Featured on the cover of Black Belt Magazine ’s January 1981 issue, the legendary Larry Tatum stands as a powerful pillar in keeping the American kenpo legacy alive. A direct student of Ed Parker, he earned worldwide recognition as an authority on American kenpo, shaping generations of martial artists through his expertise and unwavering dedication to the founder’s vision of the art and science. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

For years, Cambodia occupied a spot on my bucket list of countries in which I wanted to learn martial arts. Once there, however, I was saddened to learn that Khmer kung fu had nearly been lost. I tried training at the only club I could find in Phnom Penh but was disappointed. I stuck with it awhile, learning patterns and stances, but I periodically go through phases in which traditional classes seem pointless, and one was beginning to hit me. I concluded that the students were practicing strikes and blocks they could never use in a real fight. My mood wound up driving me back to professional fighting, which fortunately is well-established in Cambodia. The physical pursuit that captured my attention was bradal serey, aka Khmer kickboxing. I arranged to begin training on a Monday, so on Sunday, I went to a local TV studio to watch some matches. That’s when I discovered that most fighters in Cambodia are under contract to a TV studio. Locals told me the studios normally provide a salary of $20 a month so the fighters can train. They’re paid $20 to $25 per bout, and they fight whomever and whenever the studio orders them to. I quickly learned of the oddities that exist in Khmer kickboxing. For example, just before a match, I watched two fighters walk out and do an abbreviated version of wai khru, the symbolic dance that’s performed before muay Thai bouts. “That’s just like in Thailand,” I said to a friend. “Absolutely not,” shouted several Khmers who happened to overhear. They were offended that I’d suggested that their national sport even slightly resembled a Thai sport. After noting that the fighters were stripped to the waist, barefoot, and gloved, I said to my friend, “They’re wearing muay Thai shorts.” “No, they aren’t,” the bystanders argued. “They’re wearing Khmer-boxing shorts.” A bell signaled the beginning of the round, and the men began feeling each other out with kicks, punches, elbows, and knees. It looked exactly like muay Thai. The structure also was the same: five rounds with two-minute breaks. Even the rhythm mirrors muay Thai. The only way to win in the first two rounds is by knockout. The judges, as a rule, don’t record points scored in those rounds. So the first two rounds are slower, almost a warm-up. Rounds three and four are when the bulk of the action takes place. Whoever wins those rounds will most likely win the fight — unless he gets knocked out. Now, round five can be problematic. If the man in blue wins rounds three and four, the man in red will have no chance of winning, so he'll take it easy. Blue will also go easy, not wanting to take any chances that can upset his victory. In such cases, the fifth round is often boring. If, however, red wins round three and blue wins round four, round five is make or break. The men will pound each other, and the spectators will be on their feet the whole time, calling out their bets. I later learned that there are, in fact, no differences between the way pro kickboxing is done in Cambodia and the way muay Thai is done in Thailand. The Khmers claim they invented the art, which is why they get touchy when people refer to it as muay Thai. A local friend cited another possible reason for those occasional sleepy rounds: Because the martial artists are allowed to fight only other athletes who are under contract with the same TV station, they often wind up battling a teammate, a guy they train with every day. One national champion I spoke with said that because he's at the high end of the weight continuum, he'd fought a few opponents five or six times each. The first thing you notice when you walk into a kickboxing gym in Phnom Penh is that every Khmer man, almost without exception, can kick. You notice that because no one, not the young boys and not the middle-aged businessmen, can resist the urge to uncork a few deadly roundhouse kicks whenever they walk past a heavy bag. At first, it was intimidating. “They all can kick better than I can,” I said to myself. But then I noticed that most don't know how to train. Yes, they can throw leg-shattering kicks at the bag, but they seldom practice combinations. They just stand in front of the heavy bag, execute a few hellacious kicks, and then wander off to drink some water or chat with friends. That’s not to say Khmer kickboxing has no value. In fact, the combat sport has many fascinating facets. One of the more interesting is the way fighters often win with a head kick. It's not a conventional knockout in which the shin strikes the temple. Rather, it happens when the top of the foot hits the back of the opponent's neck. The punch that Khmer kickboxers do best is the roundhouse to the side of the head. They'd have more luck with it if they incorporated it into their combinations. Because the punch is usually initiated from too far away for it to have the knockout power of a disciplined hook, it needs to be linked to leg techniques to become a bout-ender. Clearly, the strength of Khmer kickboxing lies in its kicks, which most fighters can throw with pinpoint precision. Training to develop that kicking ability is probably why they can withstand body shots that would waste a Westerner. After a short time in Cambodia, I found myself comparing life as a foreign fighter there with life as a foreign fighter in Thailand. Both nations offer advantages. When it comes to fighting in Asia, training in Cambodia is cheaper than in Thailand. A whole month of training with a Khmer instructor costs $20. In Thailand, I paid $10 a day, and there were other programs that cost much more. The skill level of the kickboxers in the two countries is roughly the same. The difference, of course, is that there are more foreigners fighting in Thailand, which boosts the level of Thai bouts. As a result, the Thais are beginning to alter their training and techniques. In contrast, most Khmers have never fought a foreigner. Many don't have a television, and even if they did, it wouldn't matter because there aren't any broadcasts of foreign kickboxing or MMA shows to help educate them. In both countries, you can find plenty of sparring partners. If, however, you're a heavyweight, you might have trouble finding people your own size in both nations. I weigh 190 pounds, and I've never had a training partner anywhere close to my size. If you want to fight professionally, Thailand is hands down the better choice. In Phnom Penh, you pretty much have to be on contract with a TV studio, which will pay you $20 to $25 per fight. In Thailand, however, there are so many venues with weekly events that you can fight every day of the week if you want to. As a foreigner in Thailand, you can walk into a stadium the day before a show and not only get a match but also get a shot at a purse of about $120. The Thais love to watch big Westerners in the ring. Obviously, they prefer if we lose, but that’s to be expected. Worth noting is a strange phenomenon that exists in Thailand but hasn’t reached Cambodia yet. It’s called bar boxing. It was created because Thailand has areas with drinking establishments that resemble food courts in Western malls. Most have a boxing ring in the middle, and that means fighters are needed. Every night, fake fights take place in those rings, solely for entertainment purposes. Afterward, the fighters stroll among the onlookers and collect tips. Foreign fighters in Asia always do well when it comes to tips. If you want to live in Thailand and train long-term, bar boxing is a good way to supplement your income without getting injured. Choosing between Cambodia and Thailand ultimately depends on what you're looking for. If you want to have a unique cultural experience and meet the Khmers, a group of people most Westerners know nothing about, Cambodia is the way to go. If you're out to improve your kickboxing and make some money, Thailand may be the better choice.

Definition Combatives is a set of tactics and techniques designed to preserve your life in a violent situation with no regard to flashiness or formality. Some were created specifically for this purpose, while others were borrowed from the traditional martial arts. Either way, they become part of the combatives curriculum only if they can be easily taught and easily remembered. Even more important, they must be easy to execute under duress. That’s why they usually rely on gross-motor movements, motions that are largely unaffected by the adrenaline spikes that occur in a fight. “When combatives are made complicated, they’re no longer combatives,” said Kelly McCann, a renowned combatives authority and Black Belt’s 2008 Self-Defense Instructor of the Year. With that mandate to keep things uncomplicated, McCann described 10 tactics and techniques that he teaches to all who attend his combatives seminars. He has found they’re every bit as useful to beginners as they are to black belts. 1. Hollow Out to Avoid a Blade Anyone who’s studied an art that includes reality-based knife defense knows that hollowing out—the act of thrusting your abdomen backward when it’s targeted with a blade—makes a lot of sense. After all, why attempt a block and risk failure when you can move the part of your body that’s under attack out of the path of the edged weapon? It’s because of this logic, this simplicity, that McCann is a fan of the tactic. “When you hollow out, not only do you throw your ass back, but you also do it violently enough to make your feet move a good 18 inches,” he said. “That will put serious space—usually 24 to 30 inches—between the knife and your body.” At the same time, you need to move your arms out of harm’s way, he said. “That’s why we teach you to thrust your hands toward his face. If you get a finger in his eye, that will back him off.” The tactic is every bit as useful against a stick attack that’s aimed at your abdomen, McCann said. “The trick with any weapon defense is to not isolate the evasive movement. In other words, you have to be ready to chain a couple of moves together. If you hollow out and the guy misses you, you know he’s going to come back with another strike with the knife or stick. What you don’t know is whether he’s going to come back low again or go high to your neck and face. Therefore, you need to be able to switch between hollowing out and swaying back without losing your balance or getting your shoulders too far beyond your hips.” In the combatives lexicon, “swaying back” refers to leaning your upper body backward without repositioning your feet. To make it work, McCann said, you need to be in a natural athletic stance, which means your feet are shoulder-width apart from side to side and from front to rear so you don’t fall when you tilt. “After you sway back, the obvious follow-up is a shin kick or groin kick, the idea being to eat the elephant in small bites,” he added. “You need to make your attacker understand that every time he tries to stick you, he’s going to pay a price.” 2. Pound Away with the Hammerfist The same day a new student of self-defense is taught to punch, he or she should be taught how easy it is to break the bones of the hand when doing so. Rather than go into the relevant anatomy lessons, combatives instructors often will sing the praises of the hammerfist with a question like this: You’re tasked with beating on a door as loudly as possible to get the attention of people on the other side—would you punch the door with your knuckles or hit it with a hammerfist? Obviously, using a hammerfist presents minimal danger to your bone structure and guarantees maximum transfer of energy to the door. “And that’s true—with one exception,” McCann said. “You can’t do the hammerfist with ‘dinosaur arms.’ That’s what we call it when people do tiny strikes with their arms always bent, cycling their arms in very small circles. They’re sacrificing power for speed, which wastes at least 50 percent of the power that’s possible with this technique. “What you should do is open your arms up when you do the hammerfist. When a fist hits, you want to create a whipping effect by pulling the shoulder of that arm back. Your fist is hard, but your arm is relaxed. Once you make contact, jerk your shoulder back to set up the next hammerfist, and that shoulder pulling back is what actually snaps the hammerfist into the target.” And your non-striking hand? That should be thrust toward your opponent’s face as you chamber your other arm, he said. “We call that the ‘truth cycle.’ You take your off-hand and attempt to stick a finger in his eye. Then, when he backs up, you smash him in the face with a hammerfist using your other hand. Pull that through and immediately exchange hands in midair. The whole idea is that once you start hitting him, there’s always something in his face. It’s either your hammerfist or your fingers in his eyes.” Don’t get too hung up on targets, McCann cautioned. “If your offside hand hits his chest, it’s a check that keeps you in touch with where he is. It’s a signal that you got your range right. You can shove him and then go after his face with a hammerfist.” 3. Tactic: Target Your Foe's Face Let’s face it (sorry) — the human mug is an unusually sensitive part of the body. We’re programmed to protect it, and we’re almost guaranteed to react vigorously when a strike penetrates our defenses. Which is precisely why the face is a frequent target in combatives. The best attacks to the face target the eyes, McCann said. “The first is the eye jab. You shoot it out with an open hand — your fingers are positioned as though you’re holding a grapefruit. One thing it does is disrupt his vision. If he can’t see you, he can’t hurt you. If his eyes are tearing up, that’s good for you and bad for him. “It also makes him turn his head. In a fight, you don't want your opponent to be able to see you. If he can see you, he can establish a base with his feet, legs, and shoulders and then counter. But if you make him turn his face away from you, it’s hard for him to fight.” The other type of ocular attack is the eye gouge, which often involves grabbing an attacker’s head and digging in with your thumbs. “It differs from the eye jab with respect to speed and flexibility,” McCann said. “If you hit someone’s eyes with your fingertips, it’s a lightning-fast strike. You flick it out, and then your hand is back and chambered for something else. Gouging an eye requires you to commit because it’s most often done from a half-clinch. “You can finger-jab an assailant’s eyes and then run, but you can’t do that with an eye gouge. You’re attached, and that gives him the opportunity to grab you. He’ll probably bear-hug you and try to put his face in a position where you can’t reach his eyes. Then he’ll wrap a leg around you and push forward. Now you’re on the ground, and he’s likely on top. The finger jab avoids all that because it lets you stay outside and move around as you attack.” 4. Technique: Let Fly the Roundhouse Kick All kickers know the power of the roundhouse, Thai boxers in particular. They know how quickly it strikes, how it involves no wasted motion, and how it transfers insane amounts of energy using a virtually indestructible part of the body: the shinbone. “Aim your roundhouse kick at your adversary’s thigh, the outside of his calf, or his knee — always below the waist,” McCann said. “The first reason is it makes it harder for him to reach down and grab your leg. The higher your leg goes, the easier it is for him to drop his arm and get under it. “The second reason is high kicks aren’t as fast. The third reason is on the street, do you really want to kick high, knowing that you can never be sure what’s under your feet?” If you want to drop your foe or take the fight out of him, aim your kick at his thigh. “But if you want to destroy the leg, slam your roundhouse into his knee,” McCann said. “If he’s got weight on that leg and you hit the side of the knee, you’ll probably hyperextend the joint. If you hit slightly to the back of the knee, you’ll probably buckle the leg and break his base. That might not destroy the leg, but it will inflict a lot of pain. Of course, if he’s experienced, he can turn his leg to lessen the impact, but that will mean he’s turning away from you, which is dangerous for him.” Unless you’re prepared, kicking directly into the back of his knee can endanger you. Here’s why: “The strike can cause him to collapse, and that can trap your leg between his calf and thigh and drag you down, too,” McCann said. “To prevent that, get your foot out of there immediately after you make contact.” 5. Tactic: Pull Your Opponent Into Your Strike Think about how inefficient it is to throw strike after strike using a single arm each time. By leaving one arm out of the action, you're sacrificing half your firepower. Even worse, you could be reducing the effectiveness of what you are using. For instance, you can slam a right elbow into the melon of a standing opponent, and it might get the job done. However, if you place your left hand behind his head before using your right elbow, you’ll boost the likelihood of hitting the target and maximize the power transfer. “In that example, you can make your strike even more powerful,” McCann said. “Don’t simply cradle his head to keep it from moving backward when you hit him. Use your off-hand to yank his head, disorienting him a little, and then force the head into your elbow. That creates a head-on collision. Two cars moving in opposite directions on the highway tend to result in a worse accident than when one car hits a car that’s parked.” The same logic applies when you’re firing a knee thrust into a bent-over attacker’s head, McCann added. “Don’t just knee him in the face. Yank his head down to meet your knee as you thrust it up. That can be a real fight-ender.”

Featured on the cover of Karate Illustrated's December 1983 issue, Mike Shintaku —a dominant force in the Pacific Northwest karate scene—earned recognition for his success in both full-contact and AAU competitions. A versatile martial artist, he amassed numerous titles in fighting and forms divisions. Beyond competition, Shintaku gained widespread respect as one of the nation’s top tournament officials, renowned for his expertise and dedication to the sport. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

Paul “Big News” Hughes returns to action in a showcase headline bout against Brazil’s Bruno “Robusto” Miranda for PFL Europe Belfast at The SSE Arena on 10 May Bruno Miranda earns the opportunity to spoil the Paul Hughes homecoming following his victory over Patricky Pitbull in his last outing Tickets for PFL Europe Belfast are on-sale now via ticketmaster.ie The Professional Fighters League (PFL) today announced  Paul “Big News” Hughes’ (13-2) will take on  Bruno “Robusto” Miranda (17-5) in the Lightweight main event showcase bout at PFL Europe Belfast on May 10th at the SSE Arena, with tickets on-sale now via   ticketmaster.ie . The Brazilian Muay Thai specialist is a PFL Challenger Series contract winner who hones his craft in Thailand, which is evident by his aggressive striking style in the SmartCage earning him 9 KO/TKOs in his MMA career. With four wins in the PFL, Miranda’s most recent victory came over former Lightweight Champion Patricky Pitbull in an incredible action-packed fight, with his only two losses in the promotion coming by way of a former Bellator Champion and subsequent PFL Champion, Brent Primus and Olivier Aubin-Mercier respectively. " Robusto” will look to spoil the homecoming party for Paul Hughes, who will fulfil a lifelong dream to main event at The SSE Arena, Belfast’s iconic venue situated a stone’s throw away from his gym. At 27 years of age, Hughes accomplished everything possible on the regional stage before entering free agency, where he was pursued by every major mixed martial arts promotion on the planet before choosing to join PFL. A former Cage Warriors Featherweight Champion before moving up to Lightweight, Hughes has shown his world class level by defeating former Featherweight Champion AJ McKee in October 2024, and narrowly losing a majority decision to current Lightweight Champion Usman Nurmagomedov in a critically acclaimed ‘fight of the year’ contender. Belfast will be the home of PFL Europe’s first tournament fights of 2025, which will see the continent’s top athletes enter a bracket who will have one shot to win three bouts across the year to earn the coveted PFL Europe Championship and a cash prize of $100,000. " Belfast, the PFL is coming to The SSE Arena with some Big News. For our first PFL Europe event of 2025, we knew we had to reward the Fighting Irish fandom with a Paul Hughes homecoming.” Said PFL Chief Executive Officer Pete Murray. "The vocal support for Paul meant this was an easy decision, and I can’t wait to feel the atmosphere of The SSE Arena during the main event. But we plan to stack the card with our PFL Europe Tournament fighters, and a host of athletes who are prepared to lay it all on the line and put on a show. Belfast, get your tickets, we have a feeling this event will go down in history.”

The February 2009 issue of Black Belt Magazine featured   Lyoto Machida, a Brazilian mixed martial artist renowned for his elusive karate-based striking and tactical precision. The former UFC Light Heavyweight Champion seamlessly blended Shotokan Karate with Brazilian Jiu-Jitsu and Muay Thai, making him one of the most challenging fighters to hit. His mastery of counterstriking, combined with exceptional distance control and timing, set him apart in the octagon. Throughout his career, Machida secured impressive victories over legends like Rashad Evans, Randy Couture, and Dan Henderson, often punctuated by his signature front kicks and knockout power. His disciplined approach and unique fighting philosophy have cemented his legacy as one of MMA’s most respected and technical competitors. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com

When the scenario is laid out, when you know what attacks will come and how you’re expected to respond, you can be forced to employ techniques you’d otherwise ignore. SPAR TO BECOME A BETTER FIGHTER It’s a mistake — a serious one, even though it is understandable — to dismiss prearranged sparring as a sterile, unnecessary aspect of karate training. I used the word “understandable” because if you don’t have a realistic perspective on the place of prearranged sparring in the dojo, it can seem fake. You bow and take a stance. The attacker issues a strike that you both know is coming, and you respond with a block and counter. Real-life altercations are seldom that neatly arranged. Free sparring seems more spontaneous and natural. There’s no designated attacker or defender, and the participants freely switch roles. It feels more authentic. To be sure, sparring without a script has some advantages. There are also severe limitations. Stresses introduced by the dangers of free exchanges can lead you to narrow the range of your techniques. You tend to focus on moves with which you’re comfortable. You don’t expand your repertoire. In free sparring, you polish what you’re already competent with and ignore your weaknesses. In contrast, when the scenario is laid out, when you know what attacks will come and how you’re expected to respond, you can be forced to employ techniques you’d otherwise ignore. You strengthen and broaden your repertoire. Furthermore, within the structure of prearranged sparring, there’s an opportunity to explore many avenues of karate that normally would be closed. In Japanese, prearranged sparring is called yakusoku kumite. Yakusoku means “agreement.” There are several versions of this, including one-, two- and three-step kumite. An interesting variation is happo kumite. Happo means “eight directions,” but its connotation here is “many.” HAPPO: Place yourself in the middle of multiple attackers — four is a good number. Begin with clear directions: The first opponent will execute a front kick that you must avoid or block, after which you counter. The second opponent proceeds with a face-level punch that you must deal with the same way: block and counter. And so on. Everyone should be clear on the sequence. The attacks are limited. The responses can be anything you, the person in the center, wish. The second attacker doesn’t begin until the first attack and counter are completed. All movements are slow and focused but without power. In a real sense, this is choreography, like rehearsing a movie fight scene. Stop there, at that level, and the benefits of happo kumite are limited. This is only the start, however. Once you have the moves down, speed up the sequences. Attacks should come faster, and the intervals between attacks should become shorter. As soon as you counter the first attack, the second one is launched. You’re forced to respond more quickly. At an even higher level, the attackers choose their own techniques. They also can change up the sequence, varying who attacks first so you can never know from which direction the next assault will come. A benefit of happo kumite isn’t immediately obvious, but it’s important. The attackers, rather than being just mobile punching bags for you, play an essential role because no matter how good you are, you can be overwhelmed by multiple opponents coming from different angles. If the attackers become thoughtless or too aggressive, they’ll force you to flail about — or just cower. At this point, you're learning nothing because you’re not engaging in the training. If, however, the attackers are participating thoughtfully, they can play a constructive role. They need to graduate their strength and power carefully, pressing you without destroying your spirit or compromising your technique. The attackers need to be constantly engaged, evaluating you, pushing you to improve without going too far. In fact, they can learn as much as you can from this kind of training. They learn to observe, to sense your mindset. Even though the roles of attacker and defender seem at odds, both sides are working together, each learning valuable lessons. MAKE YOUR BLOCK MORE THAN A BLOCK Attention! Use extreme caution when attempting this drill. Begin by having your partner step forward with his right foot while aiming a punch at your chest. Step back with your right foot, taking a left-leg-forward stance. While doing that, use your left arm to make a midlevel block that deflects his punch to your right. At the same time, pull your right fist back to your hip. Next, shuffle forward, maintaining a left forward stance, and deliver a right reverse punch to his midsection. If you’ve practiced karate for long, you’ve probably worked this combination a thousand times — perhaps so often that it’s hard-wired into you. You don't normally think about it, but let’s do that for a moment. Why do you step back? What if you step into the attack? When you step back, the distance is such that your left forearm, in the block, strikes your opponent’s attacking limb along the forearm. This is helpful in training. Forearms are relatively tough, and partners can move back and forth across the floor striking and blocking. Beginners may experience some soreness and bruises the next day, but more experienced karateka will be fine. If you step forward to make your block, however, that ideal distance changes. Your vertical forearm will strike your opponent’s elbow. Now, we all know that “blocking” is a misnomer in karate, a poor translation of ukeru, which means “to receive.” Moving forward and striking the elbow with your block does a lot more than redirect your opponent’s attack. It does damage, perhaps severe, to the attacking arm. It’s meant to injure. When you step back to make the receiving movement, the relative distance stays the same. Test this, and you’ll see that you redirect the punch away from you — but you do little to take his balance. This is a serious flaw in teaching movements we describe as blocking. Often, they do little more than redirect the weapon, in this case his fist. But if he has the ability to reorganize, he’ll do so instantly. He can even use the force of your deflection to flow into a new attack. Blocking is a defensive movement. It’s playing catch-up, hoping to find an opening to make a counter. Stepping back reinforces this mindset. When you step in and use your forearm to strike your opponent’s elbow, you're deflecting his attack. You’re also destroying the weapon. Why not teach this? Because it’s dangerous. Introduce it in a typical dojo with 10 pairs of karateka, and very quickly you’ll have elbows broken, dislocated, and sprained. If you’re going to experiment with this, you need to know your opponent’s skill level, his attitude, and his mentality. One of the lamest clichés in the martial arts is “My art is so deadly I can’t even demonstrate it.” No, it isn’t that karate, at a high level, is too deadly. It’s that practitioners, even at a relatively high level, are still too undependable to be able to engage in it at full speed and power without exercising extreme care. CAVEAT:  I’m not suggesting that stepping back in the face of an attack is always inferior. It can be very effective, particularly if you use your hips. Once again, however, unless the training is careful and controlled, someone’s going to get hurt. And once again, blocking, in the sense of using your forearm to deflect the opponent’s strike at his own forearm, is not the intent. When you’re retreating, a blocking movement is better employed as a pulling motion. Think not so much about moving back but about making a hole into which you’re drawing your opponent. He’s extending an attack; you’re encountering it and pulling him — hard. Your forearm slides down from the initial position and brings your hand on top of his wrist, providing the grip you need. Your pull cannot be gentle; it needs to yank him off-balance. It isn’t a straight-line pull; the motion draws his arm so it crosses his own center, further destroying his equilibrium. When a person attacks with full commitment, only to have you suddenly retreat, taking the attacking arm with you and redirecting the force of the punch across his body, it’s like grabbing the handle of a heavy open door, only to have it suddenly slam shut. It jerks you with it in a direction that comes close to taking you off your feet. This movement doesn’t take a lot of power. You can generate terrific force with the sudden movement of your hips as you step back. If you try to yank your opponent with your arm, he can easily feel your energy and adapt to it. Avoid that by making the pull quick and strong, powered by the large muscles in your hips. LEARN WHEN TO STAY ON YOUR TOES Put this one in the “obscure” category of karate techniques. Kicking with the toes is no longer taught in most dojo; in others, it was never part of training. There are a few Japanese karate systems that teach these kicks. Mostly, however, we associate them with Okinawan karate. The obvious question is, Why? Most of us dislike hard contact with the toes. Stubbing a toe isn’t high on anyone’s “like” list. Further, the ball of the foot or the heel offer much more solid, much less potentially painful weapons, just as a closed fist is a safer, more effective way to use your hand compared to striking with the fingertips. But think about the potential of a strike in which all five fingertips are pressed together, making a bird-beak shape. Such a strike delivered to the neck or another soft, nerve-rich target is powerful and penetrating. The same applies to toe kicks. If an opponent is doubled over in front of you as a result of your previous attack, a kick with the toes — especially if you’re wearing shoes — that hits his diaphragm or abdomen can be devastating.  Yes, but isn’t there a big difference between toe kicking while wearing shoes and toe kicking with bare feet? There is. To kick effectively with the toes requires a lot of training. Chances are if you’re an experienced karateka, as soon as you lift your knee to kick forward, your toes curl back, exposing the ball of your foot. A toe kick requires you to keep your toes straight and your entire foot parallel to the ground. Your lower leg doesn’t hinge up from the knee. Instead, it goes straight out, delivering the toes on target in a line rather than a rising arc.  Some Okinawan systems teach kicking with only the big toe. Others involve squeezing the first and second toes together to form a delta-shaped weapon. In either case, the technique requires a lot of training, stretching, and strengthening of the muscles of the foot.  Toe kicks are usually delivered toward the lower half of your opponent’s body, although some karateka chamber their knee high enough to drive their toes into their foe’s ribs or below his sternum. Such techniques can be effective against any target that has nerves close to the surface. For example, grappling locks that extend a captured arm, pulling an opponent so he’s bent over, expose the inside of the upper arm to a toe kick that can temporarily paralyze the entire limb. Toes driven into the inside of the knee or the area just above it can take a person to the ground with a combination of pain and nerve paralysis. Toe kicks directed at the thigh can disrupt normal nerve functions, making a person collapse. There’s something about toe kicks that looks odd to the average karateka. To see such moves implemented by a skilled practitioner, however, with the toes driving into soft flesh with the potential for injury to organs or joints, is to see why one way of describing them in Japanese is ashi-yari, or “foot spear.” HISTORY:  Stories about toe kicks abound in Okinawan karate. Some are almost certainly in the realm of legend, while others have a grounding in historical fact. One of the latter involves Ankichi Arakaki (1899-1927), who was famous for toe kicking. On at least two occasions, he used the technique, once while sparring with his brother and once in a fight with a renowned practitioner of Okinawan wrestling. In the first encounter, Ankichi aimed his kick at his brother’s ankle. In the second, a fight that supposedly took place in a bar and was one Ankichi did his best to avoid, the target was just below the wrestler’s armpit. Both men suffered symptoms that resembled those of an aneurysm. The wrestler actually died within a few days. Hohan Soken (1889-1982) was perhaps the most proficient Okinawan karate expert who used the toe kick. His white-crane system, with soft (looking), flowing moves, still teaches toe kicks. They’re often combined with movements that unbalance the attacker, causing him to drop his guard or perhaps open it, thus allowing penetration with a toe kick. FOCUS ON THE SPIN KICK The spinning heel kick is one of the most artistic martial moves. It looks graceful and generates tremendous power. Recently, some MMA fighters have worked to perfect their spinning kick because it hits like a baseball bat. Opponents are knocked down or completely out when the heel connects. The origin of the spinning heel kick is hard to determine. The move is an extravagance of energy. It requires you to turn your back on your opponent. It’s most effective against the head. All these argue for not including it in the arsenal of a combative art designed primarily for real fighting. It appeared most prominently in taekwondo when the art became popular in the 1960s and ’70s. As the style became more widespread, the spinning kick became more sophisticated. Early free-style percussive arts with open, full-contact matches had little use for the spinning heel kick, mainly for the reasons mentioned above. As those arts continued to grow, however, they began to incorporate the technique. The power it offered was too great to ignore, which is why MMA practitioners have started implementing it.  The spinning heel kick was never in the repertoire of Japanese karate, and it’s important for us to think about why that is. The Japanese combat arts have among their core principles one known as kime. In the dojo, kime is often translated as “focus.” In everyday Japanese, kime (or its indicative form kimeru) means “to decide.”  In a punch, kime is the exact point at which all energy is directed, extended, focused. In an art that involves throwing, kime comes the moment your opponent’s balance has been compromised so completely he cannot resist. Apply focus, and the throw is effected at that very moment. Kime is that crucial point at which the intent of the technique is put into a decisive action.  Techniques like the spinning heel kick do not have kime. The extended leg is rotating; where the heel contacts the target is not precise. For that reason, the kick wasn’t part of traditional Japanese karate. TWO POINTS:  First, to say that the spinning heel kick doesn’t have kime is not to say it’s ineffective. Too often karate practitioners develop an arrogance, a belief that theirs is the ultimate art. To be fair, practitioners of other arts develop the same delusions, but the point is that any fighting art can be effective and dangerous and that you should never judge that potential by applying the standards of your own art. Second, the underlying principles of your art are there for a reason. They give structure. Without that framework, you cannot build your own system. If you have access to a library of karate books, you can see that, back in the early ’80s, some Japanese karate schools began to incorporate the spinning heel kick into their curriculum. I have a text on what was then called “Korean karate” from the late ’60s, and one of the techniques it illustrates is the “hook kick.” The earliest reference I have of a similar kick in Japanese karate was not until the mid-’80s, and the explanation for it is muddled. Clearly, the authors had seen the Korean spinning heel kick, recognized its usefulness, and tried to incorporate it. They couldn’t reconcile its execution, however, with the principles of their art, particularly the principle of kime. Of course, the possibility exists that some dedicated karateka will figure out a way to execute the spinning heel kick so it allows for the proper manipulation of kime. Principles give a fighting art structure, but they shouldn’t squeeze it into a box. That’s why karate is not the closed tradition many believe it to be. It can grow and change, so long as the principles are maintained.

The Arnold Sports Festival once again demonstrated why it is the world’s premier multi-sport and fitness expo, attracting over 200,000 attendees and featuring more than 20,000 athletes competing in 80+ sports and events. Founded by legendary bodybuilder and actor Arnold Schwarzenegger, the festival has grown into the largest event of its kind, bringing together elite competitors, fitness enthusiasts, and industry leaders from around the globe. Martial arts have always been a cornerstone of the event, with the Kumite Classic leading the way as it celebrates its 25th anniversary in Columbus in 2025. The Kumite Classic, one of the nation’s most prestigious martial arts brands, continues to raise the bar for combat sports excellence. Founded in Pittsburgh in 1999, the event has evolved into a premier showcase of martial arts talent, drawing elite competitors from across the world. Established by martial arts visionary Bill Viola Jr. , the Kumite Classic has become synonymous with high-level competition and innovation. Over the years, it has provided a platform for athletes to test their skills in various disciplines, including karate, kickboxing, kung fu, jiu-jitsu, and taekwondo, while also serving as a gateway to internationally recognized tournaments such as WAKO Nationals. The World Association of Kickboxing Organizations (WAKO) is at the forefront of the movement to bring kickboxing to the Olympic Games. As the official governing body for amateur kickboxing worldwide, WAKO has been working tirelessly to achieve full Olympic recognition, paving the way for athletes to compete on the world’s biggest stage. The merger between the Kumite Classic and the Arnold Sports Festival provided a platform to host the WAKO National Championships and expand the league’s footprint for their team trials. WAKO’s journey toward Olympic inclusion took a significant step forward in 2021 when the International Olympic Committee (IOC) granted it full recognition. This milestone positioned kickboxing alongside other combat sports, reinforcing its legitimacy and global appeal. WAKO continues to develop the sport by standardizing rules, ensuring athlete safety, and fostering fair play in international competitions. “The Kumite Classic is more than just a tournament—it’s an experience of martial arts culture, dedication, and athletic excellence,” said Bill Viola Jr. “We take great pride in bringing together competitors, coaches, and fans to experience the best in combat sports while honoring the traditions and values that make martial arts so unique. Adding WAKO into the mix took things to the next level.” Traditionally held in Pittsburgh, the Kumite Classic celebrated its 25-year legacy by merging with the Arnold Sports Festival, expanding the reach of both events. As a result, WAKO hosted its largest nationals to date, with over 1,000 athletes and coaches packing the Lausche Expo Center to compete in sport karate, kickboxing, Chinese kung fu, wushu, taekwondo, tang soo do, and even LED saber competitions. In his role as WAKO Tatami Chairman for the United States and President of the Kumite Classic, Viola Jr. helped bridge the best of both worlds. “The Kumite Classic has been semi-retired since 2017. Only a special opportunity like merging the Arnold and WAKO could entice me to resurrect our signature event. Boy, was it worth it. None of this would have been possible without the Kumite Classic family—we had over 100 full-time volunteers working tirelessly to keep everything running smoothly,” said Viola Jr. Kumite Classic Staff “The Arnold Sports Festival is more than just a competition—it’s a celebration of strength, dedication, and the pursuit of excellence,” said event coordinator Robert Whatule. “Each year, we witness an incredible display of athleticism and passion from both competitors and fans, making this event a truly one-of-a-kind experience.” As the Arnold Sports Festival continues to expand, organizers remain committed to delivering an unparalleled experience that inspires and educates fitness enthusiasts of all levels. With each passing year, the festival solidifies its legacy as the ultimate destination for athletic competition, industry networking, and fitness innovation. This year’s event showcased an impressive range of divisions, including traditional kata, weapons, point fighting, and full-contact kickboxing, drawing renowned martial artists from various disciplines. The competition was fierce, with athletes demonstrating extraordinary technique and tenacity in front of an enthusiastic crowd. Clarissa DeHoyo’s performance of Papuren  and Cameron Klos’s presentation of Ohan Dai  secured victories in the Traditional divisions, earning the coveted “Power Rings.” The duo also won a brand-new Tokaido athletic kata gi, courtesy of Tokaido USA. Charles Bremner, CEO of Budomart, expressed his support for the event: “We are honored to be a part of the Kumite Classic and to support the traditional karate movement. Sensei Bill [Viola Jr.] has a long tradition of attracting top AAU, USANKF, and Shotokan organizations to compete at his events.” Of course, the highlight of the festival was the sparring categories, where elite competitors battled for custom championship belts and the prestigious “MVP” Most Valuable Point Fighter rings. U.S. Army’s Clarissa DeHoyo winner of Traditional Power Ring  The Black Belt Grand Championships (Open Weight) Title Belt Winners:  Adult Male: Brayan Rodriguez - Caracas, Venezuela (Diamond) presented by “DOJO” Adult Female:  Ki’Tana Everett, Minneapolis, Minnesota (Team Paul Mitchell) presented by “Female Fighters Matter Too” Maggie Messina, founder of the nonprofit group SWERV (which empowers at-risk youth to achieve more in their lives), was a major contributor to the weekend by sponsoring the prize money for the women’s grand champion. Her organization is dedicated to helping people change direction and raise awareness through campaigns such as “Female Fighters Matter Too” (FFM2), an equality initiative aimed at ensuring female competitors receive prizes equivalent to those awarded in male divisions for grand champion titles. Messina shared, “The belts were top-shelf, and the big crowd made it exciting! Everything ran smoothly with professional, certified judges. The friendly environment made it a great way to celebrate my birthday.” Maggie Messina awards Adult Open Weight Champion to Team Paul Mitchell’s Ki’Tana Everett  “The Kumite Classic at the Arnold Sports Festival continues to grow in both talent and prestige,” said U.S. Army Head Coach Wesley Lawrence. “It’s incredible to see the dedication and skill of these martial artists as they push the boundaries of their abilities on such a grand stage. I’ve been to the Kumite Classic as a competitor, so I knew adding WAKO would be game-changing—and it did not disappoint. Bill puts the competitors first, and his production is beyond what other promoters do.” U.S. Army Coach Wesley Lawerence (left) pictured with 15-17 year old Open Weight Champion Raian Mayers A highlight of the event was the highly anticipated team trials, where top competitors engaged in high-intensity matches that captivated spectators, all vying for a spot on the official WAKO USA Team. Only gold medal winners earn a place on the adult team, while both gold and silver medalists qualify for the junior squad. The Pan American Kickboxing Championships  for Children, Cadets, and Juniors will take place from August 27 to 31, 2025,  in Punta Cana, Dominican Republic.  The Senior World Championships  are set for November 22 to 29, 2025,  in Abu Dhabi, United Arab Emirates. Beyond competition, the event provided martial arts enthusiasts with the opportunity to engage with industry professionals, attend educational seminars, and explore the latest trends in martial arts training and equipment. Iconic global brands like Tokaido  and Century  were among the weekend’s sponsors. Century President Michael Dillard  was on hand to witness Team USA firsthand. Century awarded “All-American Patches”  to honor the junior team members who medaled in Budapest, Hungary,  last fall. Dillard stated, “We are proud to outfit Team USA for both the Pan Americans and World Championships. I am excited for the upcoming WAKO Century Cups and for building a future with the league.” As WAKO  continues to push for kickboxing’s inclusion in future Olympic Games,  events like the Kumite Classic  and USA Sport Karate  play a crucial role in preparing athletes for international competition. The dedication and perseverance displayed at these events reflect the very spirit of the Olympic movement, ensuring that kickboxing continues to grow and thrive on a global scale. The success of the Kumite Classic  at the Arnold Sports Festival  underscores the collaborative efforts to expand WAKO  and the Olympic movement  in the United States. Next Up for WAKO: The Pennsylvania WAKO State Games  will be held on May 10  at the David L. Lawrence Convention Center  in conjunction with the Pittsburgh Power Expo. For more info, visit: www.kumiteclassic.com

Much Emphasized, Yet Least Discussed One of the most emphasized yet least talked about karate techniques is kata—the dance-like series of stances and moves used to master form, agility, and speed. Recently, kata has been spotlighted by controversy; not as to its intrinsic value, but whether new forms finding their way onto exhibition floors can be considered of serious value to the world of karate. To the spectator, kata is a ballet-like form of shadow boxing that can be rhythmic and as powerful as modern dance. Within the past few years, kata has undergone mutations that have given it a distinctly American flavor. A steady flow of kata competitors has demonstrated a definite trend away from traditional forms. Some practitioners have even gone so far as to use tomahawks and loin cloths to emphasize the Americanization of kata. The Divide Between Traditionalists and Reformers To the karateka steeped in the Oriental genre of kata, these "American pioneers" seem to have taken liberties without fundamental concern for kata, nor with enough karate background to create or originate new forms of this technique. Traditionalists believe these reformers didn’t know enough about kata to begin with, so they had to improvise to avoid looking bad in their students’ eyes. On the other hand, reformers attempting to implant their own systems of kata into the American karate scene argue that their American kata was created for the individual needs of Westerners, taking into account height, weight, arm, and leg reach. The proponents of new kata seem to feel this is the natural course toward the Americanization of any sport, believing the U.S. public cannot assimilate a foreign art without such modifications. The Black Belt Survey Results In a recent exclusive BLACK BELT  survey discussing the value of these "unique" forms of kata, leading sensei polled responded with a three-way split. Of the replying sensei: 30% felt American kata had value and basis in karate 30% stated it definitely had no value nor basis Another 30% qualified their answers with a yes-no response The remaining 10% had "no comment." Voices from the Karate Community Earnest Lieb of the American Karate Association strongly believes American kata holds significant value: "They are designed for individual needs. Since Americans are made up of all sizes, kata should be designed for different individuals, not for the majority with the hope all persons are alike." Lieb adds, "American kata is becoming a reality. After all, why do Korea, Okinawa, and Japan have the right to develop their own when the originality and development took place in China?" Duke City’s Sam Allred aligns himself with this view, saying, "Perhaps no non-American art or sport can survive in America without being somewhat adapted for the cultural, mental, and physical aspects of the American himself. The efforts of many Americans are already being strongly felt insofar as their 'Americanizing' influence on technique and competition are concerned, both in judo and karate. These American karateka with sufficient training, knowledge, experience, and creativity to develop kata will surely make contributions which will properly promote karate as an accepted American activity." Detriment or Contribution? However, Allred emphasizes: “This is not to imply American kata could be generally superior to Oriental kata, which has taken many years to evolve. Kata, developed by sensei to substitute for their lack of knowledge of already-existing kata, seeking to drastically change or eliminate Oriental concepts, can only be a detriment to karate in America.” From Pennsylvania George A. Dillman places himself squarely in the yes column and agrees with Lieb on one point: “I think the most direct comparison would be between the body structure of the American and the Oriental karate player. American kata is based on utilizing the attributes of an average American, i.e. height, weight, arm and leg reach; Oriental kata emphasizes speed and agility.” Prefacing this statement, Dillman explains “I feel the value of American kata is the demonstrated interest and participation the American karate player feels toward the art. America is the only ration outside of the Orient where a determined effort is being made to create new, individually styled American kata. This reflects how great an impression and in-road karate has made on the American public.” New York-based Peter Urban uses a few analogies to agree in concept with Lieb, Allred and Dillman: “Inferior American products are no more insignificant than inferior Oriental products. If it passes the test of time, it is good. In general, it seems an Oriental kata has been improved in America in precisely the same way American and German optic and electronic developments have been improved in Japan. It is the performance of kata by the individual performer that determines the quality and not just the construction of the kata itself. We speak English in America, but it is not the same English spoken in Great Britain. Yet, for all intents and purposes it is the same language and we can communicate. It is the same with kata.” Contrasting the pro arguments, Edward F. McGrath agrees “American kata I have seen has merit in one factor: it is designed for our times and bodies.” However, McGrath disagrees with new forms of kata because timing and individual adjustments to kata “can be accomplished through proper interpretation of the Oriental kata to fit individual physique and moves.” Thoroughly down on the reformists, McGrath feels the new kata forms have no significant value other than a means of self- expression: “Kata brought from the Orient embodies every block, punch or kick which could effectively be utilized against a single or multiple attack. Therefore, I feel any additional kata are redundant and may only stem from an instructor’s need to bolster his ego. We have already lost too much respect and good manners which accompany tradition.” Maung K. Gyi of Millfield, Ohio agrees in principle with McGrath but he emphasizes smooth transition, proper construction and kinetic balance: “I had an opportunity to watch about 30 or 40 kata in numerous karate tournaments which were created by some American instructors. I am sorry to say I was terribly embarrassed. They may be acceptable for beginners up to fourth kyu, but not for advanced black belt holders. “I spotted lack of proper transition from one movement to another and lack of proper construction of techniques — hands and feet, and lack of balance in the kata themselves.” Using a grammatical analogy to define kata, Gyi states: “To me kata is like poetry in motion. Correct syntactic, grammatical, sentence structures, and appropriate words are needed to convey a central theme. American-created kata have too many themes, often represented by inappropriate words and loose transitions. If there is this lack of balance in grammatical composition, sentence and syntactic structure, the reader is quite confused as to its meaning.” Richard Kim, sensei from San Francisco, feels reformed kata may have some value, but: “The only significance, if any, would be of calisthenic value; from that viewpoint, any exercise is better than no exercise at all.” Feeling some American sensei may be presumptuous in their attempts to evolve new kata, Kim reminds them, “Only a meijin can create a kata. A meijin is one who has gone beyond the highest degrees of proficiency in his art. He is one who has achieved kensho. He is more than an expert or a specialist. There are no meijin in America and the last karate meijin was Funakoshi Gichin.” Going up to a metaphysical plane, Kim defines kata as “a unique method of religious practice with the aim of bringing the student to a direct intuitive realization of reality. It is meant for the body to be forged into a total instrument for realization of the ‘Absolute Mind’. Kata is not a manifestation of logical reasoning as Americans have superficially mistaken it to be. Kata brings the student by degrees, by complete transcendence, emancipation, total penetration and identical attainment to ‘Do’ or ‘Tao’. Since the master cannot transmit his kensho, he uses kata to bring the student to the same state of ‘illumination’ he has attained.” In an apparent attempt to counter Kim’s metaphysical phraseology, NYC’s Urban comments, “American instructors utilize systematic logic and creative imagination to produce kata, music, art or technology, the same as other masters. It has been said Western Man cannot achieve nirvana nor satori and Oriental ethnic backgrounds are the best for the martial arts. What archaic nonsense!” Discounting the philosophical argument entirely and dissecting American kata technically, Richard Chun of New York concurs with San Francisco’s Kim on the meijin point especially. “If kata are made-up by qualified masters who can devote a great deal of time to research and create new forms, then they may be useful. But American kata has no depth in their meaning because they are not made up by qualified masters.” Pointing out drawbacks to both traditionalists and reformists, Chun states simply: “Oriental kata is very often too conservative and traditional. There are too many hand techniques and not enough foot techniques in form. But American kata lacks training, speed, balance and gracefulness; often looking like it was made only for combative purposes.” Although many sensei responded with a yes-no answer, in the main they were negative to kata’s embryonic seeds of change. However, Ki Whang Kim of New York and Jhoon Rhee of Washington, D.C. kept an open view to new forms based on sound philosophy and technology. Ki Whang Kim’s definition of kata, in this writer’s opinion, is explicit and exceptional. In Jhoon Rhee’s opinion, “As civilization advances, martial arts have lots of room to improve. So, in the future we may need some improved forms, either by Americans or Orientals. It does not only have to be Orientals. But what I have seen so far has been merely duplication of existing movements with different combinations. Albert Gotay of Queens, New York, feels in some cases kata created by Americans does have significant value: “Although American kata appears to have been created merely for convenience, I have seen others that are outstanding. Kata is not created but merely evolves as the natural product of years of training and experience coupled with dynamic personality and divine enlightenment.” Henry Cho of Karate Institute in New York states he has not seen this “so-called American kata.” From the questionnaire sent to Cho, he does condemn such forms as lacking in originality because American kata must merely be a collection of borrowed techniques. “American kata cannot represent a style or system,” says Cho. “Rather, it must have been devised solely for the purpose of tournament competition,” thus agreeing with Chun. Must Be Kept Legitimate Recently moved from New York to California, Louis Delgado joins the middle-of-the-roaders but agrees in principle with the words of Cho, saying: “It demonstrates Americans’ ability to coordinate advanced moves but has no value from a karate  point of view because kata form must be performed and kept legitimate. It must be kept pure and is one art that will surely lose its value if it were to be changed. What people refer to as American kata form is merely an Oriental kata that has been added to or subtracted from.” Tossing his hat into the ring, Ki Whang Kim takes an open, ready stance of a semanticist, and concisely defines kata as “a sequence of techniques involving defensive and offensive movements, which must of course be systematic and based upon karate punching, kicking, striking and stances. This involves total karate technique and principles. In other words, kata must consist of sequential movements against imaginary opponents, with the student returning to his original position as he finishes. If kata does not stand on this principle, it cannot possibly be construed as kata, but rather a moving form of gymnastics.” Continuing, Kim explains his philosophy: “Karate is kata, and kata is karate, with kata being the essence and life of karate. Now is an excellent time for each instructor to evaluate kata, its being and purpose. If we call kata correct when it is not based on the original principles, then we will be dealing a serious blow to karate and its future. However, karate must progress further and we must therefore receive and accept American originated kata, providing it is based upon the principles of karate. It is more important the quality of kata improves rather than the quantity.”

2025 PFL World Tournament Available Live Across ESPN Platforms in the U.S. and DAZN Internationally NEW YORK – The Professional Fighters League (PFL) has officially revealed the 16 world-class fighters set to compete in the Heavyweight and Light Heavyweight divisions of the 2025 PFL World Tournament.  The PFL 2025 World Tournament kicks off from the backlot of Universal Studios Florida in Orlando on April 3, April 11, April 18, and May 1, with fighters needing to win three consecutive bouts to win the Championship.  The 2025 PFL World Tournament will air live on ESPN platforms in the U.S. Internationally, fans can catch the action live on DAZN. In total, the tournament will be streamed in 190 countries through 20 premium media partners. One shot at greatness. The annual single-elimination tournament will feature brackets at Heavyweight, Light Heavyweight, Middleweight, Welterweight, Lightweight, Featherweight, Bantamweight, and Women’s Flyweight. The PFL World Tournament spans an action packed five months. 64 of the best fighters from around the world will compete to win MMA’s toughest test - win three straight times in five months to become PFL Tournament Champion.  The First Round fights and the Semi-Final fights will be three, five-minute rounds while the Finals are five, five-minute rounds. All events and all fights now allow the use of elbows. The PFL World Tournament will payout over $20 million in total prize money, including a $500,000 bonus for every winner. The completed brackets will be unveiled on March 11 through a special bracket reveal show on YouTube powered by VALR Energy. Here is the full list of Heavyweight and Light Heavyweight competitors.  HEAVYWEIGHT DIVISION (265 lbs) – 2025 PFL WORLD TOURNAMENT ATHLETES Valentin Moldavsky (13-4) - Russia Alexander Romanov   (18-3) - Moldova Oleg Popov (19-2) - Russia Linton Vassell (25-10) - England Sergey Bilostenniy (13-3) - Russia Tim Johnson (18-11) - U.S.A. Pouya Rahmani (4-0) - U.A.E. Abraham Bably (5-1) - England LIGHT HEAVYWEIGHT DIVISION (205 lbs) – 2025 PFL WORLD TOURNAMENT ATHLETES Phil Davis (24-7) - U.S.A. Rob Wilkinson   (19-3) - Australia Karl Moore (12-3) - Ireland Marcelo Nunes (11-2) - Brazil Antonio Carlos Jr. (16-6) - Brazil Simeon Powell (10-1) - England Karl Albrektsson (14-6) - Sweden Sullivan Cauley (6-1) - U.S.A. Alternate - Alex Polizzi (11-4) - U.S.A. Alternate - Rafael Xavier  (13-8) - Germany Upcoming 2025 PFL World Tournament Schedule: April 3, 2025, Universal Studios Florida, Stage 19 - Main Card airs live on ESPN2, ESPN Deportes, and ESPN+ at 10 pm ET April 11, 2025, Universal Studios Florida, Stage 19 - Main Card airs live on ESPN2, ESPN Deportes and ESPN+ at 11:30 pm ET April 18, 2025, Universal Studios Florida, Stage 19 - Main Card airs live on ESPN, ESPN Deportes and ESPN+ at 7 pm ET May 1, 2025, Universal Studios Florida, Stage 19 - Main Card airs live on ESPN2, ESPN Deportes and ESPN+ at 10 pm ET Fans can secure tickets to these exclusive events now on Eventbrite.com . Tickets range from $25 to $125, with limited VIP packages starting at $250.   Tickets can be purchased here: tinyurl.com/PFLWorldTournament

Women’s MMA star Maritza Sanchez will make her return to Combate Global action in the main event of the ‘Combate Female’ all-women’s fight card on Thursday, March 13, live on YouTube. COMBATE GLOBAL ANNOUNCES  COMPLETE SIX FIGHT CARD FOR ‘COMBATE FEMALE’  ON THURSDAY, MARCH 13, LIVE WORLDWIDE ON YOUTUBE IN BOTH ENGLISH AND SPANISH. FROM MIAMI   Catchweight (130 lbs.) Main Event:Maritza Sanchez vs. Kate Bacik    Atomweight (105 lbs.) Co-Main Event: Nicole Geraldo vs. Janet Garcia   Previously Announced Featured Strawweight (115 lbs.) Bout: Kenia Enriquez vs. Hayley Valentine MIAMI – March 4, 2025 – COMBATE GLOBAL today announced a complete, six-fight women’s lineup for ‘Combate Female’, its previously announced, first-ever live YouTube streaming Mixed Martial Arts (MMA) event on Thursday, March 13, at TelevisaUnivision’s studios in Miami.   The all-women’s event will stream live, worldwide, free-of-charge on March 13, beginning at 8 p.m. ET/5 p.m. PT, on both Combate Global’s English language YouTube channel as well as its Spanish language YouTube channel .   “Global interest in women’s sports is exploding, and ‘Combate Female’ is the most explosive version of women in competition,” said COMBATE GLOBAL CEO Campbell McLaren. In a 130-pound catchweight main event, the always electric Maritza Sanchez (6-1) will take on fellow aggressive-minded competitor, Kate “Queen of the South” Bacik (5-2). The 27-year-old Sanchez of Placerville, Calif. is a member of Urijah Faber’s Team Alpha Male and one of the hottest new stars in the women’s field of fighting. Sanchez has been riding a six-fight win streak while showcasing her knockout power along the way since February 2020.   Fighting out of London, England, Bacik is a 31-year-old former undefeated amateur competitor and member of Great Britain Top Team.   Bacik is aiming to rebound from a defeat at the hands of Thalita Soares in December that snapped a five-fight win streak for Bacik. In atomweight (105 pounds) co-main event action and a USA vs. Mexico showdown, undefeated knockout artist Janet Garcia (3-0) will collide with Mexican prodigy Nicole Geraldo (6-1).   Garcia, a 33-year-old Mexican American resident of San Jose, Calif. and member of Javier Mendez’s Team AKA, is a veteran of several dozen Muay Thai fights in addition to being in the middle of a perfect run, to date, in MMA competition.   Garcia’s last COMBATE GLOBAL start saw her score a second round (4:20) TKO on Spain’s Andrea Meneses with a series of elbow and knee strikes on June 22, 2024.   Like Garcia, the 26-year-old Geraldo of Mexico City is coming off a victory in her last effort, a unanimous decision over Solangel Vera on November 1, 2024.   To date, Geraldo has never been knocked out or submitted in either professional or amateur MMA competition.   In a previously announced strawweight (115 pounds) featured matchup, three-time professional boxing champion Kenia Enriquez (0-0 MMA; 28-1, 11 KO’s Boxing) of Tijuana, B.C., Mexico will make her much-anticipated MMA rules debut against undefeated Hayley “Bloody” Valentine (5-0) of Northampton, England.   In other action that was announced today for the ‘Combate Female’ fight card, Yazmin “La Niña Árbol” Najera (4-1) of Mexico City will face off with Wiktoria Wojciechowska (3-2) of Mosina, Poland in a flyweight (125 pounds) bout.   Rising star and unbeaten professional boxer Sayury Cañon (4-1) of Bogota, Colombia will square off at strawweight against veteran and former world championship challenger Nicdali Rivera-Calanoc (10-11) of Boca Raton, Fla.   Kicking off the card will be another strawweight battle between unbeaten upstarts, Sharon Martinez (1-0) of Managua, Nicaragua and Claudia “La Lobita” Pizarro (1-0) of Santiago, Chile.   Last week, COMBATE GLOBAL announced a transition to worldwide distribution of its live, premium Mixed Martial Arts (MMA) events on YouTube, beginning with the ‘Combate Female’ show.    COMBATE GLOBAL will be YouTube’s first premium producer of live MMA programming for global distribution.   The agreement marks the first time in history that COMBATE GLOBAL events, in their entirety, will be distributed live globally and free-of-charge on the same platform in Spanish and English, on the world’s number one streaming video platform.   Additional information about COMBATE GLOBAL and its athletes can be found on www.CombateGlobal.com as well as on YouTube , Facebook and Instagram .

Louis Delgado, who appeared on the December 1970 cover of Karate Illustrated , was one of the greatest fighters ever to emerge from the East Coast. Known for his incredible speed and distinctive fighting style, he became one of the toughest and most respected competitors of his era. His legendary battles against top martial artists of the 1960s Blood and Guts Era of Karate solidified his reputation, as he faced and challenged icons like Joe Lewis and Tom La Puppett. Notably, Delgado holds the distinction of being the last man to defeat Chuck Norris in competition. December 1970 issue of Karate Illustrated , cementing his status as a true karate legend. Learn more about this cover and the entire magazine preserved in digital format: https://www.blackbeltmag.com