skill set, Lewis would say, because it enables you to accomplish five tasks in a fight: strengthen your position, entrap your opponent, reset, absorb an incoming blow and recover. LESSON 8 — FOR LIFE BEING A GOOD BLACK BELT MEANS BEING A GOOD COACH. Lewis could assess a fighter’s ability quickly, then fine-tune that person’s good attributes even as he improved the weaknesses. Being a black belt under him meant striving to do the same for others — by helping them achieve the same things you’ve achieved. As a world champion, Lewis taught all his students as if they were fighting for the title next week. He wouldn’t try to push his style on everyone. No one could mimic his style perfectly, he said, but they could benefit from what he knew about the fundamentals and therefore improve their fighting functionality in a short time. That’s why people like me would travel many hours just to spend one hour under his guidance. LESSON 9 — FOR THE RING STABILIZE YOUR TARGET. Of paramount importance to martial artists who wish to control the rhythm of the fight and land effective blows is doing what’s necessary to make your target momentarily stable. Lewis spoke often about how Mike Tyson had lost his title to Buster Douglas because Douglas understood the jab and used it effectively to stabilize Tyson. A boxer’s primary stabilization technique is the jab, Lewis said. If you’re a kickboxer or MMA fighter, you also can use a jab side kick or stop-kick, or post a leg or jab as an obstruction. Stabilization enables a fighter to display ring generalship. He or she can stabilize a target with footwork to manipulate distance, either hemming an opponent into a corner or posting the person against the cage. The truth of this Lewis lesson was driven home for me when, after my mentor passed, I decided to test for black belt under Bill “Superfoot” Wallace. That’s when I witnessed the way Wallace would stabilize his opponents with a jab or a jab side kick. In a conversation, he reiterated what Lewis had taught about stabilization being the key to winning. LESSON 10 — FOR LIFE BE PREPARED AND INTENTIONAL. One of the greatest lessons I learned from the legend was to never let an opponent get an advantage over me with regard to physical conditioning. It was part of Lewis’ mantra: Be prepared. I often share this with my students, explaining that I’ve fought in shape and out of shape, and after comparing the two, in shape is far better. Applying this to the world outside the ring is simple: Life is a battle. On a daily basis, we must evaluate our plans, decide if this particular battle is against a southpaw, a croucher or a slugger, and then execute our plan. Lewis advocated having a strategy, being intentional about it and executing it as planned. That will maximize your chance of staying in the fight and finishing strong. Staying in the fight and finishing strong is precisely what Joe Lewis did until the very end. And although he’s no longer with us, his legacy lives on in every black belt he promoted and every martial artist whose life he touched, whether through a seminar, a training manual, a DVD lesson — or a magazine article like this one.

Dynamic Kicks — The Ultimate Kicking Bible Now Available as an E-Book For the first time ever, the legendary martial arts classic Dynamic Kicks  is now available in digital format for all registered Black Belt  Magazine subscribers—bringing one of the most influential training manuals in martial arts history to a new generation of fighters. For more than 30 years , Dynamic Kicks  has stood as the ultimate guide to kicking technique , earning its reputation as a best seller and a cornerstone of martial arts instruction worldwide. Often referred to as the “kicking bible,”  this iconic book helped launch a generation of elite kickers—many of whom went on to become today’s top action film stars and combat-sports legends, crediting Dynamic Kicks  as a foundational influence in their careers. About the Book Authored by renowned martial artist Chong Lee , Dynamic Kicks  presents a complete, systematic breakdown of kicking mechanics designed to build power, speed, flexibility, balance, and precision . The book illustrates Lee’s proven method for developing perfect kicking technique , applicable across all striking arts. Inside, readers will find: The fundamental mechanics  behind effective kicking 30 separate kicking variations , from basic to advanced Training principles applicable to Taekwondo, karate, kickboxing, and MMA Detailed instruction suitable for beginners through elite competitors The Champion Behind the Method Chong Lee is a celebrated Taekwondo stylist , a respected Thai kickboxing expert , and the 1974 champion of the Long Beach Grand Nationals (Forms Division) —one of the most prestigious martial arts tournaments in the world. His competitive excellence and technical mastery are the foundation of the system presented in Dynamic Kicks . Dynamic Kicks  is also the first volume in a series  of instructional works by Chong Lee, establishing a legacy of technical excellence that continues to shape strikers across multiple disciplines. Why It Still Matters Today Decades after its original release, Dynamic Kicks  remains: A gold standard  for kicking instruction A career-launching resource  for fighters and performers A timeless training manual  that bridges traditional martial arts and modern combat sports Now, with its digital release, this legendary book is more accessible than ever—ready to inspire the next generation of martial artists. You can read this online in digital fomat free simply by regsitering today for Blackbeltmag.com  , hurry before the paywall returns. Its the best seller that changed the world of kicking read by every major star of martial arts to learn the style of kicking that won the Internationals and launched the legend of Chong Lee.

Black Belt is proud to present an in-depth Filipino Weapons Training program  featuring two of the world’s most respected instructors: Ron Balicki  and Diana Lee Inosanto . This powerful instructional video series is now available on BlackBeltMag.com for all registered subscribers , alongside over 1,000 hours of elite-level martial arts training  from top masters across multiple disciplines. Rooted in the combat-tested traditions of Filipino Martial Arts (FMA) , this program delivers practical, efficient, and highly adaptable weapons training designed for real-world application, personal development, and cross-training for all striking and grappling arts. Inside the Training Program Balicki and Inosanto take viewers step-by-step through a comprehensive drill-based learning system , emphasizing timing, coordination, flow, and functional combat skill. The series covers both fundamental and advanced concepts, including: Redondo  – Fluid circular striking for speed and continuity The “X” Pattern  – Dynamic footwork and attack angles The ABC’s (Abecedario)  – The essential striking alphabet of FMA Stick Drills  – Core offensive and defensive movement patterns Hit the Hand / Pass the Hand  – Target control and counter tactics The Cross  – Intercepting and countering incoming attacks Blocking Opponent’s Strikes  – Functional defense under pressure Stripping, Leverage & Manipulation  – Disarms, joint control, and weapon removal Each drill is presented with clarity and purpose, showing not just how  to perform the movements—but why  they work in live combat conditions. The result is a system that builds reflexes, structural integrity, and tactical awareness. Why This Training Matters Filipino weapons training is widely regarded as one of the most complete combat systems in the world , influencing modern self-defense, military training, and mixed martial arts. Under the guidance of Balicki and Inosanto—both lifelong practitioners and educators certified under the legendary Inosanto lineage—this program offers students direct access to authentic methodology taught at the highest level. Unlimited Access for Black Belt Subscribers This featured program is just one part of the expansive digital training library available to registered Black Belt subscribers , which includes: Over 1,000 hours of instructional video World-class teachers across striking, grappling, weapons, and self-defense Rare archival footage and modern combat-sports instruction From traditional martial arts to cutting-edge combat systems, Black Belt’s video vault represents the largest curated digital training collection in the martial arts world .

Diana Lee Inosanto on the cover of Self-Defense for Women, a special publication of Black Belt. The feature celebrated her lifelong dedication to martial arts, self-defense education, and the empowerment of women through practical, real-world training honoring both her personal achievements and the enduring influence of the Lee martial arts legacy. Carrying forward one of the most respected names in martial arts, Diana Lee Inosanto  represents the living bridge between classical tradition and modern expression. The daughter of legendary martial artist Dan Inosanto , longtime training partner and closest student of Bruce Lee , Diana was immersed from childhood in jeet kune do, Filipino martial arts, and multiple combat systems that shaped her into a world-class practitioner and instructor in her own right. Together with her husband, Ron Balicki , she has built a powerful legacy as a teacher—training students across generations in jeet kune do concepts, kali, silat, and self-defense. Which can be seen on Black Belts video instruction section. LINK : https://www.blackbeltmag.com/videos Beyond the dojo, you can see her on screen as she captivated new audiences with her commanding performance as The Sensei  in The Mandalorian portraying Morgan Elsbeth opposite Ahsoka Tano  in the Ahsoka  series, merging real-world combat mastery with cinematic storytelling in a way few performers ever achieve. Diana Lee Inosanto on the set of Ahsoka photo credit via StarWars.com Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

This July 2013 issue of Black Belt Magazine  spotlights Colonel Nattapong Buayam , one of the world’s foremost authorities on Muay Thai Kad Chueak  — the ancient “rope-bound fist” fighting art often mislabeled in the West as Muay Boran, though its authentic name is Muay Thai Kad Chueak . With decades devoted to preserving Thailand’s traditional combative heritage, Colonel Buayam offers rare insight into a lineage seldom seen outside Southeast Asia. A seasoned veteran of the Royal Thai Army , Colonel Buayam rose to the rank of Colonel and trained at the prestigious Chulachomklao Royal Military Academy , later completing advanced instruction at the Special Warfare Center’s airborne school. His expertise extends far beyond the battlefield: for more than twenty years, he has trained elite Thai military units in Krabi Krabong , Muay Thai , and battlefield-ready traditional weapons systems. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

What It Is Strictly speaking, san da is a Chinese martial arts amalgam composed of kickboxing, throws and wrestling-style takedowns. What It Isn’t Some writers have referred to san da as “Chinese MMA,” but that’s inaccurate because it normally doesn’t include ground fighting or submissions. Furthermore, in competition, san da fighters are permitted to clinch, but they’re not allowed to hit while doing so. Also What It Isn’t Some people have dubbed san da “Chinese muay Thai,” but that moniker doesn’t do it justice. Why? Because in general, muay Thai stylists rely on just two leg attacks: the roundhouse kick and the push kick. Although other leg strikes exist in Thai boxing, most of the emphasis — and the scoring in the ring — can be attributed to those two moves. In contrast, san da encompasses an arsenal of kicks not unlike what you’d learn in wushu. Unbeknownst to many martial artists in the West, most san da fighters in China earn their chops in wushu. Firsthand Observation When I trained at Shaolin Temple, most of the san da fighters I met had spent two years doing wushu before being allowed to take up san da. Hardcore fighters in the West might scoff at that notion, but wushu is far from a waste of time for them. The training renders the practitioners more flexible and able to kick high and fast. That means the main task that lies before them once they decide to make the leap is learning strategy and gaining ring experience. Emphasized Techniques Just like the money kick in muay Thai is the roundhouse, the money kick in san da is the side kick. But because san da has a whole gamut of kicks to its name, you’ll also see roundhouses, spinning back kicks, front kicks and even ax kicks in competition. Crescent kicks and some of the trickier taekwondo-style maneuvers can appear from time to time, depending on the background of the practitioner. Scoring With Throws The thing that really differentiates san da from muay Thai is the takedowns. San da bouts are scored on points, similar to the way Chinese wrestling is. Traditionally, throws were worth one to four points. Recently, however, the rules have changed, and now the one-point throws — moves in which the thrower goes to the mat with his opponent — no longer score. Platform Fighting In amateur san da bouts, four points are awarded for throwing an opponent off the lei tai platform on which the fighters meet. Things are different in professional matches, though, because the action unfolds in a boxing ring instead of on a platform. That means athletes are prohibited from throwing their adversaries outside the competition area and, therefore, are ineligible to be awarded four points. Rule Structure The regulations under which pro san da stylists compete can vary from fight to fight. Some matches take place under ge do rules, which means “every way.” Knee strikes, elbow strikes and even grappling may be allowed in such contests. Firsthand Experience While attending Shanghai University of Sport, I took a course titled San Da Ge Do. I found the subject matter very similar to MMA in that the coaches allowed submissions and chokes. Occasionally, professional fights operate under rules permitting these techniques, but they usually don't — which has caused some insiders to argue for the creation of a unified set of regulations. Evidence of Vagueness In China, everyone who competes in san da ge do agrees that you can't fight on the ground too long, but no one seems to know how long is "too long." The only thing they agree on is that san da ge do isn't like MMA, in which athletes can remain on the ground for as long as they stay active. In most cases, the san da ge do referee will stop the action and have the fighters stand up after about five seconds. Firsthand Fight When my Shanghai University classmates and I took our final fighting exam in the San Da Ge Do class and I was able to get my opponent to the mat and choke or submit him, the ref allowed it. If I had tried to use a ground-and-pound strategy, he would have stood us up immediately. Descendant of Chinese Wrestling Most of san da's throws are based on moves from traditional Chinese wrestling. I say that because I've trained in both arts, and often I noted that the same techniques were present. The difference is that in one system, practitioners might grip their opponent's jacket, while in the other, they might grip with an underhook or wrap an arm around his head or neck. Catching Kicks Most of the world's martial arts teach a few techniques for catching an attacker's kick and sweeping his leg to take him to the ground. San da specializes in this tactic. Yes, ordinary takedowns are used, but the majority of throws follow the catching of a kick. Firsthand Catch During my initial year at Shanghai University, an estimated 70 percent of my san da training time consisted of having a pro fighter kick me while I attempted to trap his leg and execute a throw. Time Limit Under strict san da rules, once a competitor clinches or begins a throw, he has about three seconds to complete the move. Taking longer risks a referee intervention. Who Should Study If you're a striker, san da is a beneficial system to learn because the training will enable you to polish your leg techniques — and perfect your side kick. If you're an MMA practitioner, san da can provide valuable training in the fine art of kick catching, as well as in the ability to follow up with a throw. Yes, other styles contain techniques designed to do the same thing, but in san da, the artistry rises to another level.

Joe Lewis first met Bruce Lee in 1967. “He wanted to convince me that I should use my strong side forward (when fighting),” Lewis recalls. But Lewis, who had successfully employed strategies of his own without Lee’s help, didn’t believe in changing his fighting stance at the time. By 1970, however, Lewis had become a full-time Lee protégé and was “road-testing” Lee’s jeet kune do theories in tournament competition. According to Lewis, the primary theme Lee stressed was simplicity . Although Lee maintained his own wing chun style, which was of little interest to Lewis, the former had integrated contact training and fighting strategies into his practice. The end result was often more important than the origin of the style. Lee explained to Lewis that jeet kune do was the “Way of the Intercepting Fist.”  Lee conjectured that an opponent’s attack dictated the potential counters. One simply performs a skill based on the “energy” of the attack. After all, fighting, according to Lee, was simply “a game of quick reactions.” Jeet kune do, then, was “a philosophical concept applied to fighting principles,” Lewis says. Lewis believed that Lee could do exactly what he said he could do. “Bruce could make JKD work because he had the right attitude, the physical ability, the mentality, and philosophy,” Lewis recalls. “He could put it all together.” Lee had two types of students: his special students, whom he taught privately, and those who comprised his group lessons. Lewis trained privately with Lee on Wednesdays during the late 1960s and early ’70s. According to Lewis, “We would begin each lesson with a general discussion of philosophy, and we would review fight films of Jack Dempsey or Muhammad Ali.” When studying the films, Lee and Lewis would try to incorporate two principles: “closing the gap”  and “mobility.”  The method was to view the films repeatedly in order to get the image of the perfect technique into their minds. “Lee could convince you that you could do what he was telling you you could do,” Lewis claims. While some of Lee’s original students focus on jeet kune do concepts, others maintain that a modified form of wing chun best exemplifies JKD. Lewis, however, concentrated on the Jun Fan kickboxing  aspect of jeet kune do, which was by far the most contact-oriented (and thus most realistic) training in the JKD program. The Lewis/Lee workout routines varied from learning independent motion in front of a mirror to focus-glove training. Within the first year of training with Lee, Lewis had become virtually unbeatable in tournament competition, winning 11 consecutive sparring titles. Lee was a gifted teacher, as evidenced by his ability to focus on an individual’s attributes and develop a program specifically tailored to that individual’s skills. In essence, each student received a personalized version of jeet kune do. Lee practiced a sort of empty-hand fencing or “intercepting fist” method (often referred to as “original” JKD) based on his personal attributes of speed, sensitivity and power. Dan Inosanto, arguably the most influential of the jeet kune do exponents, has promoted a method focusing on the concepts of JKD. This method has been widely taught and primarily emphasizes Filipino, Thai and Indonesian arts. Lewis, on the other hand, has focused on JKD strategies and kickboxing methods. For one to conclude that either the original form, the concepts method, or the kickboxing approach constitutes the entirety of JKD is to greatly shortchange Lee and his art. Or, as Lee might have said, it is a mistake in essence of JKD philosophy. Lewis has been successful in absorbing what is useful and creating something uniquely his own. Moreover, he has been successful in ridding himself of the JKD label. Lee envisioned jeet kune do simply as a vehicle— a boat in which to cross the river . Once you reach the other side, the boat was to be discarded. Unfortunately, many individuals have chosen to remain in the boat, refusing to discard it as they attach and limit themselves to a particular style or group. Perhaps the highest level of jeet kune do is in fact to gain freedom from JKD — to return to the nucleus, as it were. For Joe Lewis, the ascent through the JKD cycle has been complete.