FRENCH FOOTBALL ICON PATRICE EVRA SET TO MAKE MMA DEBUT AT PFL EUROPE PARIS AT THE ACCOR ARENA ON MAY 23RD Footballing superstar Patrice Evra is set to conquer another sporting endeavour as he makes his MMA debut at PFL Europe Paris at the Accor Arena on 23 May Training in combat since 2016 alongside PFL French superstar Cédric Doumbé, Evra will put on MMA gloves and enter the SmartCage in a Showcase Bout in front of his home crowd Tickets for PFL Europe Paris available via accorarena.com The Professional Fighters League today announced iconic French footballer Patrice Evra  will make his mixed martial arts debut at PFL Europe Paris on 23 May at the Accor Arena. Former captain of “Les Bleus”, Evra will fulfil his new dream of competing in an MMA bout. Starting his combat training in 2016, the legendary left-back has been honing his skillset alongside friend and PFL superstar, Cédric Doumbé . Training camp for Evra’s MMA debut in the SmartCage is underway, with his opponent set to be announced. A world-class athlete, Evra’s natural athleticism and competitive streak will see him take on one of the most unique challenges in his sporting career. “You guys should know by now, I love this game too! I’ve performed on the world’s biggest stages, won every major trophy in football, but PFL Europe Paris will be an incredibly special night for me.” Said   Patrice Evra . “I’ve been training alongside the best in the world for years, and they’ll also tell you I’m ready for this. I’m going to put on a show at the Accor Arena on 23 May, so come watch the spectacle.” “I’m told he loves this game as much as us, and we’ll find out on 23 May! We’re incredibly excited to have the superstar that is Patrice Evra fight under the PFL banner, as we’re all about exciting match-ups and making history. I can’t tell you how excited Patrice has been putting this together, but I think you’re going to see it at the Accor Arena. Paris, we’re coming to put on another historic evening of MMA, don’t miss out.”   Said PFL Chief Executive Officer Pete Murray . PFL Europe Paris will also see some of the best French MMA athletes compete at the Accor Arena on 23 May, with Mansour “Tarzan” Barnaoui  (22-6) and the undefeated Archie “King” Colgan  (11-0) set to fight in a huge Lightweight bout, in a fight where a standout performance could lead to Lightweight Championship contention. The deep card will also feature PFL debutant Taylor “Double Impact” Lapilus  (21-4), fresh off his 6-2 record in the UFC, who will go up against 2024 PFL MENA Bantamweight Champion Ali Taleb  (12-1). Belgian sensation Patrick “The Belgian Bomber” Habirora  (6-0) will also be featured against compatriot Nicolas Di Franco  (10-4-1). Updated PFL Europe Paris Card: The Accor Arena, Paris, FranceDAZN (France) | DAZN (UK & Ireland) Friday, MAY 23RD Lightweight Showcase Bout:   Mansour Barnaoui  (22-6) vs. Archie Colgan  (11-0) Lightweight Showcase Bout:   Patrick Habirora  (6-0) vs. Nicolas Di Franco  (10-4-1) Bantamweight Showcase Bout: Taylor Lapilus  (21-4) vs. Ali Taleb  (12-1) PFL Europe Bantamweight Tournament Bout:   Mahio Campanella  (7-1) vs. Matiss Zaharovs  (7-3) PFL Europe Showcase Bout: Patrice Evra  (0-0) vs. TBA PFL Europe Bantamweight Tournament Bout: Dean Garnett (12-3-1) vs. Alexander Luster  (9-2) PFL Europe Bantamweight Tournament Bout: Anas Azizoun  (5-1) vs. Gustavo Oliveira  (10-2) PFL Europe Bantamweight Tournament Bout:   Julien Lopez  (7-4-1) vs. Jan Ciepłowski  (8-0) PFL Europe Featherweight Showcase Bout:   Adam Meskini  (9-3) vs. Tiziano Ferranti  (10-1) PFL Europe Welterweight Showcase Bout:   Salvo Giudice  (1-0) vs. Brice Belghazi  (1-1)

The first time I saw the jeet kune do leg obstruction in action was in Dan Inosanto's backyard. Bruce Lee had recently left to make movies in Hong Kong, and Inosanto decided to build a private workout area at his home. I felt privileged to have been asked to join his training group when it was done. Near the end of my first class, Inosanto told everyone to prepare for sparring. I was matched with an experienced JKD practitioner named Bob Bremer. We squared off, and after a quick exchange, Bremer nailed me with a leg obstruction. I immediately learned the hard way that when the technique is used properly, the opponent is rendered unable to kick or punch. Furthermore, the opponent can't move forward or backward because as soon as the JKD stylist drives a foot into his shin, the opponent's lead leg is immobilized — or buckled. When the technique was used on me in Inosanto's backyard, I was helpless. At the time, it made me feel terrible because even though I was a kung fu teacher and a karate black belt, I was unable to overcome it. Now, I look back on my inability to overcome it as a sure sign of the leg obstruction's effectiveness as an offensive and defensive weapon. Training Time That day, I became a believer in the JKD leg obstruction. Since then, I've seen plenty of Lee's students use the side kick to effect a similar counterattack — called the stop-kick — while avoiding their opponent's technique. However, the only person I ever saw use the leg obstruction as shown here was Bremer. He's the martial artist who taught it to me. Had he not passed away in 2012, I'd probably still be practicing it under his tutelage. While the stop-kick and the leg obstruction can serve basically the same purpose, my students and I have found that the leg obstruction permits a faster follow-up. See the photos for an example of how it can be used offensively in conjunction with other techniques. How the leg obstruction fits into the JKD puzzle is worth mentioning because it can help you determine when and where to use it. Most martial artists who've trained in jeet kune do know that Lee divided the system's attacks into five categories: single direct attack, attack by combination, progressive indirect attack, hand-immobilization attack (trapping), and attack by drawing. What people often overlook is that some of those attacks are meant to be used against certain types of opponents. Take the single direct attack, for example. To make it work on its own against a worthy adversary, you must be faster than he is or you must catch him off-balance. A better way to use a single direct attack is as a counter. That often means hitting your opponent with a stop-kick or leg obstruction while he's in the middle of his forward movement. If your opponent is as fast or faster than you, this will work only from the fighting measure. The fighting measure, as you may know, is the distance between you and your opponent when you're just out of each other's reach. In other words, if he wants to kick you, he must take a step forward. It's because of that distance and the time it takes him to traverse it that you're able to detect the incoming attack and counter it. (For more information about the fighting measure, the footwork needed to maintain it and drills that will help you master it, see Page 153 of my book Chinatown Jeet Kune Do: Essential Elements of Bruce Lee’s Martial Art. ) After you land a single direct attack in the form of a stop-kick or leg obstruction, you can turn to JKD's other methods to finish your opponent. While trapping can be used for both offense and defense, it's mostly used against an opponent who blocks or parries one of your techniques. Attack by drawing works by deliberately leaving an opening for your opponent to exploit — you “draw” his attack and then take advantage of the opening he gives you. Such is the theory behind the stop-kick and leg obstruction: They work because it's impossible for anyone to effect an attack and not leave an opening. Strategic Fighting Next comes the final strategy, which is the progressive indirect attack. It's designed to work against someone who blocks an attack or uses distance as a primary means of defense. The word “progressive” in this context means moving your offensive weapon closer to the target. This is done by feinting, which enables you to progress toward the target. To better understand how this functions, you should know the difference between a feint and a fake. A fake is an indirect attack intended to open a line by making your opponent react to a false attack. A feint is also an indirect attack intended to make the opponent react, but it doesn't withdraw. Instead, it progresses along the now-open line. The main problem with any fake or feint is that it shouldn’t work against a JKD stylist or any other skilled counterfighter. While almost any technique or tactic will work against an opponent who isn’t very good, the real test is whether it will succeed against a person with training and experience. If your opponent is savvy enough to spot your fake or feint, he might know that it can be intercepted with a stop-kick or a stop-hit. The question then becomes, what will work against an opponent who possesses such knowledge? Enter the defensive leg obstruction. It entails moving from the fighting measure as quickly as possible, with little to no preparation, to create a barrier (the actual obstruction) between you and your opponent. If you can bridge the gap fast enough, he won’t be able to catch you with a stop-kick or stop-hit. If you work on stop-striking enough, you'll quickly learn that if you can keep your opponent just out of reach, it’s easy to intercept him with a leg obstruction anytime he takes a step forward to bridge the gap. JKD students practice this skill by putting on boxing gloves and shinguards and trying to nullify movement whenever the other person is about to attempt a stop-kick or stop-hit. Often, the best response to the opponent’s counter is the leg obstruction. Learning it is essential if you want to avoid being intercepted while you're executing your attack. Leg Obstruction in Action: Questions and Answers Jim Sewell started jeet kune do the second year the Chinatown JKD school was operating and wound up staying for 14 months. Like Tim Tackett, Sewell was heavily influenced by Bob Bremer. You’ve said Bob Bremer is the person who got you interested in JKD. How did the two of you meet?   Bob and I met a long time before we started JKD. He was actually with Ed Parker at that time. I went there and checked that out with him, but it wasn’t for me. I dropped out but still saw Bob regularly — we fished together a lot. Later, I heard Bob talking about JKD, so I went down to the school twice. The second time I signed up. How was the JKD school different from the kenpo school? Ed Parker’s students were guys who liked to rush in and start throwing fists. That didn’t fit me. After working out with Bob a little bit, JKD seemed like the right thing for me. We moved a lot, built our balance and developed fast hands. We usually started off exercising — doing push-ups and sometimes running around the block a couple of times. It was very physical. Did you do much sparring?   Yes, we did a lot. We had these bamboo vests that we wore. They’d split the bamboo and mount the pieces in pockets on the vest. They worked better than what we have today. They allowed us to go at it full contact, and we did. When you were about 65, you got a chance to put your JKD skills to use when you were attacked at a gas station. What happened?   I was in line to get gas. I filled the tank on one side of my truck, then pulled out and backed in so I could fill the tank on the other side. A guy pulled out of line and came squealing around. He said, “What the hell are you doing?” I said, “Filling my tank.” Then he drove away. When I finished pumping the gas, I hung up the handle. He punched me in the face when my back was turned. When I turned to look at who hit me, I saw a young, muscular guy who jumped into a karate fighting stance. He started to kick me with a rear-leg straight kick. Without planning anything, I countered his kick with a leg obstruction to the knee by sliding up, then followed up with a punch to his face. He went down. I remember thinking he was going to get up, so I went over, grabbed his arm, put it over my knee and gave it a crank. His wife came to get him, and he was crying as they walked to their car. Since bystanders just saw an old guy get the better of a young punk, some started to clap. A man came up and handed me my glasses. He said, “Good job.” I guess I had practiced the leg obstruction so many times in the 1960s that I just seemed to do it without thinking about it. Photography by Peter Lueders

Most of us would love to be in movies. Unfortunately, no matter how good we are, most will never get a chance to perform on film. The next best thing to appearing on the silver screen is appearing onstage. Fortunately, that's an area where many martial artists are getting an opportunity to show their abilities, pick up some new skills, and even earn a decent paycheck. “Some of the live-action shows can pay pretty well, especially if they take you out of town to perform,” said Jessie Graff, a martial artist, gymnast and stuntwoman. Graff gained some of her early experience while doing live performances at theme parks in Southern California. “I did a show called Spy Girl  at Six Flags, and they had a wushu world champion doing the choreography,” she said. “Working in that show, I got great training for free.” A Long History of Live Martial Arts Shows Although some traditionalists might turn up their noses at the idea of showcasing their skills in a live show at a theme park, there's a long history of martial artists performing in such spectacles. For hundreds of years, one of the key features of Chinese opera has been breathtaking fights performed by skilled martial artists. In fact, many of the flashy moves found in modern kung fu have their origins not on the battlefield but in these performances. The tradition continues to this day. “Fight scenes play a very large part in our shows,” said Brad Irish, entertainment and events manager at the Six Flags America amusement park in Maryland. “We'll start with a theme like pirates vs. cowboys, and that gives us an excuse for the fighting. We have some exhaustive fight scenes that I create specifically around the actors' strengths. It's definitely a plus if the performer has martial arts experience.” Martial Arts That Shine on Stage Most styles will benefit a person who's trying to land a gig in a live show, but some lend themselves to performance more than others. Graff said that while it's natural to throw short, tight strikes in real encounters because they work better, stage battles require bigger, broader techniques so the audience can follow the action. She said arts like wushu and taekwondo can develop the type of crowd-friendly moves needed in live shows. “For martial artists with a strong foundation in real fighting, stage fighting is almost the opposite,” Graff said. “But training for stage fighting is a chance for you to learn new skills that you might never have gotten to develop otherwise.” Just as fighting on a stage differs from self-defense, it also differs from screen fighting. That's because rather than focusing on making strikes look good for a single camera angle, stage performers must make their moves look believable to an arena full of people. Maximum control is needed to execute a kick or punch and get close enough to the opponent to make the audience, which is not only in front of the action but also to the left and right, buy it. Even more challenging are battles with weapons. Done right, they're crowd-pleasers. Audiences love to watch martial artists fight with staffs, swords and daggers. However, the precision has to be spot on, and with the added weight of the weapons, physical fitness is mandatory. Consider the shows that run at Six Flags. They typically last 20 to 25 minutes with half that time devoted to all-out combat. Each day, three shows take place. Often, they're done five days a week and, because they're outdoors, the martial artists are at the mercy of the weather. Being in top shape is obviously essential. More Than Just Theme Parks Theme parks aren’t the only outlet for martial artists who like to perform. Consider the case of Marco Johnson, son of legendary forms champion and Black Belt Hall of Famer Willie Johnson. A leading tournament competitor in his own right, Marco has developed a unique brand of “kung fu hip-hop” that he and his students regularly perform at venues from car shows to concerts. They've even appeared with rap artist 50 Cent. “They like to have us start off a show and build the crowd, then the artist will come onstage and do their songs,” Marco said. His demo team uses everything from break dancing to a traditional Chinese lion dance to do that. Their routines incorporate empty-hand moves, weapons and choreographed exchanges. Their success has enabled them to put out a highlight reel of their performances. Although it's unlikely that a person can earn a living just from doing independent demos, Marco said other benefits come from appearing in such shows — like recruiting new students for a school or capturing video footage. He's managed to parlay his demo experience into appearances in MTV videos and a starring role in the movie Beast . “You’ve just got to find your market,” Marco said. “Not everyone will fit into the world of hip-hop, but you might want to try something like Christian music and give performances for church audiences. Even performing at local parades can tap into thousands of new people. The more you put yourself out there, the more people will start to bring you in to perform for them.” A Real Career Path For motivated martial artists, opportunities abound in the world of live shows. Employment need not be viewed as just a summer job or a part-time endeavor, Irish said. He started as a performer in a Six Flags show, but he now serves as a shining example of the growth potential in this industry. “I began here onstage in 2008 when they had a Batman  stunt show running,” Irish said. “When that ended, they decided to go in-house and asked me to write and choreograph shows. If you had told me 10 years ago that I'd be in charge of an award-winning stunt production, I'd have laughed at you. Live-action shows can definitely be rewarding in more ways than one.”

Black Belt Magazine would like to extend its deepest condolences to the family and friends of Raymond McCallum a beloved friend and one of the most feared competitors on the national circuit. McCallum stood out as one of the premier fighters of the early 1980s. He emerged making an explosive impact with his highly skilled fighting tactics and an arsenal of kicking techniques that would still impress by today's standards. A gutsy and supremely talented Texan. In a memorable grand championship bout captured by Fighting Stars magazine in 1984, McCallum famously delivered a head kick against the legendary "Nasty" Anderson. Beyond point fighting, McCallum also competed in full-contact events, facing world-class opponents such as Bill Wallace and Branko Cikatić, among others. Raymond McCallum was widely regarded as the most spectacular fighter on the circuit. Martial arts star Keith Vitali once remarked, "Raymond was the most spectacular fighter on our circuit; much more exciting to watch than any of the rest of us. All of the top fighters would stand by his ring every chance we got just to watch him execute some incredible move that would have all of us, his own peers, literally going wild over. He was incredibly electric in the ring and I was one of his greatest fans. We say farewell to our friend—a man who inspired all of us and helped shape Texas karate into the powerhouse it is today.

It’s a sad fact that when we conduct combatives seminars, some attendees who have spent money and effort developing their martial arts skills say they regret having done that. Usually, it goes something like this: “Man, I wish I had taken this approach earlier instead of spending so much time doing [this or that] martial art.” In fact, a lot of combatives practitioners impugn traditional martial arts training, and that’s a shame. Don’t throw the baby out with the bathwater! If anything, what should be impugned is the lack of effort to “streetify” the martial art being discussed or the practitioner’s decision to choose form over function. Take stances, for example. Few would argue that you should assume a traditional stance in a street confrontation, but learning how to use your hips to generate power in those stances is definitely useful. The principle simply needs to be applied to a more practical boxing or combatives guard rather than a horse stance. To preserve an art, the curriculum should be taught accurately and respectfully exactly as it is. It shouldn’t be altered or contaminated by outside influences. People who pursue learning an art form shouldn’t think they wasted their time because they followed through and actually learned it. But neither the sensei nor the students should delude themselves about what they’ve actually learned, either. Because traditional martial arts are about discipline and form, practitioners initially find it difficult to become more fluid and “natural” (for lack of a better description) in their thinking and application when they first experience combatives. There is no kata, there are no ranks and there’s little structure (except for the curriculum). This can be totally liberating or oddly confusing to traditionalists. The ease with which martial artists adapt to combatives is more a result of how they trained than what they trained in. If the focus was on kata, they’re likely going to be stiff. If, however, their training focused on sparring and contact, their performance will reflect a “looser,” more relaxed and practical approach. Defense is another area in which traditional martial artists may feel like they come up short when they're first attacked in a combatives training scenario. High, low, outside and inside blocks aren’t very effective in street encounters, but the principle of perpendicularity that those martial artists apply while doing them is. In other words, keeping the arms perpendicular to incoming punches is an integral part of both pursuits. A boxer’s head is punched at more often than perhaps anyone else’s. There’s a reason the boxing guard is taught and used by all pugilists — the arms and hands are simply more often available and more immediately available than in any other configuration. The boxer can usually meet an incoming blow with perpendicularity and punch back at will without having to re-chamber. Traditional martial arts blocks tend to get you “out of shape” quickly when multiple punches are thrown, especially punches from different angles. They also force you to re-chamber before you can counter, thus restricting you to whole-beat counters instead of half-beat counters. Another difference is that many martial arts offer students a never-ending arsenal of techniques. Combatives, in contrast, is intentionally finite. Practitioners learn only what the instructor determines to be the most effective techniques, and they learn them right away. Neither approach is wrong, mind you. They’re simply different pursuits taken for different purposes. Instead of chastising a martial artist for having undertaken something they don’t necessarily agree with or see the utility of, combatives practitioners and instructors should look for ways to facilitate the transfer of the existing skill set to a new pursuit. All students start out seeking to improve themselves, right? Whether it’s to boost athleticism, balance and coordination, discipline or self-defense ability, we all have to start somewhere. Over time, however, our needs change and life happens, and we vector our interests accordingly. The fact that a person may have started with taekwondo and now wants to pursue a more succinct approach to self-defense through combatives doesn’t mean everything he learned is bullshit. It means what is important to him has changed, that’s all. Nobody does anything because they think it’s stupid. They do it because they believe that it’s what they need, that it’s what they want or that it benefits them in some way. Rather than alienate someone who presents himself as “here to learn,” welcome him and help him make the transition from -do to -jutsu the way combatives teaches.

He brought a new level of performance to an era when traditional forms still dominated the tournament circuit. Peter Morales , featured on the cover of Karate Illustrated  in 1982 , was a black belt in Won Hop Kuen Do under former champion-turned-Wu Shu phenom Karyn Turner. Morales helped inspire a rising generation of competitors, including future champion George Chung, who openly idolized him. A true pioneer of what we now call CMX (creative, musical, extreme), Morales blended music, showmanship, and flair into forms competition—helping to reshape the landscape of sport martial arts. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

Rigan Machado in His Feature Debut, the High-Stakes Film Screens April 28 at the TCL Chinese Theatre Blow for Blow  is set to make its red carpet debut at Hollywood’s iconic TCL Chinese Theatre on Monday, April 28, 2025 . Directed by renowned Brazilian Jiu-Jitsu master Rigan Machado, the film will debut with a full-throttle evening of celebrity arrivals, a live martial arts demonstration, and a screening followed by an exclusive Q&A and VIP afterparty. Presented by Insurgence and Iris Indie Entertainment, Blow for Blow  plunges audiences into the brutal world of underground fighting. The story follows a former gangster turned restaurant chef, whose son becomes entangled with his ex-mafia partners. Forced back into the criminal underworld, he must face trials of life and death to save his son—delivering a gripping tale of honor, betrayal, and redemption. The cast features rising action stars Jean Machado, John Machado, Caleb Caldwell, Andreas Contogouris, Rafaela Gonçalves, Carolla Parmejano, Paulo Costa, Yasamina Kabisch, Cezar Galvão, and Tomm Voss. Photo credit Rigan Machado

If you’re a martial artist and you haven’t seen The Last Dragon  (1985), stop what you’re doing and fix that immediately. Directed by Michael Schultz and produced by Berry Gordy of Motown fame, this film isn’t just a quirky ‘80s throwback—it’s one of the earliest mainstream martial arts movies in the U.S. to feature a Black protagonist, real martial arts choreography, and an unapologetic love for Bruce Lee. Our hero, Leroy Green—better known as “Bruce Leroy”—is on a classic martial arts journey: seeking not just physical skill but spiritual enlightenment. He trains under a traditional master, lives by the tenets of humility and discipline, and literally chases “The Glow,” a metaphor for achieving harmony between mind, body, and spirit. For any martial artist, that’s the eternal pursuit. Taimak, who plays Leroy, wasn’t just an actor pretending to throw kicks. He was a trained martial artist with black belts in multiple disciplines, and his background shows in his crisp technique, clean stances, and commitment to the physicality of the role. It’s rare for an American martial arts film of that era to get the fundamentals right, but The Last Dragon  actually, well, at least respects the art. Of course, no martial arts movie is complete without a worthy antagonist, and Sho’nuff—the self-proclaimed “Shogun of Harlem”—delivers. He’s a larger-than-life villain with exaggerated flair, but look past the bravado and you’ll notice he brings raw aggression and pressure-fighting energy that contrasts perfectly with Leroy’s calm, defensive style. It’s a visual representation of two martial philosophies clashing. Fight-wise, the choreography leans into spectacle, but there are real lessons hidden in the flash. The film emphasizes timing, distance management, and confidence—Leroy can’t unlock his full power until he lets go of self-doubt and fights with full intention. Sound familiar? For martial artists, The Last Dragon  is more than campy fun. It’s a story about growth, discipline, and mastering yourself before you can master your opponent. Plus, let’s be honest—who wouldn’t want their qi to literally light up the room? Whether you train in kung fu, karate, or kickboxing, The Last Dragon  is a must-watch. It’s a reminder that the martial path isn’t just about belts or brawls—it’s about becoming your best self.  Glow on.

The January 1987 issue featured Hatsumi Masaaki, best known as the modern grandmaster of Ninjutsu. Born on December 2, 1931, Hatsumi is the founder of the Bujinkan Organization and the former soke (head) of the Togakure-ryū lineage. His influence extended beyond martial arts dojos—he even served as a consultant on early James Bond films, bringing the art of the ninja to the big screen! In recognition of his contributions, he was inducted into the Black Belt Hall of Fame in 1986. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

Imagine a political leader going to Duluth to tell Minnesotans this: “You are the descendants of Vikings. You have the blood of warriors in you. Your ancestors were feared over much of the known world. It’s only reasonable that you are invincible, that you control the lands your ancestors ruled, that you have the rewards they enjoyed, that no other people can match you for courage and daring.” It’s hard to imagine any Minnesotan believing such nonsense. But suppose in addition to being political figures, the people spreading this message were powerful — very powerful — military leaders. And suppose that people who disagreed with those leaders were made extremely uncomfortable. And suppose this message was spread constantly in the media, in schools, in popular music and in churches in Minnesota. Yes, it's still hard to imagine something like this. You have to remember, though, that Japan in the early 20th century was, like the rest of the world, a far different place than it is today. Japan was less than 50 years from feudalism. It was just emerging on the world scene and flexing its muscles. And it was deeply angry at what it perceived as numerous slights from the Western world. What Japan needed was a way to stir up its people, to engage them in a dream of conquest and expansion, one fueled by the burning coals of their own righteousness and “specialness.” The gasoline for this fire was bushido . In the many years I spent with my Japanese sensei, I don’t think I ever heard him use this word. In the classical martial arts, it's never mentioned. Largely, it’s because bushido  doesn’t really mean anything. It’s a vague term, like “patriotism,” that has emotional value but not much in the way of a rational definition. The Japanese of the Taisho period (1912–1926) were a full generation removed from the days of the samurai. The samurai were, for them, not much different than the Vikings were for modern Minnesotans: figures from the vague past. The Japanese government and power structure used images of samurai, romantic and carefully crafted, to convince the Japanese that their ancestors had been motivated by a near-fanatic reverence for the emperor, by utter obedience to rulers and by a willingness to sacrifice all for some cause. The truth is that prior to the mid-19th century, the emperor was about as important in the lives of Japanese, both samurai and commoners, as Santa Claus is to us. They knew of him and believed him to be the descendant of gods, but he played no role in their lives. They prayed to their own local or family deities. Even in ancient Japan, the emperor was primarily a figurehead, one manipulated and even chosen by powerful warlords. “Emperor worship” became such a big deal when it was useful for the military and government to have a leader around whom the country could rally. While we think of Japan as a “country,” in fact, it was until modern times a land of considerably independent fiefs and provinces where, much like the United States until the Civil War, citizens tended to identify with their village or region rather than their country. The idea that loyalty meant an unquestioned obedience to authority was not a historical concept in Japan. Yes, the samurai were expected to give their lives for their lords, but commoners had no such obligation. Commoners could and often did stage strikes, even rebellions, usually over taxes. And armed with rakes and hoes, they nearly always defeated the samurai if things got violent. Further, even for the samurai, loyalty was a two-way street. Just as a samurai was expected to give himself to his lord’s needs, the lord had an obligation to take care of his people — samurai and commoners. The imperial government overlooked this, demanding the Japanese population sacrifice all for the war effort while rarely giving their needs consideration. The construct of Confucianism, that loyalty meant interdependency, was perverted. In a sense, the imperial powers duped the Japanese — or fed them myths and propaganda based on a fraudulent history. How does this affect you, a karateka or budoka in the 21st century? Well, for many of you, your teachers or your teacher’s teachers were once young men growing up in prewar and then wartime Japan. They inhaled much of this propaganda. They matured with the “truth” that Japan was unique, its society superior in every way to every other. They were imbued with the notion that authority could never be questioned. They grew up with a belief, almost religious, that the Japanese were destined to rule the world. Bringing these beliefs and attitudes into dojo in the West clearly has had a profound effect on the development of the budo  here. The distinction between the martial way and the tenets of expansionist Japan got blurred — frequently. Students here were told that the behavior of their teachers was a reflection of the “ bushido  spirit.” They were encouraged to believe what they were doing linked them to the samurai past of Japan. In reality, much of the spirit of the dojo has more to do with the imperialistic goofiness of Japan’s fanatical military of the 20th century. Such misunderstandings have obscured much of the real spirit of budo . Modern karateka sometimes dismiss the history of their art as irrelevant. It is not. Nor is the history of Japan unrelated to the study and practice of karate. Those of us in the dojo are, to the contrary, experiencing it every day.

Think you know your Karate history?  Meet David Deaton —Karate Shihan and beloved champion. Named the #1 Lightweight Fighting Competitor in the nation by Karate Illustrated Magazine , he even graced the cover of the iconic publication. On the NASKA circuit, he dominated the 50 and over Black Belt World rankings: in 1998, he held #1 in forms, #3 in weapons, and #3 in fighting. The following year, he claimed the #1 spot in fighting. A true legend of the sport! Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

If you’ve ever suffered through stance training until your legs were jelly or repeated a form until you could do it in your sleep— The 36th Chamber of Shaolin  gets it. This 1978 Shaw Brothers masterpiece did more than simply show martial arts on screen—it captured the grind, the growth, and the spirit behind real  training. Directed by Lau Kar-leung (a legit Hung Gar master) and starring the iconic Gordon Liu, 36th Chamber  tells the story of San Te, a young rebel who escapes oppression and begs to learn kung fu at the Shaolin Temple. But instead of instant skill-ups or flashy fight scenes right out the gate, San Te spends most of the film doing the hard stuff: carrying water buckets, balancing on logs, swinging heavy poles in perfect rhythm. Sound familiar? This movie hit differently because it respected the process . Each of the temple’s chambers is basically a kung fu rite of passage—developing focus, timing, coordination, power. And unlike most training montages, these weren’t fantasy sequences. They were rooted in real Hung Gar principles. Lau Kar-leung used his own background to choreograph movements that felt practical, grounded, and brutally honest. For martial artists watching today, it still holds up. But the impact of 36th Chamber  didn’t stop at the dojo. It lit a fire under a generation. The film spread kung fu culture across the globe, especially in places where perseverance and self-mastery spoke louder than words. In the 1990s, the Wu-Tang Clan built their entire mythology around the movie. Their debut album Enter the Wu-Tang (36 Chambers)  wasn’t just a reference—it was a mission statement. The reason this film still resonates? It shows that martial arts isn’t about instant revenge or being the toughest guy in the room. It’s about becoming someone better than you were yesterday. Through sweat, repetition, and humility. So if you’re ever feeling stuck in your training—go rewatch The 36th Chamber of Shaolin . It’s not just a movie. It’s a mirror, a motivator, and a reminder that mastery is earned one chamber at a time. DID YOU KNOW? 1. It wasn’t supposed to be a hit.  At the time of release, Shaw Brothers was cranking out kung fu films non-stop. 36th Chamber  was seen as “just another period piece”—until word of mouth turned it into a cult phenomenon. 2. The film was released internationally under multiple names. In the U.S., it was originally titled Master Killer , while in other markets it showed up as Shaolin Master Killer . This made it a little confusing—but also added to the underground mystique. 3. The Shaolin Temple in the film wasn’t real. Most of the temple scenes were shot at Shaw Brothers’ legendary Movietown studio in Hong Kong, a massive backlot filled with permanent sets for temples, towns, and battlefields. No CGI. Just old-school, hand-built movie magic . 4. Gordon Liu wasn’t the first choice for San Te. Liu, who had previously played smaller roles, landed the lead because of his skill and discipline during rehearsals. His intense training in real Hung Gar made him a natural fit, and his breakout performance turned him into a kung fu icon.